DOCSLIB.ORG

Download (12MB)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] THE LITERARY WORKS OF JACK B. YEATS by JOHN WHITLEY PURSER Submitted for the degree of Doctor of Philosophy at the Department of English Literature University of Glasgow Scotland. Copyright (0 John Whitley Purser 1988 ProQuest Number: 10970945 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10970945 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ACKNOWLEDGEMENTS In such an undertaking one's debts to others are extensive. My family was used as a sounding-board and suffered the follies that are not presented here as well as the ones that, no doubt, are. My tutor, Professor Butter, suffered a like fate and has been both patient and helpful. Persons upon whom I had no call found time to write to me, ferry me, entertain me and inform me. That they did so so generously and freely reflects both on their personal kindness and on the homage and affection which the mention of Jack Yeats invariably evoked. Nothing but kind words was ever uttered with respect to his name. My chief acknowledgement is therefore to Jack Yeats himself whom I have studied happily for eight years, continuing throughout to enjoy his company as expressed through his work and his letters. The debt which I owe to Anne Yeats and Michael Yeats is acknowledged in the list of manuscript sources, and this list includes the names of most of the institutions whose librarians have been unfailingly helpful. Special mention must, however, be made of the University of Glasgow. The magnificent library there was quite exceptionally efficient and its staff wonderfully helpful: and the Department of English Literature was, of course, my first stimulus and my mainstay. The Scottish Education Department funded my research. The work itself is dedicated to my wife, Barbara, without whom it would never have been completed. All others to whom I owe a debt of gratitude are listed below. It would take many pages to acknowledge them properly, but they know, and I know wherein their kindness lay. Ivan Allen; Samuel Beckett; Professor Peter Butter; Maurice Craig; Dr. H. Eyre-Maunsell; Dr. E. Fitzpatrick; Anthony Graham; Mrs. Hilda Graham; Patrick Graham; Professor Robert Hogan; Miss Bay Jellett; Mrs. Olda Kokoshka; Louis Le Brocquy; Sean McBride; Wil'liam McQuitty; Mr. and Mrs. J. Meddlycott; Mrs Morgan; Mrs. R. Phillips; Serge Phillipson; John Pilling; Barbara Purser; Mr. and Mrs. J.W.R.Purser; Sean Purser; Sarah Purser; Vasco Purser; Hilary Pyle; Helen Hooker-Roeloffs; Professor Robin Skelton; Dr. Clement Smith; Professor William Stewart; Mrs. F. Vickermann; Tim Vignoles; Victor Waddington; James White; Terence de Vere White; Anne Yeats; Michael Yeats. CONTENTS PAGE Abbreviations 1 Introduction and Summary 2 Chapter 1 Chronology Life 4 Works 15 Chapter 2 The Theatrical Context 21 Chapter 3 Creating a Theatrical Rhetoric: 32 The Deathly Terrace and the Silencer Chapter 4 The Trilogy: 42 Apparitions, The Old Sea Road and Rattle Chapter 5 The Context of War (1) 61 Harlequin's Positions and La La Noo Chapter 6 The Context of War (2) 76 Harlequin's Positions and La La Noo Chapter 7 The Context of War (3) 88 The Green Wave and In Sand Chapter 8 Jack Yeats and the Novel 97 Chapter 9 Sligo and Sailing Sailing Swiftly 108 Chapter 10 The Careless Flower and The Amaranthers 116 Chapter 11 The Charmed Life 140 Chapter 12 Ah Well and And To You Also 160 Chapter 13 Jack Yeats' Style 169 Conclusion 176 Appendix 1 BBC Interview Transcript 177 Appendix 2 Jack Yeats Manuscript Sources 187 Bibliography 188 Notes to the Introduction and Chapters 197 ABBREVIATIONS WRITINGS ON JACK B. YEATS Caldwell Martha Bell Caldwell. Jack B. Yeats. Painter of Life in the West of Ireland. PhD Thesis. Indiana 1970. Order No. 4648-A. Pyle Hilary Pyle. Jack B. Yeats: A Biography. London. RKP 1970. Skelton Robin Skelton. The Collected Plays of Jack B. Yeats. London. Seeker & Warburg 1971. Skelton 2 Robin Skelton. Themes and Attitudes in the Later Drama of Jack B. Yeats. Yeats Studies No.2, pp 100-120. Dublin. Irish University Press. Bealtaine 1972. Mays James Mays. Jack B.Yeats: Some Comments on His Books, in Irish University Review 2 i. Dublin. 