Appendix a Eighteenth-Century Items in Beckett's Library at His Death
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Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam
‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8). -
'Muting the Klaxon: Poetry, History, and Irish Modernism'1
1 Tim Armstrong 1 ‘Muting the Klaxon: Poetry, History, and Irish Modernism’ This is an uncorrected and reset version of the original article which appeared as: ‘Muting the Klaxon: Poetry, History, and Irish Modernism,’ in Modernism and Ireland: The Poetry of the 1930s , ed. Patricia Coughlan and Alex Davies (Cork: Cork University Press, 1995), pp.43-74. In the winter of 1923-24 a periodical called The Klaxon appeared in Dublin. It was the only issue of what was hopefully announced as a ‘seasonal’ quarterly. The table of contents makes interesting reading: 2 Confessional . L. K. E. Beauty Energised . F. R. H. The Midnight Court (from the Irish). Percy Ussher North. H. Stuart Cheese . .John W. Blaine The Will of God. Sechilienne The Ulysses of Mr. James Joyce . Lawrence K. Emery Cleopatra. F. R. Higgins An Inghean Dubh. G. Coulter Picasso, Mamie Jellett and Dublin Criticism. Thomas McGreevy Seeking, as its editorial note suggests, to link itself to International Modernism, The Klaxon has a Brancusi-like cover device and a ‘Negro sculpture in wood’ as frontispiece. The ‘Confessional’ by Lawrence Emery which opens this Irish Blast has a fine ranting tone: ‘We railed against the psychopedantic parlours of our elders and their old maidenly consorts, hoping the while with an excess of Picabia and banter, a whiff of Dadaist Europe to kick Ireland into artistic wakefulness.’ The aggressive Modernism of the doomed journal, and the harshness of the context it expects to insert itself into, is evident in its defense of Joyce and Picasso against philistine taste. The inclusion of Ussher’s translation of ‘The Midnight Court’ also carries a political weight – its bawdy invoking a different Irish tradition from that of the Celtic Twilight (it was to be republished in 1926 with an polemical introduction by Yeats). -
Travels with Samuel Beckett, 1928-1946
Beyond the Cartesian Pale: Travels with Samuel Beckett, 1928-1946 Charles Travis [I]t is the act and not the object of perception that matters. Samuel Beckett, “Recent Irish Poetry,” e Bookman (1934).1 Introduction he Irish Nobel laureate Samuel Beckett’s (1902-1989) early writings of the 1930s and 1940s depict the cities of Dublin, London and Saint-Lô Tin post-war France, with affective, comedic and existential flourishes, respectively. These early works, besides reflecting the experience of Beckett’s travels through interwar Europe, illustrate a shift in his literary perspective from a latent Cartesian verisimilitude to a more phenomenological, frag- mented and dissolute impression of place. This evolution in Beckett’s writing style exemplifies a wider transformation in perception and thought rooted in epistemological, cultural and philosophical trends associated with the Conti- nental avant garde emerging in the wake of the fin de siècle. As Henri Lefeb- vre has noted: Around 1910, the main reference systems of social practice in Eu- rope disintegrated and even collapsed. What had seemed estab- lished for good during the belle époque of the bourgeoisie came to an end: in particular, space and time, their representation and real- ity indissociably linked. In scientific knowledge, the old Euclidian and Newtonian space gave way to Einsteinian relativity. But at the same time, as is evident from the painting of the period—Cézanne first of all, then analytical Cubism—perceptible space and per- spective disintegrated. The line of horizon, optical meeting-point of parallel lines, disappeared from paintings.2 At the age of fourteen, Beckett, a son of the Protestant Anglo Irish bourgeoisie, witnessed in the largely Catholic nationalist uprising in Ireland, something Charles Travis is at Trinity College Dublin, Long Room Hub. -
Don Quixote Miguel De Cervantes
