DOCSLIB.ORG

UCC Library and UCC Researchers Have Made This Item Openly Available

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UCC Library and UCC Researchers Have Made This Item Openly Available UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Revisiting Irish poetic modernisms Author(s) Whittredge, Julia Katherine Publication date 2011-03 Original citation Whittredge, Julia Katherine, 2011. Revisting Irish Poetic Modernisms. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b2006564~S0 version Access to the full text of the published version may require a subscription. Rights © 2011, Julia Katherine Whittredge http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information Pages 25-346 have been restricted Item downloaded http://hdl.handle.net/10468/324 from Downloaded on 2021-10-01T07:01:51Z Revisiting Irish Poetic Modernisms Dissertation submitted in candidacy for the degree of doctor of philosophy at the School of English, College of Arts, National University of Ireland, Cork, by Julia Katherine Whittredge, MA Under the Supervision of Professor Patricia Coughlan and Professor Alex Davis Head of Department: Professor James Knowles March 2011 Over years, and from farther and nearer, I had thought, I knew you— in spirit—I am of Ireland. Thomas MacGreevy, “Breton Oracles” 2 For John 3 ACKNOWLEDGEMENTS Thanks to my parents for their encouragement, endless support, love, and for sharing their own love of books, art and music, for being friends as well as amazing parents. And for understanding my love for a tiny, rainy island 3,000 miles away. Thank you to my sister, Em, for her life-long friendship. Her loyalty and extraordinary creative and artistic talent are truly inspiring. John Maher deserves ample credit for supporting me through this process, from start to finish. Thank you for travelling so many weekends, for believing in me and for listening to me talk about “my poets” even though I know you’re a numbers guy. I am endlessly proud to be your partner and I admire and deeply appreciate your integrity, kindness and patience. This is for you (of course!). Thank you to my extended family, Tony Elitcher and Andrea Taras and gratitude in memoriam to Elizabeth Gould, Barbara Whittredge, Max and Helene Elitcher and Ruth Douglass Whittredge for her lessons in life and poetry. Thank you also to Marguerite, Stephen, Barry, Steve and Tim Maher, Letty and Patsy Cronin and Philip Ridley for their warmth, support and reassurance through the years. Particular gratitude is owed to Professor Alex Davis and Professor Patricia Coughlan for their advice, patience (particularly with my frequent misuse of the comma!), encouragement, humour and for our often raucous marathon-meetings, which were highlights of my PhD process. Your extraordinary support and example will always be valued and admired. Thank you to Anne Fitzgerald, Elaine Hurley, Jennifer Crowley and Carol Power for their assistance, kindness, patience and warmth. Much gratitude to Lindsey Cates whose friendship has endured distance and change, to Danny Kennedy, for loyalty, true friendship, advice and for your ebullient personality, to Catherine Smith, for wonderful conversation and laughter over many cups of tea— thank you for honest encouragement and support, to Michael Waldron for friendship from the MA and onwards, your pure joy, infectious laughter and creative genius, to Julie-Marie Murphy, fellow-bookworm, brilliant friend and mother, inspiration and lady who lunches, to Avril Buchanan for your energy, optimism, support and strength and Ruth Canning for listening, sharing, laughing and cheering on. Further thank yous to Deborah Mellamphy, Caitlin Brown, Cate Huguelet, Eleanor Flynn, Paul Komoroski, Regina Heller and Louise Denmead. Additional thanks to Dr. Sam Ladkin, Emma Nic Cárthaigh and Colin Lahive for their advice and expertise. Thank you to Shaun Mullen and Rebecca Johnson Melvin at the University of Delaware Archives who allowed generous access to the Coffey papers, to the librarians at Trinity College Manuscripts room and the National Library of Ireland Special Collections, and especially Mary Lombard in Special Collections and Phil O’Sullivan and Garret Cahill in Interlibrary Loans at University College Cork, for their academic support. 4 TABLE OF CONTENTS Introduction: Considering Irish Poetic Modernisms...................................... 