1972. Rose Marilyn Gaddis Rose. Jack B. Yeats: Painter and Poet. European University Papers XVIII Volume 3. Berne. 1972. Murphy William M. Murphy. Prodigal Father. Ithaca. Cornell University Press 1978. McGuinness Nora McGuinness. The Creative Universe of Jack B.Yeats. PhD. Thesis. University of California. 1984. Order No. DA 8507315. NOVELS AND PLAYS BY JACK B. YEATS SI SLIGO Am THE AMARANTHERS SSS SAILING SAILING SWIFTLY CL THE CHARMED LIFE CF THE CARELESS FLOWER AW AH WELL ATYA AND TO YOU ALSO DT * THE DEATHLY' TERRACE Si THE SILENCER Ap APPARITIONS HP HARLEQUIN'S POSITIONS OSR THE OLD SEA ROAD LLN LA LA NOO Ra RATTLE GW THE GREEN WAVE - IS IN SAND The * following persons are referred to in the notes and text mostly by their surnames or initials only:- John Butler Yeats J.B.Y. W.B.Yeats W.B. George Russell A.E. Thomas Bodkin Joseph Hone Thomas MacGreevy John Quinn James Starkey The editions of Yeats' works referred to are, for all the plays/ Skelton; and for all the novels, the latest. This affects only The Charmed Life and Ah Well and And To You Also, but it is the pagination of these later editions that is referred to. INTRODUCTION AND SUMMARY "It is my considered opinion that he was a man full of deception."1 Victor Waddington, who wrote the above, was Jack Yeats' dealer for many years. He was therefore well placed to understand Yeats' relationship with the buying public, and his "considered opinion" has to be taken seriously. Being "full of deception" does not mean that he was positively deceiving people (Waddingtom made that clear), but it certainly ’ implies the more negative quality of deceptiveness, just as distances are deceptive in a mist. The trouble is that Yeats' literary works have thoroughly deceived his commentators and the question arises as to whether the mist is of his own creating, or simply the result of our not having wiped our spectacles. Jack Yeats did not write for literary critics any more than he painted for the art critics. He frequently failed to satisfy the latter, painting no portraits, no nudes, no still lives, no studied landscapes, his subject matter almost exclusively Irish and his style idiosyncratic. But he is regarded by many as Ireland's greatest painter and by a significant few as one of the masters of the twentieth century. Why have his writings failed so to impress? The answers are simple. Much of Jack Yeats' literary output is virtually unobtainable, even from libraries, and that includes all his third person novels. Nora McGuinness is the only person to have devoted a whole thesis to his writings. He is in the shadow of himself as a painter. He is in the shadow of his brother as a writer. But, crucially, he is very much cleverer than has been supposed -and, as with his work as a painter, he is unconventional and innovative. He has not so much been willfully deceptive as astonishingly misunderstood. Yeats was educated among people in the West of Ireland without the social and literary preconceptions of the universities. They had become wily, and clever in-their use of symbolism in order to deceive the authorities. They knew what was meant by "the dear silk of the kine", "the green linnet", "the bonny-bunch of roses" and "the garden so green". To such people an ace of clubs was obviously a shamrock and "the harp without a crown" required no explanation. They would have had a good guess at the bearing The Green Wave might have upon In Sand, and knowing what a Bowsie was, might well have understood why he was companioned by a man called No Matter in a novel called The Charmed Life. With this background in mind, and with the aid of evidence which has not previously been referred to, including a new chronology; new interpretations are given for many of his works and an over­ all pattern in the novels is revealed. The religious imagery of Thie Careless Flower and The Amaranthers is developed, and the significance of the theme of inheritance in The Amaranthers is brought out for the first time, allowing the two halves of the novel to be seen much more clearly as part of an integrated whole.
Recommended publications
  • Yeats's White Vellum Notebook, 1930–1933

