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This number of Yeats Annual collects the essays resulting from the University College Cork/ESB International Annual W. B. Yeats Lectures Series (2003-2008) by Roy Foster, Warwick Gould, John Kelly, Paul Muldoon, Bernard O’Donoghue and Helen Vendler. Those that were available in pamphlet form are now collectors’ items, but here is the complete series. These revised essays cover such themes as Yeats and the Refrain, Yeats as a Love Poet, Yeats, Ireland and Europe, the puzzles he created and solved with his art of poetic sequences, and his long and crucial interaction with the emerging T. S. Eliot. The series was inaugurated by a study of Yeats and his Books, which marked the gift to the Boole Library, Cork, of Dr Eamonn Cantwell’s collection of rare editions of books by Yeats (here catalogued by Crónán Ó Doibhlin). Many of the volume’s fifty-six plates offer images of artists’ designs and resulting first editions. This bibliographical theme is continued with Colin Smythe’s census of surviving copies of Yeats’s earliest separate publication, Mosada (1886) and a resultant piece by Warwick Gould on that dramatic poem’s source in the legend of The Phantom Ship. John Kelly reveals Yeats’s ghost-writing for Sarah Allgood; Geert Lernout discovers the source for Yeats’s ‘Tulka’, Günther Schmigalle unearths his surprising connexions with American communist colonists in Virginia, while Deirdre Toomey edits some new letters to the French anarchist, Auguste Hamon—all providing new annotation for standard editions. The volume is rounded with review essays by Colin McDowell (on A Vision, and Berkeley, Hone and Yeats), shorter reviews of current studies by Michael Edwards, Jad Adams and Deirdre Toomey, and obituaries of Jon Stallworthy (Nicolas Barker) and Katharine Worth (Richard Cave).
Yeats's Mask, Yeats Annual No. 19 is a special issue in this renowned research-level series. Fashionable in the age of Wilde, the Mask changes shape until it emerges as Mask in the system of A Vision. Chronologically tracing the concept through Yeats's plays and those poems written as 'texts for exposition' of his occult thought which flowers in A Vision itself (1925 and 1937), the volume also spotlights 'The Mask before The Mask' numerous plays including Cathleen Ni-Houlihan, The King's Threshold, Calvary, The Words upon the Window-pane, A Full Moon in March and The Death of Cuchulain. There are excurses into studies of Yeats's friendship with the Oxford don and cleric, William Force Stead, his radio broadcasts, the Chinese contexts for his writing of 'Lapis Lazuli'. His self-renewal after The Oxford Book of Modern Verse, and the key occult epistolary exchange 'Leo Africanus', edited from MSS by Steve L. Adams and George Mills Harper, is republished from the elusive Yeats Annual No. 1 (1982). The essays are by David Bradshaw, Michael Cade-Stewart, Aisling Carlin, Warwick Gould, Margaret Mills Harper, Pierre Longuenesse, Jerusha McCormack, Neil Mann, Emilie Morin, Elizabeth Muller and Alexandra Poulain, with shorter notes by Philip Bishop and Colin Smythe considering Yeats's quatrain upon remaking himself and the pirate editions of The Land of Heart's Desire. Ten reviews focus on various volumes of the Cornell Yeats MSS Series, his correspondence with George Yeats, and numerous critical studies. Yeats Annual is published by Open Book Publishers in association with the Institute of English Studies, University of London.
The concepts of Ireland and 'Irishness' are in constant flux in the wake of an ever-increasing reappraisal of the notion of cultural and national specificity in a world assailed from all angles by the forces of globalisation and uniformity. Reimagining Ireland interrogates Ireland's past and present and suggests possibilities for the future by looking at Ireland's literature, culture and history and subjecting them to the most up-to-date critical appraisals associated with sociology, literary theory, historiography, political science and theology.