Don Quixote Miguel de Cervantes Translated by Tom Lathrop ALMA CLASSICS AlmA ClAssiCs ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.almaclassics.com Don Quixote first published in 1605–15 This translation first published privately in US by the translator in 2005 This revised translation first published by Alma Classics Limited (pre- viously Oneworld Classics Ltd) in 2010 This new edition first published by Alma Classics Limited in 2014 Translation, Introduction and Notes © Tom Lathrop Cover design: nathanburtondesign.com Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY isbn: 978-1-84749-377-4 All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Introduction vii Don Quixote 1 First PArt 3 Part One 19 Part Two 54 Part Three 84 Part Four 182 seCond PArt 359 Notes 737 This edition is dedicated to the memory of three individuals: GERARD LEBEAU – A truly good person WALTER OLLER – A polyglot scholar and musician and DIANA FRANCES HECHTER – A life too short Introduction Miguel de Cervantes was the fourth of seven children. He was born on 29th September 1547 in Alcalá de Henares, a university town about thirty kilome- tres east of Madrid. -
Downloaded from Downloaded on 2020-06-06T01:34:25Z Ollscoil Na Héireann, Corcaigh
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann Author(s) Lawlor, James Publication date 2020-02-01 Original citation Lawlor, J. 2020. A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2020, James Lawlor. https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/10128 from Downloaded on 2020-06-06T01:34:25Z Ollscoil na hÉireann, Corcaigh National University of Ireland, Cork A Cultural History of The Great Book of Ireland – Leabhar Mór na hÉireann Thesis presented by James Lawlor, BA, MA Thesis submitted for the Degree of Doctor of Philosophy University College Cork The School of English Head of School: Prof. Lee Jenkins Supervisors: Prof. Claire Connolly and Prof. Alex Davis. 2020 2 Table of Contents Abstract ............................................................................................................................... 4 Declaration .......................................................................................................................... 5 Acknowledgements ............................................................................................................ 6 List of abbreviations used ................................................................................................... 7 A Note on The Great -
Aragón and Valencia
ARAGÓN AND VALÈNCIA Aragón and València “The jota is at its best with the scent of rosemary and fresh-plowed earth,” says the opening song on this CD. An infectious collection of danced and sung jotas, archaic threshing songs, May courting songs, struck zither tunes, raucous shawms and lyrical strings, travelling down from the mountains of Aragón to the fertile coast of València. The Spanish Recordings Alan Lomax made these historic recordings in 1952 while traveling for months through Spanish villages, under formidable physical and political circumstances, during the Franco regime. Covering the breadth of Spain, these songs and dance melodies constitute a portrait of rural Spain’s richly varied musical life, dispelling the common stereotypes of Spanish folk music. The Alan Lomax Collection The Alan Lomax Collection gathers together the American, European, and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist, and ethnomusicologist Alan Lomax. Recorded in 1952 by Alan Lomax. Introductions and notes by Luis Bajén García and Mario Gros Herrero (Aragón), Archivo de Tradición Oral de Aragón (ATOA); and Josemi Sánchez Velasco (València), Consellería de Cultura, Educació i Ciència, Generalitat de València. Series Editor, Judith R. Cohen, Ph.D. Remastered to 24-bit digital from the original field recordings. Contains previously unreleased recordings. Aragón 1. AL REGRESO DEL CAMPO (Work jota) Teruel (2:19) 2. A LAS ORILLAS DEL RÍO (Danced jota) Teruel (2:30) 3. JOTA HURTADA (“Stolen” jota) Albarracín (1:08) 4. MAYOS DE ALBARRACÍN (May courting verses) Albarracín (2:53) 5. SE ME OLVIDAN LOS RAMALES (Jota for plowing) Monreal del Campo (0:50) 6. -
The Rhetoric of Miguel De Unamuno's Newspaper
