Essays and Introductions

Yeats, W. B.

doi:10.1007/978-1-349-00618-2

Cited by 475 publications

(21 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…O adjetivo "histérico(a)", que havia-se popularizado como qualificativo para toda forma de desrazão, sintetizava a gama de "insanidades" imputadas aos nacionalistas conservadores, permitindo a James Joyce (1959) referir-se ao Gaelic Revival como um "nacionalismo histérico" (p. 186) e a W. B. Yeats (1961) descrever os nacionalistas puritanos como "uma histérica que faz acusações desmedidas e crê no impossível" (p. 314). Mas entre os literatos foi O'Casey quem mais se apropriou do léxico psiquiátrico para caracterizar o Levante de 1916 como um evento não só histórico, mas também histérico.…”

Section: Dublin Cidade Hist(ó)(é)ricaunclassified

A resistência ao discurso nacionalista hegemônico na dramaturgia de Sean O’Casey

Sousa¹

2019

Literatura e Autoritarismo

View full text Add to dashboard Cite

A fim de provar a virilidade dos homens irlandeses, subestimados pelo império britânico, o nacionalismo anticolonial implicou suspensão provisória do código de masculinidade civil em favor do código de masculinidade cívica, na qual o romance heteroerótico deveria ser proscrito em benefício da nação. Sean O’Casey, divergente desse ideário propalado pelo teatro nacionalista, enfoca em suas obras o descaso pela mulher-carne em favor da mulher-símbolo. Mediante exame da peça The Plough and the Stars, este trabalho verifica como o dramaturgo desconstrói o mito sacrificial na medida em que denuncia a patologização do nacionalismo como histeria coletiva decorrente da interdição a Eros.

show abstract

Section: Dublin Cidade Hist(ó)(é)ricaunclassified

A resistência ao discurso nacionalista hegemônico na dramaturgia de Sean O’Casey

Sousa¹

2019

Literatura e Autoritarismo

View full text Add to dashboard Cite

show abstract

“…It is a useful distinction, though some participatory institutions, like the Gaelic League, published journals and textbooks, while newspaper editors were often involved in public debates and political parties. Dublin‐based revivalist groups for the most part fall into these broad categories, as do similar ones in London, where Yeats helped found the Irish Literary Society in 1891, and Ulster, where the Gaelic League, the Ulster Literary Theatre and the Henry Joy McCracken Literary Society all flourished up to 1921 (Hutton 120–4; Kirkland 67–8). Many of these institutions are ‘minor’ in the sense theorized, in the Irish context, by David Lloyd.…”

Section: Reviving the Revivalmentioning

confidence: 99%

Irish Revivalism: Critical Trends and New Directions

Castle

2011

Literature Compass

View full text Add to dashboard Cite

Irish Revivalism is one of the most influential and most often misunderstood movements in the late 19th century. Though a form of cultural nationalism and often regarded as a form of anti‐colonial resistance, it has long been criticized for complicity with various forms of academic and political discourse connected with the British imperial state. It has also been criticized for the role played by Anglo‐Irish Literary Revivalists like W. B. Yeats, J. M. Synge and Lady Augusta Gregory. Finally, Irish Revivalism has long been understood as possessing a naïve and nostalgic view of the past, one that hides a desire to restore and preserve a pristine pre‐colonial Celtic culture. All of these criticisms have some merit if applied to individual works. However, a critical examination of Revivalist discourse at large reveals a much more complex historical imagination, one that seeks, through a dialectical logic of misrecognition to correct historical misrepresentations and to use the past in a critical, tactical fashion, to forge an Irish nation and national identity. This is as true of Anglo‐Irish as it is of Gaelo‐Catholic Revivalists, for both groups were trying, in very different ways, to correct historical misrepresentations of the Irish people and to achieve national independence.

show abstract

“…His own dedication to poetic form was absolute, as he made clear in his 'General Introduction to my Work': 'Because I need a passionate syntax for passionate subject matter I compel myself to accept those traditional metres that have developed with the language'. 11 Pound would always insist that Yeats created musical 'rhythms' while mediocre poets churned out 'metres', but the distinction between a mechanical metre and a live, organic rhythm can hardly be absolute. In Yeats' case, rhythm does not supplant metre, but animates it: 'Rhythm is the ligament of poetry, connecting the outward tap of the metre with a pulse which follows the two imponderables of sense and voice'.…”

mentioning

confidence: 99%

Metres and the Pound: Taking the Measure of British Modernism

Ingelbien

2011

European Review

View full text Add to dashboard Cite

Seen in the broader context of European modernism, British modernist literature stands out through the limited role of collective avant-gardes and the conservative or reactionary politics of the writers who make up the canon of modernist poetry. This article explores how these peculiarities are replicated in the use of traditional poetic forms (metres in particular) in the works of W.B. Yeats (1865–1939), Ezra Pound (1885–1972) and T.S. Eliot (1888–1965). As modernist (rather than avant-garde) writers, those poets rejected or backed away from free verse and simultaneously cultivated forms that harked back to older and less insular poetic traditions than the ones that dominated mainstream English poetry in the Victorian period.

show abstract

Essays and Introductions

Cited by 475 publications

References 0 publications

A resistência ao discurso nacionalista hegemônico na dramaturgia de Sean O’Casey

A resistência ao discurso nacionalista hegemônico na dramaturgia de Sean O’Casey

Irish Revivalism: Critical Trends and New Directions

Metres and the Pound: Taking the Measure of British Modernism

Contact Info

Product

Resources

About