The two great Yeats Family Sales of 2017 and the legacy of the Yeats family’s 80-year tradition of generosity to Ireland’s great cultural institutions provide the kaleidoscope through which these advanced research essays find their theme. Hannah Sullivan’s brilliant history of Yeats’s versecraft challenges Poundian definitions of Modernism; Denis Donoghue offers unique family memories of 1916 whilst tracing the political significance of the Easter Rising; Anita Feldman addresses Yeats’s responses to the Rising’s appropriation of his symbols and myths, the daring artistry of his ritual drama developed from Noh, his poetry of personal utterance, and his vision of art as a body reborn rather than a treasure preserved amid the testing of the illusions that hold civilizations together in ensuing wars. Warwick Gould looks at Yeats as founding Senator in the new Free State, and his valiant struggle against the literary censorship law of 1929 (with its present-day legacy of Irish anti-blasphemy law still presenting a constitutional challenge). Drawing on Gregory Estate documents, James Pethica looks at the evictions which preceded Yeats’s purchase of Thoor Ballylee in Galway; Lauren Arrington looks back at Yeats, Ezra Pound, and the Ghosts of The Winding Stair (1929) in Rapallo. Having co-edited both versions of A Vision, Catherine Paul offers some profound reflections on ‘Yeats and Belief’. Grevel Lindop provides a pioneering view of Yeats’s impact on English mystical verse and on Charles Williams who, while at Oxford University Press, helped publish the Oxford Book of Modern Verse. Stanley van der Ziel looks at the presence of Shakespeare in Yeats’s Purgatory. William H. O’Donnell examines the vexed textual legacy of his late work, On the Boiler while Gould considers the challenge Yeats’s intentionalism posed for once-fashionable post-structuralist editorial theory. John Kelly recovers a startling autobiographical short story by Maud Gonne. While nine works of current biographical, textual and literary scholarship are reviewed, Maud Gonne is the focus of debate for two reviewers, as are Eva Gore-Booth, Constance and Casimir Markievicz, Rudyard Kipling, David Jones, T. S. Eliot and his presence on the radio.
The forty-two chapters in this book consider Yeats's early toil, his practical and esoteric concerns as his career developed, his friends and enemies, and how he was and is understood. This Handbook brings together critics and writers who have considered what Yeats wrote and how he wrote, moving between texts and their contexts in ways that will lead the reader through Yeats's multiple selves as poet, playwright, public figure, and mystic. It assembles a variety of views and adds to a sense of dialogue, the antinomian or deliberately-divided way of thinking that Yeats relished and encouraged. This volume puts that sense of a living dialogue in tune both with the history of criticism on Yeats and also with contemporary critical and ethical debates, not shirking the complexities of Yeats's more uncomfortable political positions or personal life. It provides one basis from which future Yeats scholarship can continue to participate in the fascination of all the contributors here in the satisfying difficulty of this great writer.
The environment of a university – what we term a campus – is a place with special resonance. They have long been the setting for some of history’s most exciting experiments in the design of the built environment. Christopher Wren at Cambridge, Le Corbusier at Harvard, and Norman Foster at the Free University Berlin: the calibre of practitioners who have shaped the physical realm of academia is superlative. Pioneering architecture and innovative planning make for vivid assertions of academic excellence, while the physical estate of a university can shape the learning experiences and lasting outlook of its community of students, faculty and staff. However, the mounting list of pressures – economic, social, pedagogical, technological – currently facing higher education institutions is rendering it increasingly challenging to perpetuate the rich legacy of campus design. In this strained context, it is more important than ever that effective use is made of these environments and that future development is guided in a manner that will answer to posterity. This book is the definitive compendium of the prestigious sphere of campus design, envisaged as a tool to help institutional leaders and designers to engage their campus’s full potential by revealing the narratives of the world’s most successful, time-honoured and memorable university estates. It charts the worldwide evolution of university design from the Middle Ages to the present day, uncovering the key episodes and themes that have conditioned the field, and through a series of case studies profiles universally-acclaimed campuses that, through their planning, architecture and landscaping, have made original, influential and striking contributions to the field. By understanding this history, present and future generations can distil important lessons for the future. The second edition includes revised text, many new images, and new case studies of the Central University of Venezuela and Indian Institute of Management Ahmedabad.
This critical edition of the working notes for Dombey and Son (1848) is ideal for readers who wish to know more about Charles Dickens’s craft and creativity. Drawing on the author’s manuscript in the Victoria and Albert Museum, London—and containing hyperlinked facsimiles—Dickens’s Working Notes for Dombey and Son offers a new digital transcription with a fresh commentary by Tony Laing. Unique and innovative, this is the only edition to make Dickens’s working methods visible. John Mullan has called Dombey and Son Dickens’s 'first great novel.' Set amid the coming of the railways, it tells the story of a powerful man—typical of the commercial and banking magnates of the period—and the effect he has on his family and those around him. Laing presents the worksheets and other materials (transcribed for the first time) that together grew into the novel. Reading the book alongside this edition of the notes enlarges the understanding of Dickens’s art among teachers, students, researchers and Dickens enthusiasts. As cultural tastes shift from print to digital, Dickens’s Working Notes helps preserve Dickens’s work for the future. The magnifying and linking functions of the edition mean that the notes are more easily and usefully—not to mention accessibly—exhibited here than elsewhere. Laing gives present-day readers the chance not only to recapture the effect of serial publication but also to gain greater insight into the making of a work which, by general agreement and Dickens’s own admission, has a special place in his development as a novelist.