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Irish Authors Collections Guide 18 August 2020 English Literature Is One of the Two Greatest Strengths of the Rosenbach's Libr
Irish Authors Collections Guide 18 August 2020 English Literature is one of the two greatest strengths of the Rosenbach’s library collections (the other being American history). What we usually call English Literature is more precisely the English-language literature of Great Britain, Ireland, and surrounding islands. Some of the greatest writers in the English language have been Irish. Dr. Rosenbach certainly recognized this, and although we don't know that he had a special interest in Irish writers as such, it means that he did collect a number of them. His interest was chiefly in pre-20th-century literature, so apart from James Joyce there are few recent writers represented. Although they are not segregated by country of origin on the Rosenbach shelves, this guide highlights Irish authors as a particular sub-set of English-language authors. The guide is arranged in alphabetical order by author’s last name, and in the instances of James Joyce, Bram Stoker, and Oscar Wilde, the list is further broken down by collections category. Throughout this guide, all objects owned by Dr. Rosenbach are marked with an asterisk (*). Those marked with double (**) are part of Philip Rosenbach’s gift to the Foundation on January 12, 1953, consisting partly of objects from Dr. Rosenbach’s estate. This guide will be updated periodically to reflect new acquisitions and further cataloging of the Rosenbach collections. Objects acquired since 2014 are marked with a “+”. For further information on any item listed on this collections guide, please contact us at https://rosenbach.org/research/make-an-inquiry/. For information about on-site research, or to request an appointment to see specific materials, visit http://rosenbach.org/research/make-an- appointment/. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
James Joyce and His Influences: William Faulkner and Anthony Burgess
James Joyce and His Influences: William Faulkner and Anthony Burgess An abstract of a Dissertation by Maxine i!3urke July, Ll.981 Drake University Advisor: Dr. Grace Eckley The problem. James Joyce's Ulysses provides a basis for examining and analyzing the influence of Joyce on selected works of William Faulkner and Anthony Bur gess especially in regard to the major ideas and style, and pattern and motif. The works to be used, in addi tion to Ulysses, include Faulkner's "The Bear" in Go Down, Moses and Mosquitoes and Burgess' Nothing Like the Sun. For the purpose, then, of determining to what de gree Joyce has influenced other writers, the ideas and techniques that explain his influence such as his lingu istic innovations, his use of mythology, and his stream of-consciousness technique are discussed. Procedure. Research includes a careful study of each of the works to be used and an examination of var ious critics and their works for contributions to this influence study. The plan of analysis and presentation includes, then, a prefatory section of the dissertation which provides a general statement stating the thesis of this dissertation, some background material on Joyce and his Ulysses, and a summary of the material discussed in each chapter. Next are three chapters which explain Joyce's influence: an introduction to Joyce and Ulysses; Joyce and Faulkner; and Joyce and Burgess. Thus Chapter One, for the purpose of showing how Joyce influences other writers, discusses the ideas and techniques that explain his influences--such things as his linguistic innovations, his use of mythology, and his stream-of consciousness method. -
W. B. Yeat's Presence in James Joyce's a Portrait of The
udc 821.111-31.09 Joyce J. doi 10.18485/bells.2015.7.1 Michael McAteer Pázmány Péter Catholic University, Budapest, Hungary W. B. YEAT’S PRESENCE IN JAMES JOYCE’S A PORTRAIT OF THE ARTIST AS A YOUNG MAN Abstract In the context of scholarly re-evaluations of James Joyce’s relation to the literary revival in Ireland at the start of the twentieth century, this essay examines the significance of W.B. Yeats to A Portrait of the Artist as a Young Man. It traces some of the debates around Celtic and Irish identity within the literary revival as a context for understanding the pre-occupations evident in Joyce’s novel, noting the significance of Yeats’s mysticism to the protagonist of Stephen Hero, and its persistence in A Portrait of the Artist as a Young Man later. The essay considers the theme of flight in relation to the poetry volume that is addressed directly in the novel, Yeats’s 1899 collection, The Wind Among the Reeds. In the process, the influence of Yeats’s thought and style is observed both in Stephen Dedalus’s forms of expression and in the means through which Joyce conveys them. Particular attention is drawn to the notion of enchantment in the novel, and its relation to the literature of the Irish Revival. The later part of the essay turns to the 1899 performance of Yeats’s play, The Countess Cathleen, at the Antient Concert Rooms in Dublin, and Joyce’s memory of the performance as represented through Stephen towards the end of the novel. -