7 I. “Night, and I travelling”: Joseph Campbell and Early Regional Modernism ..........................................................................25 Interchapter: “The dust the scrap-heap and the licking flame”: Ireland, Modernism and War .............................................................79 II. “Those who live between wars may not know”: Thomas MacGreevy’s Poetic Rendering of Ireland .......................................112 III. “Movement by mood conceiving her”: Denis Devlin, Gender and Irish Modernism ...............................................................................166 Interchapter: “H for Hero outdated classic style”: Irish Politics and Masculinity in the Long Poems of Denis Devlin and Brian Coffey .....................................................................................219 IV. “Meanwhile, keep your heart on the thorn”: Brian Coffey, Ireland, Catholicism and the Poet-as-Maker .................................................251 Conclusion ...................................................................................................299 Works Cited ................................................................................................302 5 This thesis is my own work and has not been submitted for another degree, either at University College Cork or elsewhere. 6 Introduction: Considering Irish Poetic Modernisms In the course of his interview of novelist and writer Mervyn Wall for the Lace Curtain in 1971, Michael Smith reflected: I doubt if there was ever a generation of Irish writers so talented, with intelligence and sheer literary know-how, as that which emerged in the Thirties: and yet the ignorance of the reading public about that period is almost complete. Admittedly the work of such poets as Lyle Donaghy and Thomas MacGreevy isn’t easily available, nonetheless there has been incredibly little interest until now, and anyway, republication usually requires such a revival of interest...It has been suggested to me that the work of the period is not Irish enough for the scholars and critics of Anglo-Irish Literature… (Wall 77) Smith’s supposition addresses his contemporaries’ neglect of and disinterest in the Irish “Thirties writers” such as MacGreevy, Wall, Donaghy, Brian Coffey, Denis Devlin and Charles Donnelly. As Smith has observed, these poets were largely overlooked until critical interest was developed by New Writers’ Press in the 1970s, then in the ‘80s and ‘90s by J.C.C. Mays, Stan Smith, Susan Schreibman, Terence Brown, Patricia Coughlan and Alex Davis. This thesis revisits the work of several of these poets with the aim of building upon this earlier research and criticism, helping to gain this material the prominence it deserves. With these aims I explore the poetry of Joseph Campbell (1879-1944), Thomas MacGreevy (1893-1967), Denis Devlin (1908-1959) and Brian Coffey (1905-1995) in individual case-study chapters. I have also written interchapters that contextualise their work and examine connections between them and their 7 contemporaries and near-contemporaries. I begin my study with Joseph Campbell (Seosamh MacCathmaoil) because of his omission from previous discussions of Irish modernism focusing on MacGreevy, Devlin or Coffey. Very little has been written about Campbell until the recent discussions by Alex Davis and Helen Carr. Both critics have recognized him as making valuable contributions to both the Irish Literary Revival and Ezra Pound’s and others’ early incarnation of the Imagist movement in London. Campbell has undoubtedly been a neglected cultural figure. He played a key role in the Ulster Literary Theatre and its accompanying journal Uladh; yet the Ulster literary and cultural revivals have remained marginalized in criticism. With the notable exceptions of FitzSimon and Murphy’s edited collection of essays, The Irish Revival Reappraised (2004), Eugene McNulty’s The Ulster Literary Theatre and the Northern Revival (2008) and Mark Phelan’s forthcoming research. In current Irish studies, Campbell’s valuable contributions to the cultural efflorescence in London and Dublin remain largely neglected. During the first two decades of the twentieth century Campbell’s collections The Rush-light and The Earth of Cualann were displayed at Dublin Arts and Crafts exhibitions as examples of artisan books. The Rush-light was also one of the first publications printed by the quintessential Irish literary revival press, Maunsel & Co. However, now his most widely read texts are his translations of Patrick Pearse’s short stories from Irish to English.1 My analysis shows how Campbell’s stylistic experimentation reveals links between Irish literary and cultural revivalism and pre-war modernism in 1 See Markey. 8 London. His poetry also crucially makes the case that modernism in itself need not be seen as exclusively international but rather, with the incidence of diverse literary communities in pre-war London, as what we might now call transnational. Furthermore, Campbell’s early experimental poetry and simultaneous promotion of nationalist literature is a clear example of Davis and Jenkins’s assertion that modernism and nationalism need not be seen as irreconcilable (“Locating modernisms” 5).
