Handlist of the Herlitschka Archive
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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. -
Graham, Catherine, February 2006, Keep Rejects
Catherine Graham Collection: February 2006, 1. Krans, Horatio Sheafe, William Butler Yeats and the Irish Literary Revival. London: William Heinemann, 1905. 2. Moore, George, Confessions of a Young Man. London and Toronto: William Heinemann, 1935. 3. Meredith, George, A Reading of Life: With Other Poems. Westminster: Archibald Constable, 1901. 4. Synge, J.M., (Robin Skelton ed.), Some Sonnets from “Laura in Death” after the Italian of Frencesco Petrarch. Dolmen Eds. Dublin: Dolmen Press Ltd., 1971. 5. Skelton, Robin (ed.), The Collected Plays of Jack B. Yeats. Indianapolis and New York: Bobbs-Merrill Co., 1971. 6. Johnston, Denis, The Brazen Horn: A Non-Book for those, who, in revolt today, could be in command tomorrow. Dublin: Dolmen Press, 1976. 7. Skelton, Robin, An Irish Album. Dublin: Dolmen Press, 1969. 8. Montague, John, All Legendary Obstacles. Dublin: Dolmen Press, 1966. 9. Synge, J.M., My Wallet of Photographs. Dublin: Dolmen Press, 1971. 10. Clarke, Austin, Mnemosyne Lay in Dust. Dublin: Dolmen Press, 1966. 11. O’Grady, Desmond, The Gododdin. Dublin: Dolmen Press, 1977. 12. Bickley, Francis, J.M. Synge and the Irish Dramatic Movement. Toronto: Musson Book Co. 13. Horton, W.T. and W.B. Yeats, A Book of Images. London: Unicorn Press, 1898. 14. Yeats, W.B. (ed.), Beltaine: An Occasional Publication. Nos. 1, 2, 3, 1899-1900. London: Sign of the Unicorn, 1900. 15. Poems and Ballads of Young Ireland, 1888. Dublin: M.H. Gill and Son, 1888. 16. Moore, George, Heloise and Abelard. In two volumes, V.I. New York: Boni and Liveright, 1921. 17. Raine, Kathleen, Yeats, The Tarot and the Golden Dawn. -
The Political Aspect of Yeats's Plays
University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1-1-1969 The unlucky country: The political aspect of Yeats's plays. Dorothy Farmiloe University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Farmiloe, Dorothy, "The unlucky country: The political aspect of Yeats's plays." (1969). Electronic Theses and Dissertations. 6561. https://scholar.uwindsor.ca/etd/6561 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. THE UNLUCKY COUNTRY: THE POLITICAL ASPECT OF YEATS'S PLAYS BY DOROTHY FARMILOB A Thesis Submitted to the Faculty of Graduate Studies through the Department of English in Partial Fulfilment of the Requir^ents for the Degree of Master of Arts at the University of Windsor Windsor, Ontario 1969 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: EC52744 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
Yeats, Bloom, and the Dialectics of Theory, Criticism, and Poetry
Yeats, Bloom, and the Dialectics of Theory, Criticism, and Poetry by Steven J. Skelley, MA ~:~.:.; .. "<f./ -, '\ .> t.(r{"ri'"'1 I ... <.. II- -. ' Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy, October 1992 Acknowledgments To my supervisors, Dr. Bernard McGuirk (Hispanic Studies and Critical Theory) and Dr. David Murray (American Studies and Head of Postgraduate School of Critical Theory), lowe a great debt of gratitude for their enthusiasm for this proj ect. Their intellectual and practical support was priceless, and their cooperation with each other and with me never failed as a model of supervisorial expertise. All PhD candidates ought to be blessed with such supervision. I also wish to thank Dr. Douglas Tallack (American Studies and former Head of the School of Cri tical Theory) for his encouragement both intellectual and administrative towards the successful completion of this project. To the PhD students and to the supervisorial staff who attended work-in-progress seminars in the School of Critical Theory, and who offered so many helpful comments, suggestions, and opinions, I also give thanks. The staff of the Hallward Library must not go unmentioned, for their fine and courteous assistance throughout these four years. Dedication This dissertation is dedicated to my epipsyche and muse, Hala Darwish, whose inspirational presence in my heart was, it may be said, the magic within these evasions, these wanderings . Until one day I met a star that burned Bright in the heart of my heavenly breast, And then I knew why I was who I was, And why my soul would be forever lost In the folds of her voice raging in my veins SJS, August 1992 ABSTRACT This thesis begins by showing how a strong and subtle challenge to poetry and theories of poetry has been recently argued by writers like Paul de Man and J. -
