Verlag:
Oxford University Press, Oxford, UK
;
EBSCO Industries, Inc., Birmingham, AL, USA
This new reading of Irish literature identifies, for the first time, the formative influence of music in Irish writing over the past 200 years. Although this influence has long been acknowledged in studies of Shaw and Joyce, White explores music as...
mehr
This new reading of Irish literature identifies, for the first time, the formative influence of music in Irish writing over the past 200 years. Although this influence has long been acknowledged in studies of Shaw and Joyce, White explores music as an abiding preoccupation in the work of Moore, Yeats, Synge, Shaw, Joyce, Beckett, Friel, and Heaney. - ;Harry White examines the influence of music in the development of the Irish literary imagination from 1800 to the present day. He identifies music as a preoccupation which originated in the poetry of Thomas Moore early in the nineteenth century.
This new reading of Irish literature identifies, for the first time, the formative influence of music in Irish writing over the past 200 years. Although this influence has long been acknowledged in studies of Shaw and Joyce, White explores music as...
mehr
This new reading of Irish literature identifies, for the first time, the formative influence of music in Irish writing over the past 200 years. Although this influence has long been acknowledged in studies of Shaw and Joyce, White explores music as an abiding preoccupation in the work of Moore, Yeats, Synge, Shaw, Joyce, Beckett, Friel, and Heaney. - ;Harry White examines the influence of music in the development of the Irish literary imagination from 1800 to the present day. He identifies music as a preoccupation which originated in the poetry of Thomas Moore early in the nineteenth century
Includes bibliographical references (p. [244]-249) and index
Electronic reproduction; Available via World Wide Web
Contents; Introduction: Words for Music: In Search of the Irish Omphalos; 1. The Auditory Imagination of Thomas Moore; 2. W. B. Yeats and the Music of Poetry; 3. Why J. M. Synge Abandoned Music; 4. Opera and Drama: Bernard Shaw and 'The Brandy of the Damned'; 5. The 'Thought-Tormented Music' of James Joyce; 6. Words after Music: Samuel Beckett after Joyce; 7. Operas of the Irish Mind: Brian Friel and Music; 8. Words Alone: Seamus Heaney, Music, and the Jurisdiction of Literary Forms; Select Bibliography; Index
