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Literary Miscellany
Literary Miscellany Including Recent Acquisitions, Manuscripts & Letters, Presentation & Association Copies, Art & Illustrated Works, Film-Related Material, Etcetera. Catalogue 349 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. -
The Fabians Could Only Have Happened in Britain....In a Thoroughly Admirable Study the Mackenzies Have Captured the Vitality of the Early Years
THE famous circle of enthusiasts, reformers, brilliant eccentrics-Sha\y the Webbs, Wells-whose ideas and unconventional attitudes fashioned our modern world by Norman C&Jeanne MacKenzie AUTHORS OF H.G. Wells: A Biography PRAISE FOR Not quite a political party, not quite a pressure group, not quite a debating society, the Fabians could only have happened in Britain....In a thoroughly admirable study the MacKenzies have captured the vitality of the early years. Since much of this is anecdotal, it is immensely fun to read. Most im¬ portant, they have pinpointed (with¬ out belaboring) all the internal para¬ doxes of F abianism. —The Kirkus Reviews H. G. Wells, George Bernard Shaw, Sidney and Beatrice Webb, Bertrand Russell, part of the outstandingly talented and paradoxical group that led the way to socialist Britain, are brought into brilliant human focus in this marvelously detailed and anecdote-filled por¬ trait of the original members of the Fabian Society—with a fresh assessment of their contributions to social thought. “The first Fabians,” said Shaw, were “missionaries among the savages,” who laid the ground¬ work for the Labour Party, and whose mis¬ sionary zeal and passionate enthusiasms carried them from obscurity to fame. This voluble and volatile band of middle-class in¬ tellectuals grew up in a period of liberating ideas and changing morals, influenced by (continued on back flap) c A / c~ 335*1 MacKenzie* Norman Ian* Ml99f The Fabians / Norman and Jeanne MacKenzie* - New York : Simon and Schuster, cl977* — 446 p** [8] leaves of plates : ill* - ; 24 cm* Includes bibliographical references and index* ISBN 0—671—22347—X : $11.95 1* Fabian Society, London* I* Title. -
Irish Studies Round the World – 2019
Estudios Irlandeses, Issue 15, March 2020-Feb. 2021, pp. 242-276 __________________________________________________________________________________________ AEDEI IRISH STUDIES ROUND THE WORLD – 2019 Christina Hunt Mahony (ed.) Copyright (c) 2020 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Introduction Christina Hunt Mahony ……….………………………………………………………..….. 243 A History of Irish Modernism. Gregory Castle and Patrick Bixby, eds. Feargal Whelan ……..……………..………………….………………………………….…245 Constellations: Reflections from Life. Sinéad Gleeson Melania Terrazas …...………………………………….………………………….………...248 Dublin Palms. Hugo Hamilton Denis Sampson…………..………………………….…..…………………………………...250 Making Integral: Critical Essays on Richard Murphy. Benjamin Keatinge, ed. Elsa Meihuizen……..………………………………..…………………………………........252 The Collected Letters of W. B. Yeats, Volume V: 1908-10. John Kelly and Ronald Schuchard, eds. Nicholas Grene………………………………….…………………………………………...255 Over the Backyard Wall: A Memory Book. Thomas Kilroy George O’Brien ………...…………………………..……………………………………….258 A New History of the Irish in Australia. Elizabeth Malcolm and Dianne Hall Pauric Travers ……………………..……………..…………………………………………264 Notes to Self. Emilie Pine Éilís ni Dhuibne………….………………………..………………………………………...266 ISSN 1699-311X 243 Oscar Wilde and Contemporary Irish Drama: Learning to be Oscar’s Contemporary. Graham Price Pierpaolo Martino………...………………………..………………………………………..269 -
YEATS ANNUAL NO. 5 in the Same Series
YEATS ANNUAL NO. 5 In the same series YEATS ANNUAL Nos I, 2 Edited by Richard J. Finneran YEATS ANNUAL Nos, 3, 4 Edited by Warwick Gould THOMAS HARDY ANNUALS Nos I, 2, 3, 4, 5 Edited by Norman Page O'CASEY ANNUALS Nos I, 2, 3, 4 Edited by Robert G. Lowery Further titles in preparation Series Standlna Order If you would like to receive future titles in this series as they are published, you can make use of our standing order facility. To place a standing order please contact your bookseller or, in case of difficulty, write to us at the address below with your name and address and the name of the series. Please state with which title you wish to begin your standing order. (If you live outside the UK we may not have the rights for your area, in which case we will forward your order to the publisher concerned.) Standing Order Service, Macmillan Distribution Ltd, Houndmills, Basingstoke, Hampshire, RG212XS, England. W. B. Yeats in his study in Woburn Buildings, reproduced from The Tatter, 15 7, 29 June 1904 (see Editor's Note, p. xviii). YEATS ANNUAL No. 5 Edited by Warwick Gould ©Warwick Gould 1987 Softcover reprint of the hardcover 1st edition 1987 978-0-333-35333-2 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Totten ham Court Road, London WlP 9HE. -