Hermetic Philosophy and Dual Selfhood in Yeats's
“An Image of Mysterious Wisdom”: Hermetic Philosophy and Dual Selfhood in Yeats’s Poetic Dialogues Treball de Fi de Grau/ BA dissertation Author: Paula Moschini Izquierdo Supervisor: Jordi Coral Escolà Departament de Filologia Anglesa i de Germanística Grau d’Estudis Anglesos June 2018 CONTENTS 0. Introduction ...................................................................................................................... 1 0.1. Methodology and Analysed Concepts ................................................................................... 1 0.2. Yeats and Philosophy: The Self and the Antinomies ......................................................... 2 0.3. The Hermetic Dialogue ............................................................................................................. 7 0.4. The Aesthetics of Artistic Reinterpretation: The Symbol ................................................ 9 1. Ego Dominus Tuus ....................................................................................................... 10 1.1. The Tower as a Symbol for the Self and “the Image” ..................................................... 11 1.2. Unity of Being in Artists ......................................................................................................... 14 1.3. A Poem about the Necessity of the Intuitive Wisdom in Poetry ................................... 16 2. A Dialogue of Self and Soul ........................................................................................ 18 2.1. Love and War: The Eternal -
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. -
The Art of William Butler and Jack Yeats. Artsedge Curricula, Lessons and Activities
DOCUMENT RESUME ED 477 330 CS 511 355 AUTHOR Karsten, Jayne TITLE Magic Words, Magic Brush: The Art of William Butler and Jack Yeats. ArtsEdge Curricula, Lessons and Activities. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, DC. SPONS AGENCY National Endowment for the Arts (NFAH), Washington, DC.; MCI WorldCom, Arlington, VA.; Department of Education, Washington, DC. PUB DATE 2002-00-00 NOTE 25p. AVAILABLE FROM For full text: http://artsedge.kennedy-center.org/ teaching_materials/curricula/curricula.cfm?subject_id=LNA. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PCO2 Plus Postage. DESCRIPTORS *Art Expression; Class Activities; *Classroom Techniques; *Cultural Context; *Foreign Countries; Interdisciplinary Approach; Learning Activities; *Poetry; Secondary Education; Student Educational Objectives; Teacher Developed Materials; Units of Study IDENTIFIERS Ireland; *Yeats (William Butler) ABSTRACT This curriculum unit, designed for grades 7-12, integrates various artistic disciplines with geography, history, social studies, media, and technology. This unit on William Butler Yeats, the writer, and Jack Yeats, the painter, seeks to immerse students in a study of the brothers as voices of Ireland and as two of the most renowned artists of the late 19th and early 20th centuries. The unit is dedicated also to helping students see how the outlook of an age controls cultural expression, and how this expression is articulated in similar ways throughout genres of art. To help effect these major goals, focus in the unit is placed on: the impact of geography, place, and family on both William Butler Yeats and Jack Yeats; the influence of personalities of the time period on the two artists;. -
Maeterlinck's Pelléas Et Mélisande and Yeats's the Countess Cathleen