    Yeats's White Vellum Notebook, 1930–1933

    International Yeats Studies Volume 2 Issue 2 Article 4 May 2018 Yeats’s White Vellum Notebook, 1930–1933 Wayne K. Chapman Follow this and additional works at: https://tigerprints.clemson.edu/iys Part of the English Language and Literature Commons Recommended Citation Chapman, Wayne K. (2018) "Yeats’s White Vellum Notebook, 1930–1933," International Yeats Studies: Vol. 2 : Iss. 2 , Article 4. DOI: https://doi.org/10.34068/IYS.02.02.03 Available at: https://tigerprints.clemson.edu/iys/vol2/iss2/4 This Article is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in International Yeats Studies by an authorized editor of TigerPrints. For more information, please contact [email protected]. Yeats’s White Vellum Notebook, 1930–1933 Wayne K. Chapman n 1985, Michael Yeats made a significant deposit of manuscript materials in the National Library of Ireland, neither the first nor last act of generosity on behalf of the W. B. Yeats Estate. Prior to that act, those materials had been Iexamined and inventoried for him by a cadre of Yeats scholars, who collectively produced a typescript entitled “A Partial List of Manuscripts in the Collection of Senator Michael B. Yeats,” an aid to sustain the editorial work that has domi- nated Yeats studies for more than two generations already. Better known as the “MBY List,” this device consisted of 1,105 core items, many auxiliary ones, and an index, the whole of which essentially mirrored the Estate’s 1985 gift to the NLI and which accompanied the manuscripts—that is, all but 130 items that were crossed off the list.1 Half of these were batches of letters that Yeats and Lady Gregory had written to each other between 1897 and 1932.
  • Austin Clarke Papers

    Austin Clarke Papers

    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 83 Austin Clarke Papers (MSS 38,651-38,708) (Accession no. 5615) Correspondence, drafts of poetry, plays and prose, broadcast scripts, notebooks, press cuttings and miscellanea related to Austin Clarke and Joseph Campbell Compiled by Dr Mary Shine Thompson 2003 TABLE OF CONTENTS Introduction 7 Abbreviations 7 The Papers 7 Austin Clarke 8 I Correspendence 11 I.i Letters to Clarke 12 I.i.1 Names beginning with “A” 12 I.i.1.A General 12 I.i.1.B Abbey Theatre 13 I.i.1.C AE (George Russell) 13 I.i.1.D Andrew Melrose, Publishers 13 I.i.1.E American Irish Foundation 13 I.i.1.F Arena (Periodical) 13 I.i.1.G Ariel (Periodical) 13 I.i.1.H Arts Council of Ireland 14 I.i.2 Names beginning with “B” 14 I.i.2.A General 14 I.i.2.B John Betjeman 15 I.i.2.C Gordon Bottomley 16 I.i.2.D British Broadcasting Corporation 17 I.i.2.E British Council 17 I.i.2.F Hubert and Peggy Butler 17 I.i.3 Names beginning with “C” 17 I.i.3.A General 17 I.i.3.B Cahill and Company 20 I.i.3.C Joseph Campbell 20 I.i.3.D David H. Charles, solicitor 20 I.i.3.E Richard Church 20 I.i.3.F Padraic Colum 21 I.i.3.G Maurice Craig 21 I.i.3.H Curtis Brown, publisher 21 I.i.4 Names beginning with “D” 21 I.i.4.A General 21 I.i.4.B Leslie Daiken 23 I.i.4.C Aodh De Blacam 24 I.i.4.D Decca Record Company 24 I.i.4.E Alan Denson 24 I.i.4.F Dolmen Press 24 I.i.5 Names beginning with “E” 25 I.i.6 Names beginning with “F” 26 I.i.6.A General 26 I.i.6.B Padraic Fallon 28 2 I.i.6.C Robert Farren 28 I.i.6.D Frank Hollings Rare Books 29 I.i.7 Names beginning with “G” 29 I.i.7.A General 29 I.i.7.B George Allen and Unwin 31 I.i.7.C Monk Gibbon 32 I.i.8 Names beginning with “H” 32 I.i.8.A General 32 I.i.8.B Seamus Heaney 35 I.i.8.C John Hewitt 35 I.i.8.D F.R.
  • Fine Printing & Small Presses A