Load more

Recommended publications
  • The Gallery Press
    The Gallery Press The Gallery Press’s contribu - The Gallery Press has an unrivalled track record in publishing the tion to the cultural life of this first and subsequent collections of poems by now established Irish country is ines timable. The title poets such as Eiléan Ní Chuilleanáin, Eamon Grennan, ‘national treasure’ is these days Michael Coady, Dermot Healy, Frank McGuinness and Peter conferred, facetiously for the Sirr . It has fostered whole generations of younger poets it pub - most part, on almost any old lished first including Ciaran Berry, Tom French, Alan Gillis, thing — person or institution — Vona Groarke, Conor O’Callaghan, John McAuliffe, Kerry but The Gallery Press truly is an Hardie, David Wheatley, Michelle O’Sullivan and Andrew enterprise to be treasured by the Jamison . It has also published seminal career-establishing titles nation. by Ciaran Carson, Paula Meehan, Nuala Ní Dhomhnaill, — John Banville Justin Quinn, Seán Lysaght and Gerald Dawe . The Press has published books by Seamus Heaney, Paul Muldoon and John Banville and repatriated authors such as Brian Friel, Derek Peter Fallon’s Gallery Press is the Mahon and Medbh McGuckian who previously turned to living fulcrum around which the London and Oxford as a publishing outlet. swarm ing life of contemporary Irish poetry rotates. Fallon’s is a Gallery publishes the work of Ireland’s leading women poets truly extraordinary Irish life, and and playwrights including Eiléan Ní Chuilleanáin, Nuala Ní it goes on still, unabated. Dhomhnaill, Medbh McGuckian, Michelle O’Sullivan, Sara — Thomas McCarthy, Irish Berkeley Tolchin, Vona Groarke, Ailbhe Ní Ghearbhuigh, Literary Supplement Aifric MacAodha and Marina Carr .
    [Show full text]
  • Konec a Začátek
    OBSAH: Martin Fibiger o V. Páralovi Josef Peřina o multietnicitě severních Čech Alois Burda 20 o Petru Ulrychovi 2000 Rozhovor s J. Janáčkovou Dvakrát LITERÁRNÍ OBTÝDENÍK Dvě století 30. listopadu 20 Kč ruské literatury v podlost.“ Na Teigově příkladu pak Pe- Štefan Švec routka ukazuje osud avantgardních uměl- ců, kteří spojili svůj život s komunistickou o O. Březinovi Konec a začátek stranou, ale od třicátých let naráželi na to, že totalitární myšlení této instituce nebylo lze spojit s proklamovanou svobodou umělce a koncepcí avantgardního umění, Václav Smitka hlásícího se k tradici francouzské moderny a („Karel Teige byl jedním z těch mužů, kte- Nejstarší literární ří nevěděli, co dělají, když se hlásili ke ko- munismu. Pokud ještě vládla demokracie, ustavičně se mu zdálo, že není dost svobo- dokument v jazycev jazyce dy. Ale když nastalo, co přivolával, jeho a literatuře poslední kalný pohled viděl policisty, kteří o sebevraždě ho přišli zatknout“), ale zdůrazňuje i jeho odpovědnost za to, že toto totalitární myš- Ústí nekončí, rové nad ruskou literaturou „nové vlny“, je lení, vedoucí k potlačování svobody, po- však dobře, že na sympoziu zazněly rov- máhali zakrýt svou kultivovaností, svým Z archivu PNP: něž příspěvky absolventů PF UJEP: por- charizmatem: „Málokdo získal pro komu- Ústí nezačíná a literatuře trét Jiřího Muchy v pojetí Jiřího Jonáka nismus tolik přívrženců mezi vzdělanci jako Publikační S největší pravděpodobností se dá kon- a citlivá úvaha Hany Burešové o Janu Teige. (...) On více než kdo jiný svou oso- statovat, že kdyby nedošlo k odchodu lite- Hančovi. Tři pohostinné dny v Ústí nad bou pomáhal zastřít, že komunismus přiná- rární historičky a kritičky Dobravy Molda- Labem, spojené i s vlastivědnou exkurzí ší převahu hrubosti a nevzdělanosti (...).“ možnosti nové z Prahy do Ústí nad Labem, jen stěží do oseckého kláštera a do duchcovského V závěru nekrologu pak vzdává Teigemu by se tamější Pedagogická fakulta UJEP zámku, se staly argumentem o prospěšnos- i poctu: „(...) tento tvrdohlavý komunista (kde tč.