International Yeats Studies Volume 2 Issue 1 Article 2 November 2017 Music, Setting, Voice: Maeterlinck's Pelléas et Mélisande and Yeats's The Countess Cathleen Michael McAteer Follow this and additional works at: https://tigerprints.clemson.edu/iys Recommended Citation McAteer, Michael (2017) "Music, Setting, Voice: Maeterlinck's Pelléas et Mélisande and Yeats's The Countess Cathleen," International Yeats Studies: Vol. 2 : Iss. 1 , Article 2. DOI: https://doi.org/10.34068/IYS.02.01.01 Available at: https://tigerprints.clemson.edu/iys/vol2/iss1/2 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]. Music, Setting, Voice: Maeterlinck’s Pelléas et Mélisande and Yeats’s The Countess Cathleen Michael McAteer aurice Maeterlinck’s Le trésor des humbles (1896) was first translated into English by Alfred Sutro in 1897 as The Treasure of the Humble. In one of the essays included in this volume, “The Awakening of the MSoul,” Maeterlinck writes of the arrival of a new spiritual epoch in his time, one in which the soul “in obedience to unknown laws, seems to rise to the very surface of humanity.”1 Later in the same essay, he observes this new moment in a transformation of the nature of silence itself, one he judges “strange and inexplicable.”2 As Katharine Worth has observed, Arthur Symons believed that Maeterlinck’s art itself had “come nearer that any other art to being the voice of silence.”3 In his review of The Treasure of the Humble for The Bookman in July 1897, Yeats felt that while Maeterlinck’s thought “lacks the definiteness of the great mystics,” still his book “shows us common arts and things, with the light of the great mystics, and a new light that was not theirs, beating upon them” (CW9 341). -
The Afterlives of the Irish Literary Revival
The Afterlives of the Irish Literary Revival Author: Dathalinn Mary O'Dea Persistent link: http://hdl.handle.net/2345/bc-ir:104356 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2014 Copyright is held by the author, with all rights reserved, unless otherwise noted. Boston College The Graduate School of Arts and Sciences Department of English THE AFTERLIVES OF THE IRISH LITERARY REVIVAL a dissertation by DATHALINN M. O’DEA submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2014 © copyright by DATHALINN M. O’DEA 2014 Abstract THE AFTERLIVES OF THE IRISH LITERARY REVIVAL Director: Dr. Marjorie Howes, Boston College Readers: Dr. Paige Reynolds, College of the Holy Cross and Dr. Christopher Wilson, Boston College This study examines how Irish and American writing from the early twentieth century demonstrates a continued engagement with the formal, thematic and cultural imperatives of the Irish Literary Revival. It brings together writers and intellectuals from across Ireland and the United States – including James Joyce, George William Russell (Æ), Alice Milligan, Lewis Purcell, Lady Gregory, the Fugitive-Agrarian poets, W. B. Yeats, Harriet Monroe, Alice Corbin Henderson, and Ezra Pound – whose work registers the movement’s impact via imitation, homage, adaptation, appropriation, repudiation or some combination of these practices. Individual chapters read Irish and American writing from the period in the little magazines and literary journals where it first appeared, using these publications to give a material form to the larger, cross-national web of ideas and readers that linked distant regions. -
The Romantic Moderns: 56:350:594: H7 Syllabus 5 July 2007 Barbarese Home Page: Email: [email protected]
The Romantic Moderns: 56:350:594: H7 Syllabus 5 July 2007 Barbarese Home Page: http://crab.rutgers.edu/~barbares/ Email: [email protected] Required Texts: The Norton Anthology of Modern and Contemporary Poetry, Third Edition, ed. Jahan Ramazani, Richard Ellmann, and Robert O’Clair. (Vol I: 0-393-97791-9) * L. Frank Baum, The Wizard of Oz Frances Hogdson Burnett, The Secret Garden (WW Norton, 2006). (0-393-92635-4) Lucy Maud Montgomery, Anne of Green Gables Yeats’s Poetry, Drama and Prose, ed. James Pethica (WW Norton, 2000). (0-393-97497-9) ** Virginia Woolf, To the Lighthouse Week 1 Session 1 (Monday, 9 July) Introduction to the course and distribution of materials. The Nineteenth-Century Background I: What Romanticism Was English Romanticism (Webposting). o The First Generation: Wordsworth (1770-1850): “We Are Seven,” “My Heart Leaps Up,” “I Wandered