Arguing that art is a form of social praxis, this book examines the capitalist ethos of serial reproduction of objects as one that also produces individuals as serial types. Art as praxis makes possib
Irish literature after Yeats and Joyce, from the 1920s onwards, includes texts that have been the subject of much contention. For a start, how should Irish literature be defined: as works which have b
From the multiple award-winning author of The Master and Brooklyn, an illuminating look at Irish culture, history, and literature through the lives of the fathers of three of Ireland’s greatest writers—Oscar Wilde's father, William Butler Yeats's father, and James Joyce's father—“Thrilling, wise, and resonant, this book aptly unites Tóibín’s novelistic gifts for psychology and emotional nuance with his talents as a reader and critic, in incomparably elegant prose” (The New York Times Book Review).Colm Tóibín begins his incisive, revelatory Mad, Bad, Dangerous to Know with a walk through the Dublin streets where he went to university and where three Irish literary giants came of age. Oscar Wilde, writing about his relationship with his father stated: “Whenever there is hatred between two people there is bond or brotherhood of some kind…you loathed each other not because you were so different but because you were so alike.” W.B. Yeats wrote of his father, a painter: “It is this infirmity
From Colm Tóibín, the formidable award-winning author of The Master and Brooklyn, an illuminating, intimate study of Irish culture, history, and literature told through the lives and work of
"This monograph is based on archival research and close readings of James Joyce's and W. B. Yeats's poetics and political aesthetics. Georges Sorel's theory of social myth is used as a starting point
What was the ethical perspective of modernist literature? How did Yeats, Eliot, Joyce, Woolf and Beckett represent ethical issues and develop their moral ideas? Lee Oser argues that thinking about human nature restores a perspective on modernist literature that has been lost. He offers detailed discussions of the relationship between ethics and aesthetics to illuminate close readings of major modernist texts. For Oser, the reception of Aristotle is crucial to the modernist moral project, which he defines as the effort to transform human nature through the use of art. Exploring the origins of that project, its success in modernism, its critical heirs, and its possible future, The Ethics of Modernism brings a fresh perspective on modernist literature and its interaction with ethical strands of philosophy. It offers many new insights to scholars of twentieth-century literature as well as intellectual historians.
This book is a study of writing processes of six modernist authors: Hopkins, Yeats, Conrad, Forster, Joyce, and Woolf, from the 'golden age of manuscripts'. Finn Fordham examines how these processes
This study of Irish writers in London and Europe looks for manifestations of imperialism and evidence of British/English identities in the writing of William Butler Yeats, John Millington Synge, and J
This book examines the function of irony and humor in Carlyle's Sartor Resartus, Newman's Apologist and Yeats' A Vision. Steven Helmling identifies in these three unusual texts a comic sensibility that has its roots in Augustan satire. In his view, the works are 'proto-modernist', exemplifying a major cultural shift that was to find expression in the avant-garde comic self-consciousness and the 'black humor' of writers like Joyce, Beckett and Pynchon. Hemling analyzes the motives and functions of parody, the uses of difficulty and self-referentiality, and the development of ironic personae (in Carlyle) or presentations of the self as eccentric or foolish (in Newman and Yeats). Such devices were central to these imaginative writers, who sought to address an audience that was increasingly homogenized by the emergence of mass culture. The book attempts to explain why, over the course of a century, ambitious works of art became increasingly difficult and demanding, culminating in the daunt
This book suggests that James Joyce, like Yeats and his fellow Revivalists, was attracted to the west of Ireland as a place of authenticity and freedom. It shows how his acute historical sensibility i
James Joyce and the Act of Reception is a detailed account of Joyce's own engagement with the reception of his work. It shows how Joyce's writing, from the earliest fiction to Finnegans Wake, addresses the social conditions of reading (particularly in Ireland). Most notably, it echoes and transforms the responses of some of Joyce's actual readers, from family and friends to key figures such as Eglinton and Yeats. This study argues that the famous 'unreadable' quality of Joyce's writing is a crucial feature of its historical significance. Not only does Joyce engage with the cultural contexts in which he was read but, by inscribing versions of his own contemporary reception within his writing, he determines that his later readers read through the responses of earlier ones. In its focus on the local and contemporary act of reception, Joyce's work is seen to challenge critical accounts of both modernism and deconstruction.
Marked by names such as W. B. Yeats, James Joyce and Patrick Pearse, the decade 1910–1920 was a period of revolutionary change in Ireland, in literature, politics and public opinion. What fed the creative and reformist urge besides the circumstances of the moment and a vision of the future? The leading experts in Irish history, literature and culture assembled in this volume argue that the shadow of the past was also a driving factor: the traumatic, undigested memory of the defeat and death of the charismatic national leader Charles Stewart Parnell (1846-1891). The authors reassess Parnell's impact on the Ireland of his time, its cultural, religious, political and intellectual life, in order to trace his posthumous influence into the early twentieth century in fields such as political activism, memory culture, history-writing, and literature.
The first two decades of Irish independence were fraught and the formation of the post-imperial state was a continual controversy. The conditional perception of what Ireland was, should, or might be coincided with a revolution in the arts. Now forgotten cultures flared and disappeared, little magazines, cabaret clubs, riots and theatres erupting in a fluctuating public sphere. Nicholas Allen reads the crisis of Irish independence as formative of newly experimental relations between novels, poems, paintings, artists and audiences. The conditional, unfinished spaces of the modernist artwork were an unfinished civil war. In connecting these texts and times, Allen locates Joyce, Beckett, Jack and W. B. Yeats in the controversies surrounding the Irish state after 1922. With its interdisciplinary perspective on artists and contexts, this book is a major contribution to the study of Irish culture of the 1920s and 30s and of modernism's histories.
In Modernism and the Celtic Revival, Gregory Castle examines the impact of anthropology on the work of Irish Revivalists such as W. B. Yeats, John M. Synge and James Joyce. Castle argues that anthropology enabled Irish Revivalists to confront and combat British imperialism, even as these Irish writers remained ambivalently dependent on the cultural and political discourses they sought to undermine. Castle shows how Irish Modernists employed textual and rhetorical strategies first developed in anthropology to translate, reassemble and edit oral and folk-cultural material. In doing so, he claims, they confronted and undermined inherited notions of identity which Ireland, often a site of ethnographic curiosity throughout the nineteenth-century, had been subject to. Drawing on a wide range of post-colonial theory, this book should be of interest to scholars in Irish studies, post-colonial studies and Modernism.
