This book considers the cultural residue from pre-Christian Ireland in Synge's plays and performances. By dramatising a residual culture in front of a predominantly modern and political Irish Catholic middle class audience, the book argues that Synge attempted to offer an alternative understanding of what it meant to be "modern" at the beginning of the twentieth century. The book draws extensively on Synge's archive to demonstrate how pre-Christian residual culture informed not just how he wrote and staged pre-Christian beliefs, but also how he thought about an older, almost forgotten culture that Catholic Ireland desperately wanted to forget. Each of Synge's plays is considered in an individual chapter, and they identify how Synge's dramaturgy was informed by pre-Christian beliefs of animism, pantheism, folklore, superstition and magical ritual.

This book considers the cultural residue from pre-Christian Ireland in Synge's plays and performances. By dramatising a residual culture in front of a predominantly modern and political Irish Catholic middle class audience, the book argues that Synge attempted to offer an alternative understanding of what it meant to be "modern" at the beginning of the twentieth century. The book draws extensively on Synge's archive to demonstrate how pre-Christian residual culture informed not just how he wrote and staged pre-Christian beliefs, but also how he thought about an older, almost forgotten culture that Catholic Ireland desperately wanted to forget. Each of Synge's plays is considered in an individual chapter, and they identify how Synge's dramaturgy was informed by pre-Christian beliefs of animism, pantheism, folklore, superstition and magical ritual.

Because every literary image is also a mental image, and because every mental image is a representation of an absent entity, Christopher Collins argues, imagination is a poiesis, a making-up, an act of play for both author and reader. In a book that stands at the intersection of poetic theory and cognitive psychology, Collins considers the processes by which language mediates mental images to make this play possible. The Poetics of the Mind's Eye examines the relation of mind to eye, or of mental imagination to visual perception. This work offers an analysis of the reading act that is at once elegant and profound. It covers an enormous body of material-from contemporary hermeneutics to studies in memory and perception-and applies the resulting observations with brilliance to a range of poetry, ancient and modern. The heart of the study consists of Collins's original delineation and application of six "cognitive modes" of reading: perception, retrospection, assertion, introspection, expectation, and judgment. In addition, Collins considers the impact of the movement from oral to print-literate culture, examines the work of seventeenth- and eighteenth-century empirical philosophers on the nature and power of the imagination, and explores the ways in which nineteenth- and twentieth-century literary theorists, linguists, and psychologists are heirs to this empirical tradition. The Poetics of the Mind's Eye will be of interest to students and scholars of literary theory and criticism.

The quest to understand the evolution of the literary mind has become a fertile field of inquiry and speculation for scholars across literary studies and cognitive science. In Paleopoetics, Christopher Collins's acclaimed earlier title, he described how language emerged both as a communicative tool and as a means of fashioning other communicative tools-stories, songs, and rituals. In Neopoetics, Collins turns his attention to the cognitive evolution of the writing-ready brain. Further integrating neuroscience into the popular field of cognitive poetics, he adds empirical depth to our study of literary texts and verbal imagination and offers a whole new way to look at reading, writing, and creative expression. Collins begins Neopoetics with the early use of visual signs, first as reminders of narrative episodes and then as conventional symbols representing actual speech sounds. Next he examines the implications of written texts for the play of the auditory and visual imagination. To exemplify this long transition from oral to literate artistry, Collins examines a wide array of classical texts-from Homer and Hesiod to Plato and Aristotle and from the lyric innovations of Augustan Rome to the inner dialogues of St. Augustine. In this work of "big history," Collins demonstrates how biological and cultural evolution collaborated to shape both literature and the brain we use to read it.

Christopher Collins introduces an exciting new field of research traversing evolutionary biology, anthropology, archaeology, cognitive psychology, linguistics, neuroscience, and literary study. Paleopoetics maps the selective processes that originally shaped the human genus millions of years ago and prepared the human brain to play, imagine, empathize, and engage in fictive thought as mediated by language. A manifestation of the "cognitive turn" in the humanities, "Paleopoetics" calls for a broader, more integrated interpretation of the reading experience, one that restores our connection to the ancient methods of thought production still resonating within us.

Speaking with authority on the scientific aspects of cognitive poetics, Collins proposes reading literature using cognitive skills that predate language and writing. These include the brain's capacity to perceive the visible world, store its images, and retrieve them later to form simulated mental events. Long before humans could share stories through speech, they perceived, remembered, and imagined their own inner narratives. Drawing on a wide range of evidence, Collins builds an evolutionary bridge between humans' development of sensorimotor skills and their achievement of linguistic cognition, bringing current scientific perspective to such issues as the structure of narrative, the distinction between metaphor and metonymy, the relation of rhetoric to poetics, the relevance of performance theory to reading, the difference between orality and writing, and the nature of play and imagination.

'I'm thinking this night wasn't I a foolish fellow not to kill my father in years gone by.' - Christy Mahon On the first night of J. M. Synge's The Playboy of the Western World (1907) the audience began protesting in the theatre; by the third night the protests had spilled onto the streets of Dublin. How did one play provoke this? Christopher Collins addresses The Playboy 's satirical treatment of illusion and realism in light of Ireland's struggle for independence, as well as Synge's struggle for artistic expression. By exploring Synge's unpublished diaries, drafts and notebooks, he seeks to understand how and why the play came to be. This volume invites the reader behind the scenes of this inflammatory play and its first performances, to understand how and why Synge risked everything in the name of art.

Christopher Collins introduces an exciting new field of research traversing evolutionary biology, anthropology, archaeology, cognitive psychology, linguistics, neuroscience, and literary study. Paleopoetics maps the selective processes that originally shaped the human genus millions of years ago and prepared the human brain to play, imagine, empathize, and engage in fictive thought as mediated by language. A manifestation of the "cognitive turn" in the humanities, "Paleopoetics" calls for a broader, more integrated interpretation of the reading experience, one that restores our connection to the ancient methods of thought production still resonating within us.

Speaking with authority on the scientific aspects of cognitive poetics, Collins proposes reading literature using cognitive skills that predate language and writing. These include the brain's capacity to perceive the visible world, store its images, and retrieve them later to form simulated mental events. Long before humans could share stories through speech, they perceived, remembered, and imagined their own inner narratives. Drawing on a wide range of evidence, Collins builds an evolutionary bridge between humans' development of sensorimotor skills and their achievement of linguistic cognition, bringing current scientific perspective to such issues as the structure of narrative, the distinction between metaphor and metonymy, the relation of rhetoric to poetics, the relevance of performance theory to reading, the difference between orality and writing, and the nature of play and imagination.

This revised edition of the play is published alongside commentary and notes by Christopher Collins, Assistant Professor of Drama at the University of Nottingham, UK. It includes information for today's students on the play's context; themes; dramatic devices; production history; critical reception; academic debate; and ideas for further study. It also includes interviews with practitioners involved in major recent productions of the play. Described by J.M. Synge as "a comedy, an extravaganza, made to use", The Playboy of the Western World is one of the most iconic plays to have come out of Ireland in the 20th century and is today recognised as a staple of the dramatic canon. It is published as a new Student Edition, which offers a 21st century lens on a play over 100 years old. When it was first performed in 1907 at Dublin's Abbey Theatre, Synge's play provoked uproar and was interrupted more than once by the police. Today, we recognise its importance in making Irish drama the force it became in the early 20th century.