    [Show full text]
  • The 'Nothing-Could-Be-Simpler Line': Form in Contemporary Irish Poetry
    The 'nothing-could-be-simpler line': Form in Contemporary Irish Poetry Brearton, F. (2012). The 'nothing-could-be-simpler line': Form in Contemporary Irish Poetry. In F. Brearton, & A. Gillis (Eds.), The Oxford Handbook of Modern Irish Poetry (pp. 629-647). Oxford University Press. Published in: The Oxford Handbook of Modern Irish Poetry Document Version: Early version, also known as pre-print Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:26. Sep. 2021 OUP UNCORRECTED PROOF – FIRST PROOF, 04/19/2012, SPi c h a p t e r 3 8 ‘the nothing-could- be-simpler line’: form in contemporary irish poetry f r a n b r e a r t o n I I n ‘ Th e Irish Effl orescence’, Justin Quinn argues in relation to a new generation of poets from Ireland (David Wheatley, Conor O’Callaghan, Vona Groarke, Sinéad Morrissey, and Caitríona O’Reilly among them) that while: Northern Irish poetry, in both the fi rst and second waves, is preoccupied with the binary opposition of Ireland and England .
    [Show full text]
  • '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).
    [Show full text]
  • Modern Irish Poetry, 1800–2000 Over the Last Two Centuries, Ireland Has Produced Some of the World’S Most Outstanding and Best-Loved Poets, from Thomas Moore to W
    Cambridge University Press 978-0-521-84673-8 - The Cambridge Introduction to Modern Irish Poetry, 1800-2000 Justin Quinn Frontmatter More information The Cambridge Introduction to Modern Irish Poetry, 1800–2000 Over the last two centuries, Ireland has produced some of the world’s most outstanding and best-loved poets, from Thomas Moore to W. B. Yeats to Seamus Heaney. This introduction not only provides an essential overview of the history and development of poetry in Ireland, but also offers new approaches to aspects of the field. Justin Quinn argues that the language issues of Irish poetry have been misconceived and re-examines the divide between Gaelic and Anglophone poetry. Quinn suggests an alternative to both nationalist and revisionist interpretations and fundamentally challenges existing ideas of Irish poetry. This lucid book offers a rich contextual background against which to read the individual works, and pays close attention to the major poems and poets. Readers and students of Irish poetry will learn much from Quinn’s sharp and critically acute account. Justin Quinn is Associate Professor of English and American Studies at the Charles University, Prague. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84673-8 - The Cambridge Introduction to Modern Irish Poetry, 1800-2000 Justin Quinn Frontmatter More information Cambridge Introductions to Literature This series is designed to introduce students to key topics and authors. Accessible and lively, these introductions will also appeal to readers who want to broaden their understanding of the books and authors they enjoy. r Ideal for students, teachers, and lecturers r Concise, yet packed with essential information r Key suggestions for further reading Titles in this series: Christopher Balme The Cambridge Introduction to Theatre Studies Eric Bulson The Cambridge Introduction to James Joyce Warren Chernaik The Cambridge Introduction to Shakespeare’s History Plays John Xiros Cooper The Cambridge Introduction to T.