    Fine Printing & Small Presses A

    Fine Printing & Small Presses A - K Catalogue 354 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. Institutional billing requirements may, as always, be accommodated upon request.
  • The Building of the State the Buildingucd and the Royal College of Scienceof on Merrionthe Street

    The Building of the State the Buildingucd and the Royal College of Scienceof on Merrionthe Street

    The Building of the State The BuildingUCD and the Royal College of Scienceof on Merrionthe Street. State UCD and the Royal College of Science on Merrion Street. The Building of the State Science and Engineering with Government on Merrion Street www.ucd.ie/merrionstreet Introduction Although the Government Buildings complex on Merrion Street is one of most important and most widely recognised buildings in Ireland, relatively few are aware of its role in the history of science and technology in the country. At the start of 2011, in preparation for the centenary of the opening of the building, UCD initiated a project seeking to research and record that role. As the work progressed, it became apparent that the story of science and engineering in the building from 1911 to 1989 mirrored in many ways the story of the country over that time, reflecting and supporting national priorities through world wars, the creation of an independent state and the development of a technology sector known and respected throughout the world. All those who worked or studied in the Royal College of Science for Ireland or UCD in Merrion Street – faculty and administrators, students and porters, technicians and librarians – played a part in this story. All those interviewed as part of this project recalled their days in the building with affection and pride. As chair of the committee that oversaw this project, and as a former Merrion Street student, I am delighted to present this publication as a record of UCD’s association with this great building. Professor Orla Feely University College Dublin Published by University College Dublin, 2011.
  • Ancient Greek Tragedy and Irish Epic in Modern Irish

    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.
  • YEATS ANNUAL No. 8 in the Same Series

    YEATS ANNUAL No. 8 in the Same Series

    YEATS ANNUAL No. 8 In the same series YEATS ANNUAL Nos I, 2 Edited by Richard J. Finneran YEATS ANNUAL Nos 3, 4, 5, 6, 7 Edited by Warwick Gould THOMAS HARDY ANNUALS Nos I, 2, 3, 4 Edited by Norman Page O'CASEY ANNUALS Nos I, 2, 3, 4 Edited by Robert G. Lowery T. S. ELIOT ANNUAL No. I Edited by Shyamal Bagchee Further titles in preparation Series Standlna Order H 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 reading, Dublin, 24 January 1908. Photograph by Alvin Langdon Coburn, Private Collection, London. YEATS ANNUAL No.8 Edited by Warwick Gould M Editorial matter and selection© Warwick Gould 1991 Text© The Macmillan Press Ltd 1991 Softcover reprint of the hardcover 1st edition 1991 978-0-333-42112-3 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, 33-4 Alfred Place, London WC1E 7DP.
  • Yeats Library: Supplemental Cuala Press Books

    Yeats Library: Supplemental Cuala Press Books

    Yeats Library: Supplemental Cuala Press Books Last Number First name Title Place Publisher Date Notes name Sixteen Poems by William Allingham: Dun Emer 4001 Allingham William Dublin 1905 Selected by William Press Butler Yeats Translation of Cuala 4002 Be Thou my Vision Dublin [n.d.] an Old Irish Press hymn No. 37 of 450 Seven Winters by Cuala 4003 Bowen Elizabeth Dublin 1942 copies made Elizabeth Bowen Press Uncut Dafydd Ap Gwilym: Selected poems: Dafydd Ap Translated by Nigel Cuala No. 17 of 280 4004 Dublin 1944 Gwilym Heseltine with a Press copies preface by Frank O'Connor Dafydd Ap Gwilym: Selected poems: No. 105 of 280 Dafydd Ap Translated by Nigel Cuala 4004a Dublin 1944 copies made Gwilym Heseltine with a Press Uncut preface by Frank O'Connor Bookplate: Into the Light, and other Elizabeth Cuala 4005 Donaghy Lyle Poems by Lyle Dublin 1934 Corbet Yeats Press Donaghy 200 copies made Cuala 4006 Dowden Edward A Woman's Reliquary Dublin 1913 Uncut Press The Dun Emer Press 4007 and The Cuala Press 1932 1903-1932 250 copies made Uncut Inserted:'Songs by Francis Selections from the Ledwidge', The Cuala 4008 Dunsany Lord Writings of Lord Dublin 1912 Times, Aug Press Dunsany 1919 'To Captain the Lord Dunsany', New Ireland, Aug 18, 1917 Some Essays and Dun Emer 200 copies 4009 Eglinton John Passages by John Dublin 1905 Press made Eglinton; Selected by Yeats Library: Supplemental Cuala Press Books Last Number First name Title Place Publisher Date Notes name William Butler Yeats Love's Bitter-Sweet: Translations from the Irish Poets of the Cuala 500 copies 4010 Flower Robin Dublin 1925 Sixteenth and Press made Uncut Seventeenth Centuries, by Robin Flower 450 copies made Uncut Oliver St.
  • Literary Miscellany

