Edinburgh University Press
The Edinburgh Companion to W. B. Yeats and the Arts
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About this book
W. B. Yeats was not only a poet but also a cultural revolutionary. A restless collaborator, he fostered countless artistic enterprises, from the Abbey Theatre to the Cuala Press, and pursued various inter-artistic media and forums for his work. From childhood co-creations with his siblings to the arresting combination of sound and movement in his final play, The Death of Cuchulain, his work also repeatedly addresses and incorporates music, dance, and the visual, material and theatrical arts with remarkable intensity. For him, literature was a vital thing that engaged, in one form or another, all the senses. This volume’s newly commissioned chapters analyse afresh such engagements. Bringing together scholars of literature, aesthetics, cultural history and specialists in drama, music, dance and the visual arts, they provide a broad range of historical, conceptual, and disciplinary approaches and perspectives.
Topics
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Frontmatter
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Contents
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List of Illustrations
viii -
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Acknowledgements
xiii -
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Introduction
1 - Part I Contexts and Concepts
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1. Yeats, William Morris and the Aesthetics of the Everyday
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2. Yeats and The Savoy: French Decadence and Irish Poetry
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3. The Institutionalisation of Art in Dublin: Yeats, Sociability and Transnationalism
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4. The Virtual Archive of Anima Mundi
67 -
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5. On the Scale of Art and the Aesthetics of Difficulty: Rereading ‘Lapis Lazuli’ as Ecological Critique
83 -
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6. Knowing Ruskin’s Cat: Yeats and the Proper Names of the Aesthetic
99 -
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7. Cuchulain the Cowboy: A Tale of Yeats and the Wild West
112 - Part II Visual and Material Culture
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8. Yeats, Blake and the Romanticism of the Arts and Crafts Movement
129 -
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9. Yeats and Edwardian Languages of Art
146 -
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10. The Wild Swans at Coole (1917, 1919), Michael Robartes and the Dancer (1921) and the Limits of Portraiture
159 -
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11. A ‘cacophony of sardine tins’: Yeats and Modern Art
177 -
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12. Yeats, Byzantine Art and Celtic Occultism
193 -
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13. A Swedish Bounty: Yeats, Public Art and European Nationalisms in the Free State
208 -
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14. Preservation and Proportion in ‘The Municipal Gallery Revisited’
224 -
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15. Late Yeats, Print and Symbolic Book Design: The Case of Responsibilities
238 -
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16. Illustrating the 1935 and 1937 Cuala Press Broadsides
252 -
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17. Poetry, Painting and Posterity: Yeats as Example and Burden
268 - 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
285 -
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19. ‘Music had driven their wits astray’: Raftery, Nietzsche and the Applied Arts
306 -
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20. Yeats and Wagner: The Countess Cathleen and Other Plays
328 -
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21. ‘We must have a new kind of scenic art’: Yeats’s Set Design and Stagecraft
345 -
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22. Yeats, Gender-Bending and the Art of Transvestism
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23. The Dramaturgy of Movement: Choreographic Writing in The Dreaming of the Bones
376 -
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24. Choreographic Collaborations: Yeats and Ninette de Valois
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25. ‘Lose my words in patterns of sound’: Music in the Dance Plays for Ninette de Valois
409 -
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26. Yeats’s Common Measure: The Later Ballads
423 -
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Notes on Contributors
442 -
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Index
446