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This book is a resource to enable scholars and students in Yeats studies to explore the materials in his library, which, together with his unpublished papers and manuscripts, forms part of the writer’s archive in the National Library. Generally, this first volume describes the evidence that he and his wife, George, left in books by other authors, including extensive indications of close reading and thinking on a surprising range of subjects. This book could not have been written without the generous participation of the Yeats family over many years. Their legacy, now entrusted to the National Library, is robust and endless in potential. This book is about individual cases but also the building of an oeuvre. In short, this book enriches our understanding of Yeats’s accomplishment as a writer in over fifty years of creative effort and nearly seventy-four years of abundant life.
This book is a resource to enable scholars and students in Yeats studies to explore the materials in his library, which, together with his unpublished papers and manuscripts, forms part of the writer’s archive in the National Library. Continuing from the first volume (Reading Notes), Volume II describes copies of books he wrote or edited solely in his name and subsequently revised or marked for other purposes, on occasion aided by his wife and others. This book could not have been written without the generous participation of the Yeats family over many years. Their legacy, now entrusted to the National Library, is robust and endless in potential. This book is about individual cases but also the building of an oeuvre.
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.
Yeats, Philosophy, and the Occult collects seven new essays on aspects of Yeats's thought and reading, from ancient and modern philosophy and cosmological doctrines, mysticism and esoteric thought.
This book is itself a resource to enable scholars and students in Yeats studies to explore the materials in his library, which, together with most of his unpublished papers and manuscripts, forms part of the writer's archive in the National Library, and all are available for consultation. This book could not have been written without the generous participation of the Yeats family over many years. Their legacy, now entrusted to the National Library, is robust and endless in potential. This book is about individual cases but also the building of an oeuvre. In short, this book enriches our understanding of Yeats's accomplishment as a writer in over fifty years of creative effort and nearly seventy-four years of abundant life.
Edited collection from acclaimed contemporary Woolf scholars, exploring Virginia Woolf’s complex engagement with the natural world, an engagement that was as political as it was aesthetic.
"Teaches more than how to read a particular novel; it teaches us more profoundly how to read anything. This, I think, is the book's main virtue. It teaches us readers to transform the brute fact of our world."--Hugh Kenner
This beautifully illustrated book traces W. B. Yeats's fascination with the visual arts from his early years, which were strongly influenced by his father's paintings and the Pre-Raphaelite brotherhood, to his celebration in his old age of Greek sculpture, Byzantine mosaics, and Michaelangelo's art.