“WITH WEAPONS OF BURNING WORDS”: THE RHETORIC OF MIGUEL DE UNAMUNO’S NEWSPAPER WRITINGS A Dissertation by ELIZABETH RAY EARLE Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Nathan Crick Committee Members, Leroy Dorsey Alberto Moreiras Randall Sumpter Head of Department, Kevin Barge August 2019 Major Subject: Communication Copyright 2019 Elizabeth Ray Earle ABSTRACT Although he was most famous for his books of fiction and philosophy, 20th century Spanish public intellectual Miguel de Unamuno also wrote a large body of newspaper articles in which he critiqued politics and society during his lifetime. Unamuno lived during a polarized time in Spanish history, and he witnessed many political and social conflicts, including the Third Carlist War, the Spanish-American War, World War I, a military dictatorship, the Second Spanish Republic, Franco’s military coup, and the Spanish Civil War. In the midst of this atmosphere of conflict and polarization, Unamuno used the medium of the newspaper to diagnose Spain’s problem and to present possible solutions. This project examines the rhetorical style that Unamuno developed in response to his political context, as he examined Spanish society and the various political regimes in Spain. As he defined the problem, Unamuno characterized it as one of ideology, excess rationalism, and inauthenticity. To solve this problem, Unamuno approached it in two ways. First, he acted as what he called an “idea-breaker,” or as one who assumes an attitude of skepticism and uses individual thought to break down ideas and dogma. -
Thomas Macgreevy - Poems
Classic Poetry Series Thomas MacGreevy - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Thomas MacGreevy(1893 - 1967) Thomas MacGreevy, poet, art and literary critic, Director of the National Gallery of Ireland (1950-63), was a man of letters in the old sense of the word. He has been hailed as Ireland's first modernist poet, yet is one of its most neglected. Although many consider his poetic output slight (one volume of poetry published during his lifetime, Poems), his strikingly original poetry paved the way for younger poets such as Samuel Beckett, Brian Coffey and Denis Devlin to see a way around that proverbial shadow cast by W.B. Yeats. Although MacGreevy's poetic output might not have been prodigious, he was far from silent. During his lifetime he wrote hundreds of articles in art, literary and social journals, short stories, a novel, plays (many in the 1940s in collaboration with Geraldine Cummins), monographs on contemporary writers and artists, catalogues of the National Gallery of Ireland's collections, and thousands upon thousands of letters, many of which are still preserved in archival collections. Thomas MacGreevy was born on 26 October 1893 in Tarbert, Co. Kerry, the seventh of eight children (and only surviving son). He sat the Boy Clerk examination for the British Civil Service in 1909, moving to Dublin in February 1910 to take up a post with the Irish Land Commission. Dublin was a world of contradictions: in July 1911 MacGreevy watched as King George and Queen Mary drove by in an open car; three months later he was there when John Redmond unveiled the Parnell monument on Sackville Street. -
The Capuchin Annual and the Irish Capuchin Publications Office
1 Irish Capuchin Archives Descriptive List Papers of The Capuchin Annual and the Irish Capuchin Publications Office Collection Code: IE/CA/CP A collection of records relating to The Capuchin Annual (1930-77) and The Father Mathew Record later Eirigh (1908-73) published by the Irish Capuchin Publications Office Compiled by Dr. Brian Kirby, MA, PhD. Provincial Archivist July 2019 No portion of this descriptive list may be reproduced without the written consent of the Provincial Archivist, Order of Friars Minor Capuchin, Ireland, Capuchin Friary, Church Street, Dublin 7. 2 Table of Contents Identity Statement.......................................................................................................................................... 5 Context................................................................................................................................................................ 5 History ................................................................................................................................................ 5 Archival History ................................................................................................................................. 8 Content and Structure ................................................................................................................................... 8 Scope and content ............................................................................................................................. 8 System of arrangement .................................................................................................................... -
WB Yeats and the Legacy of Censorship
