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This is a reissue of a much-admired variorum edition of Yeats's
stories. 'This edition, which includes previously unpublished
texts, gives a text history, which establishes once and for all the
extent to which Yeats's work was modified by editors. Truly
definitive. Indispensible for any major collection, including
public libraries.' Library Journal
Yeats's Poetry and Poetics brings together some of the finest Yeats
criticism ever published, together with some new pieces specially
written for this volume. Spanning the whole of Yeats's career, the
essays are organised into three main parts. The first deals with
Yeats's concern with the speaking voice and its bearing on public
and private readings of his verse; and on hisuse of certain kinds
of images in his poetry and plays, from ghosts and fairies, to
figures borrowed from painters and sculptors and, extraordinarily,
to the actual dancer for whom he makes room in his work. The second
section puts Yeats's poetry in context with the work of Synge, D.H.
Lawrence, Walter de la Mare and other 'Georgians', and with that of
T.S. Eliot and other modernists; assessing the continuities (real
and asserted) in Yeats's long poetic career against the revolutions
in the poetry of his time. The profound connections between the
writings of Yeats and Joyce, including the coupling of Finnegans's
Wake and 'The Wanderings of Oisin' are also examined. Rounding off
the volume 'Phantasmagoria', explores the implications for his
poetics of Yeats's spiritualist philosophy, especially in terms of
his co
This is the second volume in Sources of Dramatic Theory. This volume includes the major theoretical writing on drama and theater from the eighteenth and early nineteenth centuries. Among the writers represented by their own essays or substantial extracts from longer works are: Voltaire, Diderot, Goldoni, Dr. Johnson, Lessing, Goethe, Schiller, Hegel, and Coleridge. Many of the texts have been freshly translated for this volume and all have been newly annotated and introduced. Recurrent topics and allusions are traced by a system of cross-references.
This volume includes major theoretical writings on drama from the
Greeks, through the Renaissance up to the late seventeenth century,
compiled and edited for students of drama and theatre. There are
substantial extracts from twenty-eight writers including Plato,
Aristotle, Horace, Scaliger, Castelvetro, Guarini, Sidney, Jonson,
Corneille, Racine, Dryden and Congreve. The compilers have chosen
writers who present detailed arguments about issues that are sill
relevant to our understanding of drama and theatre. Many of the
texts have been freshly translated and all have newly been
annotated and introduced by the compilers, who draw attention to
recurrent themes by a system of cross-references. Michael Sidnell's
useful introduction explores the issues which frequently concern
these writers and practitioners: the nature of imitation, the
relation of dramatic text to live performance, the effect of stage
action on audience emotion and behaviour - issues which still
concern critics and theorists of drama today. Later volumes will
cover the period from Diderot to Victor Hugo, modern dramatic
theory and performance theory.
Yeats's Poetry and Poetics brings together some of the finest Yeats
criticism ever published, together with some new pieces specially
written for this volume. Spanning the whole of Yeats's career, the
essays are organised into three main parts. The first deals with
Yeats's concern with the speaking voice and its bearing on public
and private readings of his verse; and on his use of certain kinds
of images in his poetry and plays, from ghosts and fairies, to
figures borrowed from painters and sculptors and, extraordinarily,
to the actual dancer for whom he makes room in his work. The second
section puts Yeats's poetry in context with the work of Synge, D.H.
Lawrence, Walter de la Mare and other 'Georgians', and with that of
T.S. Eliot and other modernists; assessing the continuities (real
and asserted) in Yeats's long poetic career against the revolutions
in the poetry of his time. The profound connections between the
writings of Yeats and Joyce, including the coupling of Finnegans's
Wake and 'The Wanderings of Oisin' are also examined. Rounding off
the volume 'Phantasmagoria', explores the implications for his
poetics of Yeats's spiritualist philosophy, especially in terms of
his conception of the poetic self, and, finally, the last section
analyses two works animated by Yeats's quest for the 'faery bride'
and his desperate attempt to attract, through his work, a real one.
This is the second volume in Sources of Dramatic Theory. This
volume includes the major theoretical writing on drama and theatre
from the eighteenth and early nineteenth centuries, focusing on
issues that are still relevant to our understanding of drama and
theatre. Among the writers represented by their own essays or
substantial extracts from longer works are: Voltaire, Diderot,
Goldoni, Dr Johnson, Lessing, Goethe, Schiller, Hegel, and
Coleridge. Many of the texts have been freshly translated for this
volume and all have been newly annotated and introduced. Recurrent
topics and allusions are traced by a system of cross-references.
This volume includes major theoretical writings on drama from the
Greeks, through the Renaissance up to the late seventeenth century,
compiled and edited for students of drama and theatre. There are
substantial extracts from twenty-eight writers including Plato,
Aristotle, Horace, Scaliger, Castelvetro, Guarini, Sidney, Jonson,
Corneille, Racine, Dryden and Congreve. The compilers have chosen
writers who present detailed arguments about issues that are sill
relevant to our understanding of drama and theatre. Many of the
texts have been freshly translated and all have newly been
annotated and introduced by the compilers, who draw attention to
recurrent themes by a system of cross-references. Michael Sidnell's
useful introduction explores the issues which frequently concern
these writers and practitioners: the nature of imitation, the
relation of dramatic text to live performance, the effect of stage
action on audience emotion and behaviour - issues which still
concern critics and theorists of drama today. Later volumes will
cover the period from Diderot to Victor Hugo, modern dramatic
theory and performance theory.
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