Ancient Greek Tragedy and Irish Epic in Modern Irish
MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Katherine Anne Hennessey, B.A., M.A. ____________________________ Dr. Susan Cannon Harris, Director Graduate Program in English Notre Dame, Indiana March 2008 MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE Abstract by Katherine Anne Hennessey Over the course of the 20th century, Irish playwrights penned scores of adaptations of Greek tragedy and Irish epic, and this theatrical phenomenon continues to flourish in the 21st century. My dissertation examines the performance history of such adaptations at Dublin’s two flagship theatres: the Abbey, founded in 1904 by W.B. Yeats and Lady Gregory, and the Gate, established in 1928 by Micheál Mac Liammóir and Hilton Edwards. I argue that the potent rivalry between these two theatres is most acutely manifest in their production of these plays, and that in fact these adaptations of ancient literature constitute a “disputed territory” upon which each theatre stakes a claim of artistic and aesthetic preeminence. Partially because of its long-standing claim to the title of Ireland’s “National Theatre,” the Abbey has been the subject of the preponderance of scholarly criticism about the history of Irish theatre, while the Gate has received comparatively scarce academic attention. I contend, however, that the history of the Abbey--and of modern Irish theatre as a whole--cannot be properly understood except in relation to the strikingly different aesthetics practiced at the Gate. -
Mrs. Patrick Campbell, Caesar in Ccarsnr Or~Rlclcopatrn for Forbes Robertson, and Lady Cicely in Captain Brassbot~~Rd'j Cor~~,Crsiorlfor Ellen Terry
This document is from the Cornell University Library's Division of Rare and Manuscript Collections located in the Carl A. Kroch Library. If you have questions regarding this document or the information it contains, contact us at the phone number or e-mail listed below. Our website also contains research information and answers to frequently asked questions. http://rmc.library.cornell.edu Division of Rare and Manuscript Collections 2B Carl A. Kroch Library Cornell University, Ithaca, NY 14853 Phone: (607) 255-3530 Fax: (607) 255-9524 E-mail: [email protected] This publication has been prepared with the generous support of the Arnold '44 and Gloria Tofias Fund and the Bernard E Burgunder Fund for George Bernard Shaw. + Issued on the Occasion of "77re Instinct of an Artist:" Straw and the Theatre. An Exhibition from the Bernard F. Hurgunder Collection of George Bernard Shaur, Division of Rare and Manuscript Collections Carl A. Kroch Library April 17-June 13,1997 Cover and lnsidc Cover Illustrations: Shown are Shaw's photographic postcards sent to actress Evlarparet Halstan, critiquin~her performance as Raina in Arnold Dnly's ign revival of Annr and the )Man. [Item iA] Title page illustration by Antnny Wysard Note: Shaw ohcn spelled words phonetically, and sometimes used archaic forms of words. In quoting Shaw, we have retained his unusual spelling throughout O 1997 Cornell University Library The Instinct of an Artist + he Bernard F. Burgunder Collection of George Bernard Shaw was established at Cornell University in 1956, the centennial of Shaw's birth. The Collection repre- T sents a lifelong enthusiasm of the donor, Bernard Rurgundcr, who began collect- ing Shaviana soon after his graduation from Cornell in 1918. -
ISSN: 2320-5407 Int. J. Adv. Res. 7(8), 331-336 RESEARCH ARTICLE