    Literary Miscellany

    Literary Miscellany Chiefly Recent Acquisitions. Catalogue 316 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 considered 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 inventory 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. Institutional billing requirements may, as always, be accommodated upon request.
  • Bergsonian Movement and Multiplicity in the Works of WB Yeats

    Bergsonian Movement and Multiplicity in the Works of WB Yeats

    MCGUIRE, MEGHAN H., Ph.D. Gyres and Waves: Bergsonian Movement and Multiplicity in the Works of W.B. Yeats and Virginia Woolf. (2017) Directed by Dr. Anthony Cuda. 167 pp. At the beginning of the twentieth century, French philosopher, Henri Bergson, unsettled the way people understood time and memory by suggesting that our representation of time as measured and linear is actually a discussion of space. For Bergson, real durational time cannot be quantified or delineated; it must be experienced through intuition. Central to Bergson’s philosophy is an emphasis on movement and multiplicity; we exist not as stable entities but as constant, complex processes of becoming. His radical ideas about time, memory, consciousness, and evolution pushed back against a mechanistic and deterministic world-view with a philosophy that not only acknowledged the reality of perpetual change but embraced it—turning threatening chaos into productive creative force. Wildly popular, Bergson’s ideas saturated the literary and artistic landscape of what we now regard as modernism, embracing fluidity and change as well as fragmentation. This dissertation explores the presence of Bergsonian philosophy in the modernist works of W.B. Yeats and Virginia Woolf, investigating how seemingly disparate writers—like Yeats and Woolf—navigate a rapidly changing and fractured world by implementing patterns and creating systems of order. Focusing specifically on each author’s use of gyre and wave imagery, my study argues that Yeats and Woolf employ Bergsonian images of multidirectional movement as a way of holding binaries in tension with one another without the need for unity or resolution. Rather than enforcing a dualistic system that chooses between order and disorder, progress and decline, Yeats and Woolf find a way to artistically circumvent stasis in favor of a Bergsonian model of mobility and multiplicity.
  • Flashes of Modernity: Stage Design at the Abbey Theatre, 1902- 1966

    Flashes of Modernity: Stage Design at the Abbey Theatre, 1902- 1966

    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Flashes of modernity: stage design at the Abbey Theatre, 1902- 1966 Author(s) McCormack, Christopher Publication Date 2018-08-31 Publisher NUI Galway Item record http://hdl.handle.net/10379/14988 Downloaded 2021-09-28T08:53:59Z Some rights reserved. For more information, please see the item record link above. FLASHES OF MODERNITY: STAGE DESIGN AT THE ABBEY THEATRE, 1902-1966 A Doctoral Thesis Submitted to the O’Donoghue Centre for Drama, Theatre and Performance at National University of Ireland Galway By Christopher McCormack Supervised by Dr. Ian R. Walsh August 2018 2 ABSTRACT Responding to Guy Julier’s call for a “knowing practice” of design studies, this doctoral thesis reveals Ireland’s negotiation with modernity through stage design. I use historian T.J. Clark’s definition of modernity as “contingency,” which “turn[s] from the worship of ancestors and past authorities to the pursuit of a projected future”. Over the course of 60 years that saw the transformation of a pre-industrialised colony to a modernised republic, stage designs offered various possibilities of imagining Irish life. In the same period, the Abbey Theatre’s company shuttled itself from small community halls to the early 19th-century Mechanics’ Theatre, before moving to the commercial Queen’s Theatre, and finally arriving at the modern building that currently houses it. This thesis shines new light on that journey. By investigating the design references outside theatre, we can see how Abbey Theatre productions underlined new ways of envisioning life in Ireland.
  • National Library of Ireland Nuacht Leabharlann Náisiúnta Na Héireann IMPORTANT NOTICES Noted