    [Show full text]
  • Brian Ó Nualláin/O'nolan
    Brian Ó Nualláin/O’Nolan Scholarly Background & Foreground* Breandán Ó Conaire St Patrick’s College, Dublin City University ‘Ní fhéadaim cuimhneamh ar aon scríbhneoir mór anois a bhféadfá fear léannta a thabhairt air’ (I cannot think of any major writer at present who could be called a man of learning). – Seán Ó Ríordáin 1 ‘Brian Ó Nualláin, afterwards alias Myles na gCopaleen, alias Flann O’Brien, and, as it turned out, the most gifted bilingual genius of half a century’ – Cearbhall Ó Dálaigh, Irish President (1974–76)2 Family Background From his early years, Brian O’Nolan lived in a family environment in which education, literature, the Irish language, culture, and learning held significant importance. This milieu was reflected in the skills, talents, and accomplishments of members of the extended family. His paternal grandfather Daniel Nolan from Munster was a national teacher and taught music at the Model School in Omagh, Co. Tyrone. He was an excellent singer and an accomplished violinist. He had a special fondness for theatre and opera, performances of which he frequently attended with his young wife. A special concert was organised in his honour in Omagh prior to his transfer to Belfast in the early 1880s. In July 1867 Daniel married Jane Mellon3 a former pupil at the Omagh school and fourth daughter of James Mellon, a strong farmer from Eskeradooey in Co. Tyrone. The marriage took place at Knockmoyle Catholic Church in Cappagh parish where Jane was born. The parish priest, Rev. Charles McCauley, was the celebrant. In the national census entries for 1901 and for 1911, when Jane, also known as ‘Sinéad,’ lived with the O’Nolan family in Strabane, her competence in both Irish and English was recorded.
    [Show full text]
  • IRISH MODERNISM and ITS LEGACIES
    Chapter 9 IRISH MODERNISM and ITS LEGACIES Lauren Arrington he Irish Revival laid the foundations for the emergence of a simul- taneously local and cosmopolitan literature that emerged during the for- Tmation of the modern Irish nation- state and in its aftermath. Partitioned, nominally free but not completely independent, the question of what Ireland was, and who the Irish were, was as politically charged as ever. Writers developed new, often abstract, forms of expression as a means of responding to political and cul- tural instability. The most recent scholarship on Irish Modernism has addressed the collaboration of writers and other artists and emphasizes the interrelationship of literature with the visual and plastic arts.1 This chapter focuses exclusively on literary Modernism, which includes a range of techniques and movements, from impressionism to expressionism, symbolism to surrealism. In their classic study, Modernism: a Guide to European Literature, 1890–1930 , Bradbury and MacFarlane argue that “the Modernist writer is not simply the artist set free, but the artist under specific, apparently historical strain.”2 Locating that particular historical strain is essential to understanding the way that Irish Modernism operates. In the Oxford Handbook of Global Modernisms (2010), Ireland is never considered in its own right but is mentioned alongside “postcolonial nations,” including Jamaica, “Trinidad, Africa [sic], and India.”3 Such arguments ignore the complex histori- cal relationship between Britain and Ireland, which is most accurately considered in imperial and not in colonial terms. A more nuanced understanding of the rela- tionship between Ireland and the British Empire allows stylistic affinities between Irish writers with very different politics to surface; similarities between Irish and British writers also come into view.