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library 'I Sing What Was Lost and Dread What Was Won': W. B. Yeats and the Legacy of Censorship Author(s): Lauren Arrington Source: Irish University Review, Vol. 38, No. 2 (Autumn - Winter, 2008), pp. 222-242 Published by: Edinburgh University Press Stable URL: https://www.jstor.org/stable/40344296 Accessed: 07-05-2020 12:33 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Edinburgh University Press is collaborating with JSTOR to digitize, preserve and extend access to Irish University Review This content downloaded from 78.16.160.210 on Thu, 07 May 2020 12:33:58 UTC All use subject to https://about.jstor.org/terms Lauren Arrington 'I Sing What Was Lost and Dread What Was Won': W. B. Yeats and the Legacy of Censorship The historiography of theatre censorship has recently undergone a transformation. Received wisdom formerly held that since there was no legislative censorship of theatres, no censorship occurred, but work by Joan FitzPatrick Dean and Peter Martin has significantly revised the understanding of the way that censorship operates. -
Sean O'casey Modern Judgements
Modern Judgements SEAN O'CASEY MODERN JUDGEMENTS General Editor: P. N. FURBANK Dickens A. E. Dyson Henry James Tony Tanner Milton Alan Rudrum Sean O'Casey Ronald Ayling Pasternak Donald David and Angela Livingstone Walter Scott D. D. Devlin Shelley R. B. Woodings Swift A. NormanJeffares IN PREPARATION Matthew Arnold P. A. W. Collins Ford Madox Ford Richard A. Cassell Freud F. Cioffi Marvell M. Wilding Pope Graham Martin Racine R. C. Knight Sean 0' Casey MODERN JUDGEMENTS edited by RONALD AYLING Macmillan Education Selection and editorial material© Ronald Ayling 1969 Softcover reprint of the hardcover rst edition 1969 978-0-333-03330-2 ISBN 978-o-333-07049-9 ISBN 978-1-349-15301-5 (eBook) DO I 10.1007I 978-1-349-15301-5 First published 1969 MACMILLAN AND CO LTD Little Essex Street London WC2 and also at Bombay Calcutta and Madras Macmillan South Africa (Publishers) Pty LtdJohannesburg The Macmillan Company ofAustralia Pty Ltd Melbourne The Macmillan Company ofCanada Ltd Toronto For Elsie and Charles Osborn to whom I owe so much Contents Acknowledgements 7 General Editor's Preface 9 Introduction II Chronology 42 Drama HERBERT COSTON Prelude to Playwriting 47 P. s. o'HEGARTY A Dramatist ofNew-born Ireland 6o A. E. MALONE O'Casey's Photographic Realism 68 JAMES AGATE Juno and the Paycock and The Plough and the Stars 76 DENIS JOHNSTON Sean O'Casey: An Appreciation 82 w. B. YEATS TheSilverTassie:ALetter 86 CHARLES MORGAN The Silver Tassie 88 GEORGE BERNARD SHAW LettertotheProducerofThe Silver Tassie 91 BONAMY DOBREE SeanO'CaseyandthelrishDrama 92 UNA ELLIS-FERMOR PoetryinRevolt 106 JOHN GASSNER TheProdigalityofSeanO'Casey IIO JACQUES BARZUN O'Casey at Your Bedside 120 A. -
WB Yeats and Modernist Poetry
5 LAURA O’CONNOR W. B. Yeats and Modernist Poetry I Widely acclaimed as a major modernist and a foundational Irish-national poet, W. B. Yeats is essential to any discussion of Irish-modernist poetry. However, among the major Irish modernists – Yeats, James Joyce, and Samuel Beckett – only Joyce’s modernism is uncontroversial, not least for generational reasons. Yeats was born twenty years before and Beckett twenty years after most of the acclaimed high modernists, who, like Joyce, were born in the 1880s. A Victorian and self-professed “last Romantic” as well as a modernist, Yeats upsets the supposition that modernism constitutes a radical departure from what precedes it. Yeats’s publishing career corre- sponds exactly with the c.1890–1939 periodization of modernism: Oscar Wilde favorably reviewed Yeats’s The Wanderings of Oisin in 1889, and – at Yeats’s request – “Under Ben Bulben” was published in Irish newspapers after his death in 1939. Although Beckett is less known for his poetry than for his prose and plays, his poems in English and French extend from the prize-winning “Whoroscope” (1930) to “Comment Dire” (1989), so that their joint poetic production spans a century. Sanctioned by the expansionist trend of new modernist studies, many critics treat “modernism” as cover- ing the long twentieth century, or as radical aesthetic responses to moder- nity from roughly Charles Baudelaire to the present. This essay adopts that longer perspective, but concentrates on the 1930s–1950s period, between the heyday of 1920s high modernism and the second eff orescence of Irish poetry in the late 1960s.