    National Library of Ireland Nuacht Leabharlann Náisiúnta Na Héireann IMPORTANT NOTICES Noted

    NEWS Number 41: Winter 2010 The sun shone out brilliantly…the Highlanders presented arms, the band struck up ‘God Save the Queen’, and then, when the Viceregal Equipage, attended by a dashing crowd of Hussars, had rolled through the cheering crowds that surrounded the entrance gates of the new Museum and Library…these magnificent buildings had been formally and in fact thrown open to the use of the public. The Irish Times, Saturday 30 August, 1890 It was 120 years ago this year that the National Library of Ireland first began welcoming visitors to our landmark Kildare Street building. Although founded in 1877, for our first 13 years we remained based in nearby Leinster House, then owned by the Royal Dublin Society. The contract to design new buildings for the Library, and for the National Museum, was awarded to the Dublin firm of Thomas Deane and Son, and on 29 August 1890 our doors were officially opened. Leabharlann Náisiúnta na hÉireann From 11am the next morning, when all visitors were admitted, until the present day, the architecture and design of National Library of Ireland our building has been a constant source of admiration. It features a magnificent domed Reading Room reminiscent of the British Museum in London, and fine examples of craftsmanship throughout, including carved doors by Mulligan of Dublin, fireplaces by Carlo Cambi of Sienna, stained glass by Jones & Wallis of Birmingham and a tiled NUACHT mosaic floor in the entrance hall, including the word ‘Sapientia’ or wisdom. Building on this first, beautiful public space, we now also offer visitors a major exhibition area (currently home to our award-winning Yeats exhibition) and a lecture theatre in our main building, a Manuscripts Reading Room and exhibition space at 2/3 Kildare Street, and the National Photographic Archive in Temple Bar, which houses our photographic collections.
  • Inside the Election of Pope Francis an Exclusive Report Why Jesus Gerard O’Connell Movies Should P20 Be Strange P40

    Inside the Election of Pope Francis an Exclusive Report Why Jesus Gerard O’Connell Movies Should P20 Be Strange P40

    APRIL 1, 2019 THE JESUIT REVIEW OF FAITH AND CULTURE Inside the Election of Pope Francis An exclusive report Why Jesus Gerard O’Connell Movies Should p20 Be Strange p40 The Kickstarter Business Model p26 The Moral Limits of Markets p32 2 | AMERICAMAGAZINE.ORG APRIL 1, 2019 AMERICA | 3 2019-02_Brand-Ad-Campaign_america_v01_jg.indd 1 2/15/19 11:29 AM A First Draft of History Phil Graham, the late publisher of The fell, many of us had started to head for students and scholars for decades Washington Post, is often credited out of the square, looking for a place to come. Indeed, it is the first and so with popularizing the notion that to dry off and have a hot drink, when far definitive draft of this history. newspapers are “the first rough draft a roar from the crowd washed over us. ••• of history.” That was certainly true White smoke! But who? I am hard of Many of the folks who make in Mr. Graham’s day, the mid-20th hearing, and when the name was first America such a special place to work century, a time when newspapers so announced I thought the camerlengo are listed on our masthead in every dominated the national discourse had said “Broglio” rather than “Bergo- issue, but there are many more be- that New Yorkers saw fit to name two glio.” For a moment I wondered why yond that, including you, our readers, of our most famous squares for The the College of Cardinals would have as well as our board of directors and New York Times and The New York elected an American archbishop who our benefactors.