1. Introduction to Ireland (3 Credits) Instructor: Professor Kevin Whelan
1. Introduction to Ireland (3 credits) Instructor: Professor Kevin Whelan HIST 34430; ANTH 34320; IRST 24208; SOC 34123 Satisfies the University History Requirement Course description The History of Ireland 1798-2010 Evolution of Irish culture from the eighteenth century to the contemporary period; It aims to give students a foundational understanding of the cultural inheritance of the island. While organized in broadly chronological terms, it will also examine crucial thematic concerns—landscape, history, languages, economy, society, politics and government, literature, music, sport. This course explores the broad political, cultural, economic and social history of the island of Ireland from the eighteenth to the twentieth-first century. It also explores the nature of contemporary Irish culture. Themes covered include the 1798 Rebellion, Catholic Emancipation, the Great Irish Famine, emigration, the 1916 Rising and the Northern Ireland Troubles. The lectures will be supported by field trips, museum and theatre visits, and interviews with distinguished modern Irish citizens. Lectures (TBC) 1. Three revolutions (1688, 1776, 1789) and a failure 2. The 1798 Rebellion Act of Union 3. Daniel O‟Connell 4. The Great Famine 5. Post-Famine Ireland 6. The Irish Diaspora in America 7. 1916, the Civil War and Partition: North and South 8. The reciprocity of tears: The Northern Troubles 9. The Celtic Tiger: The contemporary economy 10. Politics and political parties in Ireland 11. Society and culture in contemporary Ireland 12. Understanding James Joyce 13. Sport in modern Ireland 14. Northern Ireland: The peace process 15. The Irish language now 16. History and memory in Ireland 17. From Uilleann pipes to U2: Understanding Irish music 18. -
The Yiddishists
THE YIDDISHISTS OUR SERIES DELVES INTO THE TREASURES OF THE WORLD’S BIGGEST YIDDISH ARCHIVE AT YIVO INSTITUTE FOR JEWISH RESEARCH From top: Illustration from Kleyne Mentshelekh (Tiny Little People), a Yiddish adaptation of Gulliver’s Travels published in Poland, 1925. The caption reads, “With great effort I liberated my left hand.”; cover page for Kleyne Mentshelekh Manger was not the only 20th-century Yiddish-speaking Jew to take an interest in Swift’s 18th-century works. Between 1907 and 1939, there were at least five Yiddish translations and adaptations of Gulliver’s Travels published in the United States, Poland and Russia. One such edition, published in 1925 by Farlag Yudish, a publishing house that specialised in Yiddish translations of literary classics, appeared in their Kinder-bibliotek (Children’s Library) series alongside other beloved books such as Harriet Beecher GULLIVER IN YIDDISHLAND Stowe’s Uncle Tom’s Cabin, Edith Nesbit’s The Enchanted Castle and fairytales by the Jonathan Swift, Oscar Wilde and Samuel Beckett were just some brothers Grimm. Literature and journals THE YIDDISHISTS of the Anglo-Irish and Irish writers whose work was translated and for children and youth, both those written specifically in Yiddish and those translated adapted by 20th-century Yiddishists, says Stefanie Halpern into the language, were a lucrative branch of Yiddish publishing in the interwar n his 1942 poem ‘A Song of the Dean of Stella’s golden brooch, a reference to ‘A period. Such material became especially Jonathan Swift and the Yiddish Journal to Stella’, Swift’s 1766 work based important with the establishment of a IRhyme-maker Itzik Manger’, the poet on letters he sent to his real-life lover Yiddish secular school network across and playwright Itzik Manger imagines a Esther Johnson. -
“Goldsmith, the Gate, and the 'Hibernicising' of Anglo-Irish Plays”
