Bibliography

Home , Fathers and Sons (play), Thomas Kilroy

Bibliography

Featured Dramatists

Marina Carr Plays One, Introduced by the Author (London: Faber and Faber, 1999). Contains Low in the Dark, The Mai, Portia Coughlan, By the Bog of Cats…. Woman and Scarecrow (Oldcastle, County Meath: The Gallery Press, 2006).

Brian Friel Plays One, with an Introduction by Seamus Deane (London: Faber and Faber, 1996). Contains Philadelphia, Here I Come!; The Freedom of the City; Living Quarters; Aristocrats; Faith Healer and Translations. Plays Two, with an Introduction by Christopher Murray (London: Faber and Faber, 1999). Contains Dancing at Lughnasa, Fathers and Sons, Making History, Wonderful Tennessee, Molly Sweeney.

Thomas Kilroy Double Cross (London: Faber and Faber, 1986; Oldcastle, County Meath: The Gallery Press, 1994). Tea and Sex and Shakespeare (Oldcastle, County Meath: The Gallery Press, 1998).

The Death and Resurrection of Mr Roche (Oldcastle, County Meath: The Gallery Press, rev. edn 2002). The Secret Fall of Constance Wilde (Oldcastle, County Meath: The Gallery Press, 1997).

Frank McGuinness Plays One, Introduced by the Author (London: Faber and Faber, 1996). Contains The Factory Girls, Observe the Sons of Ulster Marching Towards the Somme, Innocence, Carthaginians, Baglady. Plays Two, Introduced by the Author (London: Faber and Faber, 2002). Contains Mary and Lizzie, Someone Who’ll Watch Over Me, Dolly West’s Kitchen, The Bird Sanctuary.

Tom Murphy Plays: 2, with an Introduction by Fintan O’Toole (London: Methuen, 1993). Contains Conversations on a Homecoming, Bailegangaire, A Thief of a Christmas. Plays: 3, with an Introduction by Fintan O’Toole (London: Methuen, 1994). Contains The Morning After Optimism, The Sanctuary Lamp, The Gigli Concert. Plays: 4, with an introduction by Fintan O’Toole (London: Methuen, 1997). Contains A Whistle in the Dark, A Crucial Week in the Life of a Grocer’s Assistant, On the Outside, On the Inside. Plays: 5, with an introduction by Nicholas Grene (London: Methuen, 2006). Contains Too Late for Logic, The Wake, The House and Alice Trilogy.

Oscar Wilde The Complete Works, with an introduction by Merlin Holland (Glasgow: Harper Collins, 1948, rev. edn 2003).

Other Dramatists Beckett, Samuel. 1956. Waiting for Godot. London: Faber and Faber. ———. 1990. The Complete Dramatic Works. London: Faber and Faber. Eagleton, Terry. 1989. Saint Oscar. Derry: Field Day. McDonagh, Martin. 1997. The Cripple of Inishmaan. London: Methuen Press. ———. 2003. The Pillowman. London: Faber and Faber. O’Halloran, Mark. 2012. Trade. In This is Just This. It Isn’t Real. It’s Money: The Oberon Anthology of Contemporary Irish Plays, ed. Thomas Conway. London: Oberon Books. Bibliography 239

Parker, Stewart. 2000. Plays: 2, Introduced by Stephen Rea with a Foreword by Lynne Parker. London: Methuen. Contains Northern Star, Heavenly Bodies, Pentecost. Radley, Lynda. 2011. Futureproof. London: Nick Hern Books. Stoppard, Tom. 1968. Rosencrantz and Guildenstern Are Dead. London: Faber and Faber.

