The Edinburgh Companion to W. B. Yeats and the Arts
The Edinburgh Companion to W. B. Yeats and the Arts
Professor of English Literature
Associate Professor in Irish Writing
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Abstract
W. B. Yeats was not only a poet but also a cultural revolutionary. A compulsive, restless collaborator, he fostered numerous artistic enterprises, from the Abbey Theatre to the Cuala Press, and pursued a variety of inter-artistic spaces and media. From childhood co-creations with his siblings to the arresting combinations of sound and movement in his late drama, his work repeatedly addresses and incorporates music, dance, and the visual, material and theatrical arts with remarkable intensity. For him, literature was a vital thing that in one form or another engaged all the senses. This volume’s chapters map and analyse such engagements. They present a wide variety of disciplinary and interdisciplinary approaches, including from scholars of literature, aesthetics, drama, music, dance and the visual arts, as well as perspectives drawn from Victorian, fin de siècle, modernist and Irish studies. Detailed case studies capture the complex history of Yeats as an inter-arts practitioner, collaborator and thinker. Also examined are the intersections between Yeats’s interest in the arts, his role as an active public figure, and the socio-political and ideological nature of his writings.
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Front Matter
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Introduction
Charles I. Armstrong and others
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Part I Contexts and Concepts
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1
Yeats, William Morris and the Aesthetics of the Everyday
Lucy Hartley andJohn Whittier-Ferguson
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2
Yeats and The Savoy: French Decadence and Irish Poetry
Matthew Creasy
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3
The Institutionalisation of Art in Dublin: Yeats, Sociability and Transnationalism
Kathryn Milligan
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4
The Virtual Archive of Anima Mundi
Charles I. Armstrong
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5
On the Scale of Art and the Aesthetics of Difficulty: Rereading ‘Lapis Lazuli’ as Ecological Critique
Barry Sheils
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6
Knowing Ruskin’s Cat: Yeats and the Proper Names of the Aesthetic
Christopher Morash
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7
Cuchulain the Cowboy: A Tale of Yeats and the Wild West
Margaret Mills Harper
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1
Yeats, William Morris and the Aesthetics of the Everyday
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Part II Visual and Material Culture
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8
Yeats, Blake and the Romanticism of the Arts and Crafts Movement
Colin Trodd
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9
Yeats and Edwardian Languages of Art
Sophie Hatchwell
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10
The Wild Swans at Coole (1917, 1919), Michael Robartes and the Dancer (1921) and the Limits of Portraiture
Tom Walker
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11
A ‘cacophony of sardine tins’: Yeats and Modern Art
Hugh Haughton
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12
Yeats, Byzantine Art and Celtic Occultism
J. B. Bullen
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13
A Swedish Bounty: Yeats, Public Art and European Nationalisms in the Free State
Jack Quin
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14
Preservation and Proportion in ‘The Municipal Gallery Revisited’
Adam Hanna
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15
Late Yeats, Print and Symbolic Book Design: The Case of Responsibilities
David Holdeman
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16
Illustrating the 1935 and 1937 Cuala Press Broadsides
Angela Griffith
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17
Poetry, Painting and Posterity: Yeats as Example and Burden
Rui Carvalho Homem
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8
Yeats, Blake and the Romanticism of the Arts and Crafts Movement
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Part III Performance and Sound
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18
The ‘World That Sang and Listened’: Yeats and Florence Farr’s ‘New Art’ of Verse Speaking
Isabelle Stuart
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19
‘Music had driven their wits astray’: Raftery, Nietzsche and the Applied Arts
Adrian Paterson
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20
Yeats and Wagner: The Countess Cathleen and Other Plays
Michael McAteer
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21
‘We must have a new kind of scenic art’: Yeats’s Set Design and Stagecraft
Seán Golden
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22
Yeats, Gender-Bending and the Art of Transvestism
Zsuzsanna Balázs
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23
The Dramaturgy of Movement: Choreographic Writing in The Dreaming of the Bones
Melinda Szűts
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24
Choreographic Collaborations: Yeats and Ninette de Valois
Megan Girdwood
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25
‘Lose my words in patterns of sound’: Music in the Dance Plays for Ninette de Valois
Mark Fitzgerald
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26
Yeats’s Common Measure: The Later Ballads
Matthew Campbell
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18
The ‘World That Sang and Listened’: Yeats and Florence Farr’s ‘New Art’ of Verse Speaking
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End Matter
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