ISSN: 2320-5407 Int. J. Adv. Res. 7(8), 331-336 Journal Homepage: -www.journalijar.com Article DOI:10.21474/IJAR01/9509 DOI URL: http://dx.doi.org/10.21474/IJAR01/9509 RESEARCH ARTICLE PIONEERS OF REPERTORY THEATRES. Dr. Pradnya S. Yenkar. Associate Professor, Department of English,Vidyabharati Mahavidyalaya, AMRAVATI (MS)-444602.INDIA. …………………………………………………………………………………………………….... Manuscript Info Abstract ……………………. ……………………………………………………………… Manuscript History The staging of Shakespeare‟s plays was revolutionized by Granville- Received: 06 June 2019 Barker‟s productions at the Savoy Theatre, which were admired for Final Accepted: 08 July 2019 their simplicity, fluidity, and speed. Equally significant for the British Published: August 2019 theatre was the founding of the first provincial repertory theatre in 1908 by Horniman at the Gaiety, Manchester. It not only provided opportunities for promising British playwrights but also presented works by important Continental dramatists. Mainstream British theatre paid very little attention to the antirealistic movements that characterized experimental theatre in the rest of Europe. The domination of the actor-manager was effectively challenged by Harley Granville-Barker and John E. Vedrenne at London‟s Royal Court Theatre; between 1904 and 1907 they staged numerous new plays by British and Continental writers. The major dramatist at the Royal Court, indeed the most important British dramatist of the century, was the Irish-born George Bernard Shaw. The Irish theatre movement and the repertory theatres -
Stages of Subscription, 1880–1930
Stages of Subscription, 1880–1930 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:37944972 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Stages of Subscription, 1880–1930 A dissertation presented by Matthew Scott Franks to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts December 2016 © 2016 Matthew Scott Franks All rights reserved. Dissertation Advisor: Professor Leah Price Matthew Scott Franks Stages of Subscription, 1880–1930 Abstract Subscription redistricted turn-of-the-century British and Irish theater audiences in seemingly contradictory ways, alternately appealing to coteries or crowds. At a time when women, the working classes, and the Irish were advocating for greater political representation outside the theater, subscribers circumvented the Lord Chamberlain and London commercial theater managers in order to legislate repertoires and policies on the rest of the public’s behalf. Printed subscription ephemera created virtual stages on which subscribers could enact and reimagine their social relationships, whether by pinning their tickets together in order to secure adjoining seats, or by crowding newspaper columns with letters protesting unfair treatment from theater managers, or simply by reading their name—or a name—next to others on a list. -
C L O U D S H I L L B O O
C L O U D S H I L L B O O K S 27 BANK STREET • NEW YORK, NY 10014 212-414-4432 • 212-414-4257 FAX • [email protected] HENRY MILLER COLLECTION “I DETEST THE ILLUSTRATIONS” 1. TROPIQUE DU CANCER. Paris: Deux-Rives, 1947. Limited Edition. Unbound signatures in wrappers and a slipcase. One of 750 copies. Translated into French by Paul Rivert, with a Preface by Henri Fluchère. Illustrated with original lithographs by Timar. This edition contains a thirteen-page essay on Miller‟s writing, “Le Lyrisme de Henry Miller” by Henri Fluchère, which does not appear in any American or British edition. While striking and unusual due to colorful illustrations and being issued in an unbound state, Miller‟s reaction to this edition was not favorable. Writing to J. Rives Childs on June 24, 1950, Miller says, “Incidentally, there‟s a deluxe illustrated edition of Cancer I never mention… because I detest the illustrations – by Timar…” Miller appears in a number of them and a line drawing which appears on the title page has his nose drawn as a penis. Wrappers lightly creased at the spine, else a fine copy. 2. TROPIC OF CANCER. New York: Grove Press, 1961. First Grove Press Trade Edition in dust jacket. With an Introduction by Karl Shapiro and a Preface by Anaïs Nin. Ownership signature on the front free endpaper, else a very good copy in a very good jacket. Henry Miller was a leading example of a special kind of writer who is essentially seer and prophet, whose immediate ancestor was Rimbaud, and whose leading exponent was D.H. -
Too True to Be Good at the 1932 Malvern Festival