Secondary Material Ahmed. 2006. Queer Phenomenology: Orientations, Objects, Others. Durham/ London: Duke University Press. Bashford. 2011. Oscar Wilde: The Critic as Dialectician. In Oscar Wilde, ed. Jarlath Killeen. Dublin: Irish Academic Press. Beckett, Samuel. 2009a. Three Novels: Molloy, Malone Dies, The Unnamable. New York: Grove Press. ———. 2009b. Worstward Ho. London/New York: Faber and Faber. Benjamin, Walter. 1969. The Work of Art in the Age of Mechanical Reproduction. In Illuminations. New York: Schocker. Bennett. 2011. A Wilde Performance: Bunburying and Bad Faith in The Importance of Being Earnest and Salome. In Refiguring Oscar Wilde’s Salome, ed. Michael Y. Bennet, 167–181. Amsterdam/New York: Rodopi Press. Bloom, Harold. 1973. Anxiety of Influence: A Theory of Poetry. Oxford: Oxford University Press. Boltwood, Scott. 2007. Brian Friel, Ireland and the North. Cambridge: Cambridge University Press. Bracken, Claire. 2015. Irish Feminist Futures. London: Routledge. Bronte, Emily. 2003. Wuthering Heights. New York: Norton Critical edition. Browne, Ivor. 1987. Thomas Murphy: The Madness of Genius. Irish University Review 17 (1): 135. Butler, Judith. 1988. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Theatre Journal 40 (4): 519–531. ———. 1999. Subjects of Desire: Hegelian Reflections in Twentieth Century France. New York: Columbia University Press. ———. 2004. Undoing Gender. New York/London: Routledge. Carr, Marina. 1998. Dealing with the Dead. Irish University Review 28 (1): 190–196. Cavell, Stanley. 1976. Must We Mean What We Say? Cambridge: Cambridge University Press. Chambers, Lilian, and Eamonn Jordan, eds. 2006. The Theatre of Martin McDonagh: A World of Savage Stories. Dublin: Carysfort Press. Cohen, Jeffrey, and Todd Ramlow. 2005/2006. Pink Vector’s of Deleuze: Queer Theory and Inhumanism. Rhizomes 11 (12): (Fall/Spring). Craft, Christopher. 1990. Alias Bunbury: Desire and Termination in The Importance of Being Earnest. Representations 31: 19–46. 240 Bibliography

Critchley, Simon. 2012. Faith of the Faithless, Experiments in Political Theology. London: Verso. Danson, Lawrence. 1997. Wilde as Critics and Theorist. In The Cambridge Companion to Oscar Wilde, 80–95. Cambridge: Cambridge University Press. Dantanus, Ulf. 1988. Brian Friel: A Study. London: Faber and Faber. Davies, Helen. 2011. The Trouble with Gender. In Refiguring Oscar Wilde’s Salome, ed. Michael Y. Bennet. Amsterdam/New York: Rodopi Press. Dawe, Gerald. 2002. Thomas Kilroy. Irish University Review 32 (1): 33–38. (Spring/Summer). Special Issue on Kilroy. Deane. 1996. Introduction. In Brian Friel: Plays, vol. 1. London: Faber and Faber. Deleuze, Gilles, and Felix Guattari. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. London: Continuum. Derrida, Jacques. 1994. Specters of Marx. New York: Routledge. Dobbins, Gregory. 2010. Lazy Idle Schemers: Irish Modernism and the Cultural Politics of Idleness. Notre Dame: Field Day Publications. Doody, Noreen. 2007. Beyond the Mask: Frank McGuinness and Oscar Wilde. In Ireland on Stage: Beckett and After, ed. Christopher Murray, 69–86. Dublin: Carysfort Press. Dubost, Thierry. 2007. The Plays of Thomas Kilroy: A Critical Study. Jefferson/ London: McFarland Publishing. Ellmann, Richard. 1987a. Four Dubliners. London: Hamish Hamilton. ———. 1987b. Oscar Wilde. London: Hamish Hamilton. Eltis, Sos. 2011. Performance and Identity in the Plays. In Oscar Wilde, ed. Jarlath Killeen. Dublin: Irish Academic Press. Fitzpatrick Deane, Joan. 1999. Self-Dramatization in the Plays of Frank McGuinness. New Hibernia Review/Iris Éireannach Nua 3 (1): 97–110. Foucault, Michel. 1972. The Archaeology of Knowledge and the Discourse on Language. Trans. Robert Hurley, Mark Seem and Helen R. Lane. New York: Pantheon. Friel, Brian. 1999. In Essays, Diaries, Interviews: 1964—1999, ed. Christopher Murray. London: Faber and Faber. Gleitman, Claire. 1994. “Isn’t It Just like Real Life?”: Frank McGuinness and the (Re) writing of Stage Space. The Canadian Journal of Irish Studies 20 (1): 60–73. Grene, Nicholas. 1999. The Politics of Irish Drama: Plays in Context from Boucicault to Friel. Cambridge: Cambridge University Press. ———. 2002. Staging the Self: Person and Persona in Kilroy’s Plays. Irish University Review 32 (1 (Spring/Summer)): 70–82. Hegel, George Wilhelm. 1977. The Phenomenology of the Spirit. Trans. A.V. Miller. (Oxford: Oxford University Press. Herron. 2004. Dead Men Talking: Frank McGuinness’s Observe the Sons of Ulster Marching Towards the Somme. Éire-Ireland 39 (1 and 2): 136–162. Earrach/ Samhradh/Spring/Summer. Hirsch, Edward. 1991. The Imaginary Irish Peasant. PMLA 106 (5): 1116–1133. Bibliography 241