Lonely As a Cloud,” Ode: Intimations of Immortality,” “Lines Written in Early Spring,” “The Boy of Winander” (webpost) o The Second Generation: Shelley (1793-1822): “Ozymandias,” “Mont Blanc” (webpost) Continental Romanticism: Baudelaire, “Correspondences” (webpost) Session 2 (Thursday, 12 July): The Nineteenth-Century Background II: Late Nineteenth Century Romanticism American Romanticism o Whitman (1819-1892): “A Noiseless Patient Spider” o Poe (1809-1849): “Sonnet—To Science” webpost o Emerson: “Each and All” Late Victorian and Pre-Modernism: Disinterestedness o Arnold, “Dover Beach”; essay, “The Function of Criticism” (webpost) o Hardy: “Hap,” “The Darkling Thrush,” “Channel Firing,” in NAMP. Baum, The Wizard of Oz Week 2 Session 3 (Monday,16 July): Canonical or High Modernism The High Modernist Axis: Eliot, Pound, et al T.S. -
Literary Review
A BIRD’S EYE VIEW: EXPLORING THE BIRD IMAGERY IN THE LYRIC POETRY OF WILLIAM BUTLER YEATS By ERIN ELIZABETH RISNER A Thesis Submitted to the Faculty of the Graduate Studies Division of Ohio Dominican University Columbus, Ohio in partial fulfillment of the requirements for the Degree of MASTERS OF ARTS IN LIBERAL STUDIES MAY 2013 2 CERTIFICATION OF APPROVAL A BIRD’S EYE VIEW: EXPLORING THE BIRD IMAGERY IN THE LYRIC POETRY OF WILLIAM BUTLER YEATS By ERIN ELIZABETH RISNER Thesis Approved: _______________________________ ______________ Dr. Ronald W. Carstens, Ph.D. Date Professor of Political Science Chair, Liberal Studies Program ________________________________ ______________ Dr. Martin R. Brick, Ph.D. Date Assistant Professor of English _________________________________ ______________ Dr. Ann C. Hall, Ph. D. Date Professor of English 3 ACKNOWLEDGEMENTS I wish to express my appreciation to Dr. Martin Brick for all of his help and patience during this long, but rewarding, process. I also wish to thank Dr. Ann Hall for her final suggestions on this thesis and her Irish literature class two years ago that began this journey. A special thank you to Dr. Ron Carstens for his final review of this thesis and guidance through Ohio Dominican University’s MALS program. I must also give thanks to Dr. Beth Sutton-Ramspeck, who has guided me through academia since English Honors my freshman year at OSU-Lima. Final acknowledgements go to my family and friends. To my husband, Axle, thank you for all of your love and support the past three years. To my parents, Bob and Liz, I am the person I am today because of you. -
The Evolution of Yeats's Dance Imagery
THE EVOLUTION OF YEATS’S DANCE IMAGERY: THE BODY, GENDER, AND NATIONALISM Deng-Huei Lee, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: David Holdeman, Major Professor Peter Shillingsburg, Committee Member Scott Simpkins, Committee Member Brenda Sims, Chair of Graduate Studies in English James Tanner, Chair of the Department of English C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Lee, Deng-Huei, The Evolution of Yeats’s Dance Imagery: The Body, Gender, and Nationalism. Doctor of Philosophy (British Literature), August 2003, 168 pp., 6 illustrations, 147 titles. Tracing the development of his dance imagery, this dissertation argues that Yeats’s collaborations with various early modern dancers influenced his conceptions of the body, gender, and Irish nationalism. The critical tendency to read Yeats’s dance emblems in light of symbolist- decadent portrayals of Salome has led to exaggerated charges of misogyny, and to neglect of these emblems’ relationship to the poet’s nationalism. Drawing on body criticism, dance theory, and postcolonialism, this project rereads the politics that underpin Yeats’s idea of the dance, calling attention to its evolution and to the heterogeneity of its manifestations in both written texts and dramatic performances. While the dancer of Yeats’s texts follow the dictates of male-authored scripts, those in actual performances of his works acquired more agency by shaping choreography. In addition to working directly with Michio Ito and Ninette de Valois, Yeats indirectly collaborated with such trailblazers of early modern dance as Loie Fuller, Isadora Duncan, Maud Allan, and Ruth St.