    [Show full text]
  • Poetic Genre Blackwell Companions to Literature and Culture
    A Companion to Poetic Genre Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post - canonical texts, orientating the beginning student in new fi elds of study and providing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the fi eld. Published Recently 58. A Companion to the Arthurian Literature Edited by Helen Fulton 59. A Companion to the Modern American Novel 1900 – 1950 Edited by John T. Matthews 60. A Companion to the Global Renaissance Edited by Jyotsna G. Singh 61. A Companion to Thomas Hardy Edited by Keith Wilson 62. A Companion to T. S. Eliot Edited by David E. Chinitz 63. A Companion to Samuel Beckett Edited by S. E. Gontarski 64. A Companion to Twentieth - Century United States Fiction Edited by David Seed 65. A Companion to Tudor Literature Edited by Kent Cartwright 66. A Companion to Crime Fiction Edited by Charles Rzepka and Lee Horsley 67. A Companion to Medieval Poetry Edited by Corinne Saunders 68. A New Companion to English Renaissance Literature and Culture Edited by Michael Hattaway 69. A Companion to the American Short Story Edited by Alfred Bendixen and James Nagel 70. A Companion to American Literature and Culture Edited by Paul Lauter 71. A Companion to African American Literature Edited by Gene Jarrett 72. A Companion to Irish Literature Edited by Julia M.
    [Show full text]
  • Jefferson Holdridge Cv
    JEFFERSON HOLDRIDGE English Dept. Wake Forest University P.O. Box 7387 Reynolda Station Winston-Salem, NC, 27109-7387 Ph: 336-758-3365 email: [email protected] EDUCATION University College Dublin, Dublin, Ireland (1991-97). Ph.D. in Anglo-Irish Literature (supervisor, Prof. Declan Kiberd; external examiner, Prof. Terence Brown). Thesis on Yeats, the beautiful and the sublime, entitled Those Mingled Seas. University College Dublin, Dublin, Ireland (1986-1988). M.A. in Anglo-Irish Literature. 1st class honors (supervisor, Prof. Augustine Martin; external examiner, Prof. A. N. Jeffares). Thesis on Irish and English literature of the 1890s entitled Prayers Out of the Canon. San Francisco State University, San Francisco, CA (1979-1983). B.A. in English. Also concentrated on Greek and Roman mythology and literature. School of Irish Studies, Dublin, Ireland (1981-1982). Undergraduate study of the history, language, folklore and literature of Ireland. TEACHING AND RESEARCH EXPERIENCE Wake Forest University, Winston-Salem, North Carolina (2002-present). Associate Professor of English and Director of Wake Forest University Press. Duties include teaching undergraduate and graduate courses on Irish literature from the 18th century to the contemporary periods, teaching intensive writing courses, introduction to literature surveys, and first-year seminars, as well as supervising WFU Press. General duties as Director of Wake Forest University Press: editing, acquisitions and management. University College Dublin, Dublin, Ireland (1997-2000). Faculty of Arts Fellow in Department of Modern English. Lectured on Modernism/Postmodernism and on 18th-century to contemporary Anglo-Irish literature, ran seminars for postgraduates, taught 3rd-year tutorials, and supervised M.A. theses in Anglo-Irish literature.
    [Show full text]
  • 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.
    [Show full text]
  • Essays on the Poetry of Trevor Joyce
    Essays on the Poetry of Trevor Joyce Essays on the Poetry of Trevor Joyce edited by Niamh O’Mahony Shearsman Books First published in the United Kingdom in 2015 by Shearsman Books 50 Westons Hill Drive Emersons Green BRISTOL BS16 7DF Shearsman Books Ltd Registered Office 30–31 St. James Place, Mangotsfield, Bristol BS16 9JB (this address not for correspondence) ISBN 978-1-84861-339-3 Copyright © the individual authors, 2015. The right of the individual authors to be identified as the authors of this work has been asserted by them in accordance with the Copyrights, Designs and Patents Act of 1988. All rights reserved. Acknowledgements An earlier version of the essay by John Goodby was published in Études Irlandaises 35.2 (2010). An earlier version of Niamh O’Mahony’s “Bibliography” on Trevor Joyce was published in Jacket2 on February 3, 2014. Many thanks to the editors of both journals for permitting the reproduction of these texts here. All quotations from the poetry of Trevor Joyce are reproduced by kind permission of Trevor Joyce and his publishers. The editor would like to thank the Irish Research Council for helping to fund this project, as well as the authors of two doctoral dissertations which are quoted in the collection; thanks to Marcella Edward, author of “Poetry of the Politics of Publishing in Ireland: Authority in the Writings of Trevor Joyce, 1967-1995,” and Julia Panko, author of “Dead-tree Data: Print Novels, Information Storage, and Media Transition”. Thanks are also due to Fergal Gaynor and Ed Krčma for permission to quote from Joyce’s 2013 essay, “The Phantom Quarry,” which first appeared in Enclave Review 8, and to Mary Burger for permission to quote from her 2000 essay, “Why I Write Narrative” which appeared in Narrativity 1 in 2000 (The Poetry Centre, San Francisco State University).