Jordan, Eamonn. 2010. Dissident Dramaturgies: Contemporary Irish Drama. Dublin/Portland: Carysfort Press. ———. 1997. The Feast of Famine: The Plays of Frank McGuinness. Bern: Peter Lang. Joyce, James. 2000. A Portrait of the Artist as a Young Man. Oxford: Oxford University Press. Kearney, Richard. 1997. Language Play: Brian Friel and Ireland’s Verbal Theatre. In Brian Friel: A Casebook, ed. William Kerwin. New York/London: Garland. ———. 1983. Theatre: Tom Murphy’s Long Night’s Journey into Night. Studies: An Irish Quarterly Review 288: 327–335. Keats, John. 1899. Ode to a Nightingale. In The Complete Poetical Works and Letters of John Keats. Cambridge: Riverside Press. Kenny, Mary. 2003. Germany Calling: A Personal Biography of William Joyce, ‘Lord Haw-Haw’. Dublin: New Island. Kiberd, Declan. 1996. Inventing Ireland: The Literature of the Modern Nation. London: Vintage. ———. 1997a. Brian Friel’s Faith Healer. In Brian Friel: A Casebook, ed. William Kerwin. New York/London: Garland. ———. 1997b. Oscar Wilde: The Resurgence of Lying’. In The Cambridge Companion to Oscar Wilde, 276–294. Cambridge: Cambridge University Press. Kilroy, Thomas. 1992. A Generation of Playwrights. Irish University Review 22 (1): 135–141 (Spring/Summer). Lane, Mark. 1991. Theatrical Space and National Place in Four Plays by Thomas Murphy. Irish University Review 21 (2): 219–228. Lanters, Jose. 1992. Gender and Identity in Brian Friel’s Faith Healer and Thomas Murphy’s The Gigli Concert. Irish University Review 22 (2): 278–290 (Autumn/Winter). Leeney, Cathy, and Anna McMullan, eds. 2003. The Theatre of Marina Carr: ‘Before Rules Was Made’. Dublin: Carysfort Press. Leonard. 1998. A Nothing Place: Secrets and Sexual Orientation in Joyce. In Quare Joyce, ed. Joseph Valente, 77–100. Michigan: University of Michigan Press. Levinas, Emmanuel. 1969. Totality and Infinity: An Essay on Exteriority. Pennsylvania: Duquesne University Press. Lojek, Helen. 1988. Myth and Bonding in Frank McGuinness’s Observe the Sons of Ulster Marching Towards the Somme. Canadian Journal of Irish Studies 14 (1): 45–53. ———. 2004. Contexts for Frank McGuinness’s Drama. Washington, DC: The Catholic University of America Press. Marcovitch, Helen. 2010. The Art of the Pose: Oscar Wilde’s Performance Theory. Bern: Peter Lang. Marez, Curtis. 1997. The Other Addict: Reflections on Colonialism and Oscar Wilde’s Opium Smoke Screen. ELH 64 (1): 257–287. 242 Bibliography