This PRE-PUBLICATION version was delivered at Mary Immaculate College, UL on 8 November 2017, as part of the “Institute for Irish Studies Lunchtime Lecture Series”. Earlier versions were delivered on 8 June 2013 at NUI Maynooth, as part of the ECIS Annual Conference, and at NUI Galway on 17 July 2013, as part of the “Performance, Nation and Globalization Summer School”. For the “official”, published version of this essay, please see The Gate Theatre, Dublin: Inspiration and Craft. Eds. David Clare, Des Lally, and Patrick Lonergan. Dublin: Carysfort Press, 2018. 239-259. “Goldsmith, the Gate, and the ‘Hibernicising’ of Anglo-Irish Plays” Dr. David Clare (Mary Immaculate College, UL) In recent decades, Irish theatre-makers have frequently imposed Irish elements onto the “English” plays written by London-based, Irish Anglican playwrights. As discerning critics have long recognised, George Farquhar, Oliver Goldsmith, Richard Brinsley Sheridan, Oscar Wilde, and Bernard Shaw frequently signalled their Irish origins in their plays. Often cited are their satirical portraits of the English, their subversive use of Stage Irishmen, and their inclusion of Irish topical references. However, since independence (and even more markedly since the early 1980s), Irish theatres and theatre companies have not been satisfied with such coded expressions of Irishness. Bowing to popular, narrow conceptions of Irish identity – and perhaps demonstrating their discomfort with the Irish/British cultural hybridity of these writers1 – Irish theatre-makers have frequently had certain English, Scottish, or continental European characters in these works played as Irish, or have re-set the plays in Ireland. When “Hibernicising” these scripts, Irish theatre-makers have, on occasion, cleverly highlighted Irish aspects of these plays which were in danger of going unnoticed, or have added an extra Irish dimension which was appealing to Irish audiences and which did not distort the plays as a whole. -
Irish Quotes
Irish Quotes No woman should ever be quite accurate about her age. It looks so calculating. Oscar Wilde The old believe everything, the middle-aged suspect everything, the young know everything. Oscar Wilde Peter O’ Toole was once asked what was his favorite Irish food: “My number one choice is Guinness. My number two choice would be Guinness. My number three choice would have to be Guinness.” Peter O'Toole. "A Kerry footballer with an inferiority complex is one who thinks he's just as good as everybody else." - Author John B. Keane The rain drove us into the church - our refuge, our strength, our only dry place...Limerick gained a reputation for piety, but we knew it was only the rain. Frank McCourt "Making peace, I have found, is much harder than making war." - Gerry Adams "The immigrant's heart marches to the beat of two quite different drums, one from the old homeland and the other from the new. The immigrant has to bridge these two worlds, living comfortably in the new and bringing the best of his or her ancient identity and heritage to bear on life in an adopted homeland." - Irish President McAleese I think there's a bit of the devil in everybody. There's a bit of a priest in everybody, too, but I enjoyed playing the devil more. He was more fun. Gabriel Byrne "I spent 90% of my money on women and drink. The rest I wasted." - Soccer star George Best "It is absurd to divide people into good and bad. People are either charming or tedious." Oscar Wilde "We have always found the Irish a bit odd. -
The New York James Joyce Society
The New York James Joyce Society ZACK BOWEN As a married graduate teaching assistant with a child and working on a masters degree in English, my principal income in 1958 was only about twenty percent of what it had been in my former calling, the used car business. What psychic income there was in the auto- mobile business died with my father the year after I got my B.A., and when I returned to graduate school, I needed even more urgently to continue working part time as a singer and producer of radio com- mercials until I could land a full-time teaching job. At Temple Uni- versity I took Joyce with Mabel Worthington, who at the time was working on an index for her co-authored book with Matthew Hodg- art, Song in the Works of James Joyce. Since I had access to a studio in the Temple University radio station on Tuesday nights (making singing commercials for the Clements agency), and to professional Philadel- phia actors who could do Irish accents, I offered to make a demon- stration tape of a chapter of Ulysses with the actual music referred to in the text as background for Bloom’s thoughts. Mabel agreed to accept it in lieu of a term paper and I was on the way to a career glossing Joyce’s musical references. When I completed the M.A. at Temple I got a job at the State Uni- versity of New York, College of Fredonia, and a scholarship to com- plete my Ph.D. at Buffalo, a major Joyce manuscript repository, where I was privileged to work with Tom Connolly. -
Cultural Convergence the Dublin Gate Theatre, 1928–1960