    [Show full text]
  • Werner Huber, Sandra Mayer, Julia Novak (Eds.)
    Werner Huber, Sandra Mayer, Julia Novak (eds.) IRELAND IN/AND EUROPE: CROSS-CURRENTS AND EXCHANGES Irish Studies in Europe Edited by Werner Huber, Catherine Maignant, Hedwig Schwall Volume 4 Werner Huber, Sandra Mayer, Julia Novak (eds.) IRELAND IN/AND EUROPE: CROSS-CURRENTS AND EXCHANGES Wissenschaftlicher Verlag Trier Ireland in/and Europe: Cross-Currents and Exchanges / Werner Huber, Sandra Mayer, Julia Novak (eds.). - Trier: WVT Wissenschaftlicher Verlag Trier, 2012 (Irish Studies in Europe; vol. 4) ISBN 978-3-86821-421-5 Umschlaggestaltung: Brigitta Disseldorf © WVT Wissenschaftlicher Verlag Trier, 2012 ISBN 978-3-86821-421-5 Alle Rechte vorbehalten Nachdruck oder Vervielfältigung nur mit ausdrücklicher Genehmigung des Verlags WVT Wissenschaftlicher Verlag Trier Bergstraße 27, 54295 Trier Postfach 4005, 54230 Trier Tel.: (0651) 41503, Fax: 41504 Internet: http://www.wvttrier.de E-Mail: [email protected] CONTENTS ACKNOWLEDGEMENTS 9 Werner Huber (Vienna), Sandra Mayer (Vienna), Julia Novak (Vienna) INTRODUCTION 11 Seamus Heaney (Dublin) MOSSBAWN VIA MANTUA: IRELAND IN/AND EUROPE: CROSS-CURRENTS AND EXCHANGES 19 Barbara Freitag (Dublin) HY BRASIL: CARTOGRAPHIC ERROR, CELTIC ELYSIUM, OR THE NEW JERUSALEM? EARLY LITERARY REPRESENTATIONS OF THE IMAGINARY BRASIL ISLAND 29 Eglantina Remport (Budapest) “MY CHANGE OF CHARACTER”: ROUSSEAUISME AND MARIA EDGEWORTH’S ENNUI 41 Gabriella Vö (Pécs) THE RISE OF THE HUNGARIAN DANDY: OSCAR WILDE’S CONTRIBUTION TO THE EXPERIENCE OF MODERNITY IN EARLY-TWENTIETH-CENTURY HUNGARY 51 Sandra Andrea O’Connell (Dublin) PUBLISHED IN PARIS: SAMUEL BECKETT, GEORGE REAVEY, AND THE EUROPA PRESS 65 Ute Anna Mittermaier (Vienna) FRANCO’S SPAIN: A DUBIOUS REFUGE FOR THE POETS OF THE ‘IRISH BEAT GENERATION’ IN THE 1960S 79 Sarah Heinz (Mannheim) FROM UTOPIA TO HETEROTOPIA: IRISH WRITERS NARRATING THE SPANISH CIVIL WAR 93 Michael G.
    [Show full text]