Martin, Augustine. 1996. The Protestant Legacy. In Bearing Witness: Essays on Anglo-Irish Literature, ed. Anthony Roche, 100–114. Dublin: University College Dublin Press. Mason, Patrick. 2002. Acting Out. Irish University Review 32 (1 (Spring/ Summer)) Special Issue on Kilroy: 137–147. Maxwell, Margaret. 2007. ‘The Claim of Eternity’: Language and Death in Marina Carr’s ‘Portia Coughlan’. Irish University Review 37 (2): 413–429. ———. 2009. ‘Her – She, This Woman, Me’: The Representation of Subjectivity in Tom Murphy’s Alice Trilogy. Irish Studies Review 17 (2): 201–221. McGrath, F.C. 1999. Brian Friel’s (Post)Colonial Drama: Language, Illusion, and Politics. Syracuse: Syracuse University Press. McGuinness. 1998. The Spirit of Play in “De Profundis”. In Wilde the Irishman, ed. Jerusha McCormack. Yale: Yale University Press. McMullan, Anna. 2002. Masculinity and Masquerade in Thomas Kilroy’s Double Cross and The Secret Fall of Constance Wilde. Irish University Review 32 (1 (Spring/Summer)): 126–136. Mercier, Vivian. 1962. The Irish Comic Tradition. Oxford: Oxford University Press. ———. 1977. Beckett/Beckett. New York: Oxford University Press. Miller, J. 1977. Hillis, ‘The Critic as Host’. Critical Enquiry 3: 3 (Spring). Morash, Christopher. 2002. A History of Irish Theatre 1601–2000. Cambridge: Cambridge University Press. Murphy, Paula. 2006. Staging Histories in Marina Carr’s Midlands Plays. Irish University Review 36 (2): 389–402. Murray, Christopher, ed. 1987. Special Issue on Tom Murphy. Irish University Review 17 (1): Spring. ———, ed. 1997. Twentieth-Century Irish Drama: Mirror up to Nation. Manchester: Manchester University Press. Nietzsche, Friederich. 2000. Beyond Good an Evil. In Basic Writings of Nietzsche. New York: Modern Library. O’Toole, Fintan. 1994. Tom Murphy: The Politics of Magic. Dublin: New Island Books.; London: Nick Hern Books, rev. edn. O’Malley, Aidan. 2011. Field and the Translation of Irish Identities. London/New York: Palgrave Macmillan. Pine. 2011. The Politics of Memory: Performing Remembrance in Contemporary Irish Culture. New York/London: Palgrave Macmillan. Pine, Richard. 1990. Brian Friel and Ireland’s Drama. London: Routledge. ———. 1995. The Thief of Reason: Oscar Wilde and Modern Ireland. Dublin: Gill and Macmillan. ———. 1999. The Diviner: The Art of Brian Friel. Dublin: University College Dublin Press. Bibliography 243

Rank, Otto. 1971. The Double: A Psychoanalytic Study. Ed. and Trans. Harry Tucker, Jr. Chapel Hill: Beacon Press. Rankin Russell, Richard. 2014. Modernity, Community and Place in Brian Friel’s Drama. New York: Syracuse Press. Richtarik, Marilyn J. 1994. Acting Between the Lines: The Field Day Theatre Company and Irish Cultural Politics 1980–1994. Oxford: Clarendon Press. Roche, Anthony. 2009. Contemporary Irish Drama. 2nd ed. New York/London: Palgrave Macmillan. ———. 2011. Brian Friel: Theatre and Politics. Basingstoke: Palgrave Macmillan. Russell, Richard. 2006. Talking with Ghosts of Irish Playwrights Past: Marina Carr’s ‘By the Bog of Cats’ …. Comparative Drama 40 (2): 149–168. Said, Edward. 1975. Beginnings: Intention and Method. New York: Basic Books. Sammells, Neil. 1994. Rediscovering the Irish Wilde. In Rediscovering Oscar Wilde, ed. C. George Sandulescu. Gerrard’s Cross: Colin Smythe. ———. 2000. Wilde Style: The Plays and Prose of Oscar Wilde. Edinburgh: Pearson Education Limited. ———. 2004. Oscar Wilde and the Politics of Style. In The Cambridge Companion to Twentieth Century Irish Drama, ed. Shaun Richards, 109–121. Cambridge: Cambridge University Press. Sedgwick, Eve Kosofsky. 1993. Tendencies. Durham: Duke University Press. Sinfield, Alan. 1994. The Wilde Century: Effeminacy, Oscar Wilde and the Queer Moment. New York: Columbia University Press. Sontag, Susan. 1983. In A Susan Sontag Reader, ed. Elizabeth Hardwick. Harmondsworth: Penguin. Thomas, Calvin. 2003. Ten Lessons in Theory. New York: Bloomsbury. Wallace, Clare. 2003. Authentic Reproductions: Marina Carr and the Inevitable. In The Theatre of Marina Carr: ‘Before Rules Was Made’, ed. Cathy Leeney and Anna McMullan, 43–64. Dublin: Carysfort. Walsh, Eibhear. 2011. Oscar’s Shadow: Wilde, Homosexuality and Modern Ireland. Cork: Cork University Press. Watt, Stephen. 2009. Beckett and Contemporary Irish Writing. Cambridge: Cambridge University Press. Worth, Katharine. 1983. Oscar Wilde. London: Macmillan. Wright, Thomas. 2008. Oscars Books. London: Chatto and Windus. Yeats, W.B. 1956. Yeats, Autobiographies. London: Macmillan. ———. 1983. In The Poems: A New Edition, ed. Richard J. Finneran. Dublin: Gill and Macmillan. Index1