Too True to Be Good at the 1932 Malvern Festival SOUDABEH ANANISARAB ABSTRACT: The Malvern Festival was established in 1929 by the founder and then director of the Birmingham Repertory Theatre, Sir Barry Jackson. While the Festival began as an event solely dedicated to Shaw, Jackson’s guiding philosophy of the Festival soon changed its direction in later seasons as Jackson sought to present a glorified sense of England’s past to an audience of international visitors by means of an emphasis on lesser-known classics in English theater. This article explores the reception of Shaw’s Too True to Be Good (1932) in this context to argue that Shaw’s increasingly dystopian visions of England’s future as depicted in his later plays clashed with Jackson’s organization of the Festival and that Shaw’s inclusion in the repertoire and presence in Malvern largely contributed to the Festival’s failure in reconciling its images of the past and present. KEYWORDS: Shaw, Malvern Festival, Sir Barry Jackson, Too True to Be Good George Bernard Shaw’s Too True to Be Good received its British premiere in 1932 as part of the fourth season of the Malvern Theatre Festival. The Malvern Festival was established in 1929 by the founder and then direc- tor of the Birmingham Repertory Theatre, Sir Barry Jackson. The Festival began as an event solely dedicated to Shaw as in its first season; it featured five Shavian productions including the British premiere of The Apple Cart. While during its twelve seasons the Festival fluctuated in the extent of its association with Shaw, in total it presented two world premieres of Shaw’s plays and four British premieres. -
Abbey Theatre Approximately 1903-1988 MS.1986.135
Boston College Collection of the Abbey Theatre approximately 1903-1988 MS.1986.135 http://hdl.handle.net/2345/2773 Archives and Manuscripts Department John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill 02467 library.bc.edu/burns/contact URL: http://www.bc.edu/burns Table of Contents Summary Information .................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Related Materials ........................................................................................................................................... 4 Historical Note ............................................................................................................................................... 5 Scope and Contents ........................................................................................................................................ 5 Arrangement ................................................................................................................................................... 6 Collection Inventory ....................................................................................................................................... 7 I: Correspondence ....................................................................................................................................... -
Whose Abbey Theatre?
Preface: Whose Abbey Theatre? To whom did the Abbey Theatre belong? At various times, many of the Irish people involved in its life thought they had a right to call the Abbey "our Irish theatre": those who started the Irish National Dramatic Society, those who acted in it, those who wrote plays for it, those with a need or use for it, with a wish to make Ireland free, Gaelic, socialist, or feu- dal. In a legal sense, there can be no question that during its formative years, from 1904 to 1911, the Abbey Theatre be- longed to no Irishman at all; it was the property of Annie E. F. Horniman, a middle-aged, middle-class dissenting London spinster. But now it is most often understood to be, as W. B. Yeats tried to make it then, an authors' theatre, even Yeats's very own theatre. To read through the essays of Yeats, one would think that the patron of the Abbey Theatre, Annie Horniman, had little effect on what was written and per- formed; that the actors were instruments of the will of the au- thors; and that the audience was unappreciative of the emer- gence of great literature before them, when not violently opposed to it. This book, in a study of Irish dramatic move- ments from 1899 to 1911, challenges that view of the theatre; it reevaluates the importance of authors, patrons, actors, and audience in shaping the literature of the stage. It was Yeats's ambition—both in the Irish Literary Theatre (1899-1901) and in the Irish National Theatre Society that suc- ceeded it—to found a literary theatre in Ireland over which the authors had control.