Cultural Convergence The Dublin Gate Theatre, 1928–1960 Edited by Ondřej Pilný · Ruud van den Beuken · Ian R. Walsh Cultural Convergence “This well-organised volume makes a notable contribution to our understanding of Irish theatre studies and Irish modernist studies more broadly. The essays are written by a diverse range of leading scholars who outline the outstanding cultural importance of the Dublin Gate Theatre, both in terms of its national significance and in terms of its function as a hub of international engagement.” —Professor James Moran, University of Nottingham, UK “The consistently outstanding contributions to this illuminating and cohesive collection demonstrate that, for Gate Theatre founders Hilton Edwards and Micheál mac Liammóir and their collaborators, the limits of the imagination lay well beyond Ireland’s borders. Individually and collectively, the contribu- tors to this volume unravel the intricate connections, both personal and artistic, linking the theatre’s directors, designers, and practitioners to Britain, Europe, and beyond; they examine the development and staging of domestic plays written in either English or Irish; and they trace across national boundaries the complex textual and production history of foreign dramas performed in translation. In addition to examining a broad spectrum of intercultural and transnational influ- ences and perspectives, these frequently groundbreaking essays also reveal the extent to which the early Gate Theatre was a cosmopolitan, progressive, and inclusive space that recognized and valued women’s voices and queer forms of expression.” —Professor José Lanters, University of Wisconsin—Milwaukee, USA “Cultural Convergence is a book for which we have been waiting, not just in Irish theatre history, but in Irish cultural studies more widely. -
James Joyce, Samuel Beckett, Arno Schmidt Friedhelm Rathjen In
THE MAGIC TRIANGLE: James Joyce, Samuel Beckett, Arno Schmidt Friedhelm Rathjen Beckett's work looks entirely different from Joyce's, but this very dissimilarity is the result of Beckett's connection to Joyce. The dynamics at play here can be understood by applying Giordano Bruno's principle of the identity of opposites and further illustrated by comparing Beckett's reactions to Joyce to that of the German novelist Amo Schmidt. The main question is: why does Beckett, under standing and admiring Joyce's aims and instruments so well, tum away from Joyce's work, while Schmidt, misreading fundamental principles of Joyce's work and disliking some of its vital features, turns more and more towards Joyce? There are similarities between Beckett and Schmidt, too, but these have scarcely anything to do with the Joycean impact. In his famous German letter of 193 7, Beckett sets his own concept of a "literature of the unword" against Joyce's "apotheosis of the word". Beckett declares that Joyce's position has nothing to do with his own, "[ u ]nless perhaps Ascension to Heaven and Descent to Hell are somehow one and the same" (1983b, 173, 172). Beckett discussed just such an identity of opposites in the earlier "Dante ... Bruno.Vico . .Joyce", in which he sums up Bruno's principle as follows: "The maxima and minima of particular contraries are one and indifferent. [ ... ] The maximum of cor ruption and the minimum of generation are identical: in principle, cor ruption is generation" (1983b, 21). At least metaphorically, Bruno's prin ciple can be said to fit the Joyce-Beckett relationship: The maximum of Beckett and the minimum of Joyce are identical: in principle, Beckett is Joyce. -
The Influence of Oscar Wilde on W.B. Yeats "An Echo of Someone Else’S Music"
palgrave.com Literature : British and Irish Literature Doody, Noreen The Influence of Oscar Wilde on W.B. Yeats "An Echo of Someone Else’s Music" Examines the relationship between Wilde and Yeats for the first time across a book-length study Argues that the image and concepts of Oscar Wilde lie at the very core of Yeats’s creative work Pays close attention to unpublished manuscript versions of Yeats’s plays This book asserts that Oscar Wilde (1854 – 1900) was a major precursor of W.B. Yeats (1865 – 1939), and shows how Wilde’s image and intellect set in train a powerful influence within Palgrave Macmillan Yeats’s creative imagination that remained active throughout the poet’s life. The intellectual 1st ed. 2018, VIII, 340 p. concepts, metaphysical speculations and artistic symbols and images which Yeats appropriated 1st from Wilde changed the poet’s perspective and informed the imaginative system of beliefs that edition Yeats formulated as the basis of his dramatic and poetic work. Section One, 'Influence and Identity' (1888 – 1895), explores the personal relationship of these two writers, their nationality and historical context as factors in influence. Section Two, 'Mask and Image' (1888 Printed book – 1917), traces the creative process leading to Yeats’s construction of the antithetical mask, Hardcover and his ideas on image, in relation to the role of Wilde as his precursor. Finally, 'Salomé: Symbolism, Dance and Theories of Being' (1891 – 1939) concentrates on the immense Printed book influence that Wilde’s symbolist play, Salomé, wrought on Yeats’s imaginative work and creative Hardcover sensibility.