A C Abbey Theatre, 153, 175, 179, 194 Carr, Marina, v, 12, 21, 26, 30, 31, 185–216 By The Bog of Cats, 188, 189, B 193–195, 199–205 Beckett, Samuel, 2, 16, 20–30, 34n57, Portia Coughlan, 187, 188, 190, 34n62, 34n64, 35n65, 35n68, 191, 193–195, 197–199, 202, 35n70, 35n71, 35n76, 41, 107, 206–209 108, 111, 144, 164, 167, 186, Woman and Scarecrow, 12, 188, 189 193, 206, 208–214 All That Fall, 24, 27 Critchley, Simon, 18, 34n49, 96 Happy Days, 24, 26, 27 Molloy, 22 Waiting for Godot, 23, 27, 81, 171, D 189, 203 Deane, Seamus, 3, 32n5, 41, 63, 64, Worstward Ho, 27 67, 68n14, 71n62, 88, 111 Butler, Judith, 8, 14, 32n19, 33n38, Deleuze, Gilles, 7, 15, 16, 32n17, 129, 130, 141n59, 141n61 60 Gender Trouble, 8 Derrida, Jacques, 39, 133, 151, 152, ‘Performative Acts and Gender 181n23 Constitution,’ 8 Dobbins, Gregory, 7, 32n15

1 Note: Page numbers followed by ‘n’ refer to notes.

E H Ellmann, Richard, 1, 13, 19–21, 30, Hegel, Georg Wilhelm, 12–20, 28, 29, 32n2, 33n24, 33n31, 33n35, 33n36, 34n50, 77, 81, 103n11, 34n52, 34n54, 34n55, 74, 102, 191, 192 105n42, 141n55, 141n66, 146, 179, 236n16 Four Dubliners: Oscar Wilde, W.B I Yeats, James Joyce, Samuel Identity, 3, 7–11, 13, 14, 16, 18, 21, Beckett, 20 28, 40, 41, 43, 47, 51, 57–59, James Joyce, 32n2 64, 67, 74, 77, 78, 80, 82, 84, Oscar Wilde, 141n55 90, 92, 97–99, 101, 110, 111, 115, 117, 118, 121, 123, 125, 129, 130, 132–136, 138, 144, F 146–151, 155, 156, 160, 161, Field Day Anthology of Irish Writing, 3 163, 164, 170, 171, 174, Field Day theatre group, 39, 63, 157 177–179, 187, 199, 203, Fifth province, 39 206, 207, 211, 222, 233, Fitzpatrick Deane, Joan, 146, 160, 235 180n9, 182n33 Friel, Brian, v, 12, 28, 30, 31, 37–67, 99, 103n15, 107, 129, 143, 144, J 147, 157, 159, 166, 171–174, Jordan, Eamonn, 104n22, 127, 180, 182n53, 205, 206, 210, 140n51, 166, 179, 181n15, 214, 225 181n19, 182n43, 183n61, 206, Aristocrats, 171, 172 219n44, 223, 232, 236n3, Communication Cord, 63, 64 236n4, 236n14 Dancing at Lughnasa, 85 Joyce, James, 1–4, 6, 7, 30, 35n81, Faith Healer, 30, 31, 37, 39–41, 70n40, 80, 140n36, 141n73, 51–67, 82, 84, 85, 137, 157, 166, 179 142n86, 166, 172, 226 Ulysses, 157 Give Me Your Answer Do, 65, 66 Making History, 37–39, 56, 64 Molly Sweeney, 142n86 K Philadelphia Here I Come, 3, 11, 37, Kearney, Richard, 87, 103, 104n20, 41, 44, 46–50, 66, 197, 206, 105n43, 142n86 213 Kiberd, Declan, v, 2–4, 10, 18, 29, Translations, 64, 153 32n6, 33n22, 33n25, 35n79, 45, 51, 69n32, 70n39, 77, 89, 90, 104n26, 104n35, 111, 112, 115, G 151, 155, 181n22, 181n31, Gaiety theatre, 3 182n46 Grene, Nicholas, 102, 105n40, 126, Inventing Ireland, 4, 10 140n50 ‘Oscar Wilde: the resurgence of Guattari, Felix, 7, 15, 16, 32n17 lying,’ 3, 4 INDEX 247

Kilroy, Thomas, 4, 30, 66, 71n60, Someone Who’ll Watch Over Me, 145, 107–138, 174, 183n56, 226, 233 148, 149, 164–172, 177 Double Cross, 12, 108, 110–114, McMullan, Anne, 110, 125, 135, 116–127, 130, 137, 174 138n6, 140n47, 142n79, My Scandalous Life, 109, 136–138, 217n9 142n83 Memory, 6, 45, 49, 50, 62, 64, 66, The Secret Fall of Constance Wilde, 8, 84, 95, 129, 148, 153, 154, 158, 108, 110, 125, 127–135, 137, 159, 163, 171, 173, 176, 200, 138 210, 213, 226 Tea and Sex and Shakespeare, 109 Mercier, Vivian, 2, 3, 16, 17, 28, 29, 32n4, 34n44, 34n46, 35n79, 145 L Monologue, 52–54, 57, 62, 86, 96, Lanters, Jose, 65, 71n58, 84, 85, 101, 102, 116, 126, 137, 158, 103n15 160, 179, 195 Levinas, Immanuel, 102, 105n41 Murphy, Tom, 21, 30, 31, 73–103, Lojek, Helen, 152, 168, 180n12, 166, 171, 180, 182n42, 188, 181n26, 182n47 226, 227 Alice Trilogy, 94–96, 99, 102, 104n34, 105n36, 105n37 M Bailegangaire, 85 Marcovitch, Heather, 165, 182n40 Conversations on a Homecoming, McDonagh, Martin, 30, 221–233, 104n30 236n6–12, 236n15 The Gigli Concert, 31, 66, 73, The Beauty Queen of Leenane, 225, 77–82, 84, 85, 89, 90, 103n15, 226 171 The Lonesome West, 225, 227, 232 The Sanctuary Lamp, 75, 77 The Pillowman, 221, 228–232 Too Late for Logic, 76 A Skull in Connemara, 225, 226 The Wake, 74 McGahern, John, 139n21 A Whistle in the Dark, 75, 76 McGrath, F.C., 28, 35n77, 39, 40, 51, Murray, Christopher, 3, 68n2, 68n5, 63, 68n9, 68n12, 69n17, 69n28, 69n26, 86, 93, 104n18, 111, 69n30, 69n31, 70n55 139n15, 174, 224, 236n4 McGuinness, Frank, 4, 18, 21, 30, 70n53, 143–183, 188 The Bird Sanctuary, 85, 145, N 171–174 Narrative, 3, 7, 40, 51, 54, 61, 79, 80, Carthaginians, 148, 150–164, 167, 83, 100, 135, 136, 147, 176, 170 229, 232 Dolly West’s Kitchen, 145, 148, Nietzsche, Friederich, 15, 16, 33n42, 174–179 102, 191, 192, 195, 217n15, Observe the Sons of Ulster Marching 217n16, 217n18 Towards the Somme, 148, 150 The Birth of Tragedy, 191, 217n15 248 INDEX

O Subjectivity, 5, 8, 9, 16, 22, 26, 40, O’Halloran, Mark, 30, 221, 233–235, 41, 47, 50, 75–78, 83, 85, 87, 236n17 90, 96, 98, 103, 111, 129, 135, Trade, 221, 233 144, 146, 148, 160–162, 165, O’Toole, Fintan, 77, 87, 103n7, 168, 174, 176, 206, 207, 224, 104n19, 222, 236n1 228, 233, 235 Synge, John Millington, 1–3, 6, 7, 30, 48, 138n2, 147, 155, 189, 224, P 227, 229 Parker, Stewart, 95, 102, 104n32, The Playboy of the Western World, 104n33 227 Pentecost, 95, 96, 102, 104n32 Pater, Walter, 4, 5, 70n42 Pine, Emilie, 154, 181n29, 189, T 217n11 Tarantino, Quentin, 224 Pine, Richard, 2, 11, 33n28, 42, 65, Thomas, Calvin, 17, 33n37, 33n39, 68n1, 68n8, 68n15, 192, 34n48 217n20, 218n24 Tragedy, 11, 29, 44, 54, 55, 65, 75, Protestant, 12–20, 29, 30, 95, 148, 84, 101, 109, 120, 148, 156, 150, 156, 157, 160, 222 159, 163, 165, 166, 170, 185–216, 235

R Rank, Otto, 12, 33n29 W Roche, Anthony, v, 2, 29, 34n46, 52, Wilde, Oscar, vi, 1–4, 37, 73, 107, 69n36, 70n54, 80, 89, 103n10, 143, 186, 221 104n25, 107, 124, 126, 138n1, aesthetic, 2–4, 7, 9, 13, 17, 18, 21, 139n23, 140n45, 140n48, 144, 22, 28, 30, 31, 73, 108, 148, 145, 169, 170, 180n4, 180n6, 159, 192, 221, 228 181n16, 182n49, 182n51, 209, ‘The Critic as Artist,’ 7, 15, 32n9, 210, 213, 219n47, 219n49, 32n16, 33n41, 37, 38, 40, 56, 219n52 58, 59, 64, 68n3, 108, 112, 113, 139n17 The Decay of Lying, 5, 22, 28, S 32n11, 40, 44, 49, 50, 52, 55, Said, Edward, 27, 28, 35n78 61, 69n27, 90, 91, 93, 108, Sammells, Neil, 10, 13, 33n26, 124, 137, 147, 153, 156 33n32, 114, 139n18, 224, 236n5 ‘De Profundis,’ 18, 21, 34n56, 102, Sedgwick, Eve Kosofsky, 8, 9, 33n20, 128, 149, 164, 165, 235 45, 47, 69n23, 69n24 Fin de siecle, 224 Stoppard, Tom, 29, 35n80, 35n81, ‘The Fisherman and his Soul,’ 18, 228 19, 206, 208 INDEX 249 homosexuality, 129 ‘The Soul of Man Under Socialism,’ An Ideal Husband, 34n61 1, 17, 20, 32n1, 34n53 The Importance of Being Earnest, 11, ‘The Truth of Masks,’ 7, 9, 12, 14, 14, 20, 22, 35n81, 40, 46, 75, 33n21, 33n30, 40, 53, 69n36, 95, 99, 111, 112, 120, 132, 69n37 133, 140n37, 147–149, 154, A Woman of No Importance, 23, 90, 157, 168, 186, 188, 203, 206, 119, 164, 169, 182n38, 207, 225 182n48, 205, 225 individualism, 13, 163 Worth, Katharine, 11, 23, 33n27, Irishness, 3, 4, 6, 9, 10, 21, 129, 34n63, 192, 217n19 146 Lady Windermere’s Fan, 8, 89, 104n24, 134, 142n77 Y Lord Arthur Saville’s Crime, 22 Yeats, William Butler, 1, 2, 4, 6, 7, 10, modernism, 27, 108 16, 20, 30, 31, 33n23, 33n31, The Picture of Dorian Gray, 18, 19, 41, 94, 105n42, 107, 108, 115, 23, 32n13, 34n60, 40, 43, 116, 139n22, 139n24, 139n26, 69n18, 84, 85, 100, 127, 147, 139n27, 139n29, 147, 150, 153, 148, 208, 229 158, 159, 172, 174, 182n32, postmodern, 63, 108, 192, 224, 189, 233 229 ‘Easter 1916,’ 94, 153, 159, queer theory, 7 182n32 Salome, 8, 27, 186, 187, 189, Purgatory, 189, 233 197–199, 218n30