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Titlebook: Shakespeare and Contemporary Irish Literature; Nicholas Taylor-Collins,Stanley van der Ziel Book 2018 The Editor(s) (if applicable) and Th

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發(fā)表于 2025-3-21 20:08:47 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書(shū)目名稱Shakespeare and Contemporary Irish Literature
編輯Nicholas Taylor-Collins,Stanley van der Ziel
視頻videohttp://file.papertrans.cn/867/866185/866185.mp4
概述Deals with authors whose Shakespearean connections have thus far been overlooked in scholarship.Addresses Irish writing since the 1960s.Focuses on the presence of Shakespeare in recent Irish poetry, d
圖書(shū)封面Titlebook: Shakespeare and Contemporary Irish Literature;  Nicholas Taylor-Collins,Stanley van der Ziel Book 2018 The Editor(s) (if applicable) and Th
描述This book shows that Shakespeare continues to influence contemporary Irish literature, through postcolonial, dramaturgical, epistemological and narratological means. International critics examine a range of contemporary writers including Eavan Boland, Marina Carr, Brian Friel, Seamus Heaney, John McGahern, Frank McGuinness, Derek Mahon and Paul Muldoon, and explore Shakespeare’s tragedies, histories and comedies, as well as his sonnets. Together, the chapters demonstrate that Shakespeare continues to exert a pressure on Irish writing into the twenty-first century, sometimes because of and sometimes in spite of the fact that his writing is inextricably tied to the Elizabethan and Jacobean colonization of Ireland. Contemporary Irish writers appropriate, adopt, adapt and strategize through their engagements with Shakespeare, and indeed through his own engagement with the world around him four hundred years ago.
出版日期Book 2018
關(guān)鍵詞Easter Rising; Poetry; Drama; Fiction; Influence; British and Irish Literature
版次1
doihttps://doi.org/10.1007/978-3-319-95924-5
isbn_softcover978-3-030-07116-5
isbn_ebook978-3-319-95924-5
copyrightThe Editor(s) (if applicable) and The Author(s) 2018
The information of publication is updating

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,‘An Inconstant Stay’: Paul Muldoon, Seamus Heaney and the Ends of Shakespeare’s Sonnets,ntia Flynn and many others have used it to considerable effect, whether in single poems or across longer sequences. The phenomenon of the modern Irish sonnet has been examined by critics in relation to the fraught Anglo-Irish political climate of the 1970s and 1980s, and Irish poetry’s growing inter
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,‘This Rough Magic’: Late Derek Mahon and Late Shakespeare,ishing silence, its author in his early fifties, the return was marked by a preoccupation with the symptoms of belatedness: physical and imaginative decline, destitution, and the desperate hope for regeneration. Throughout this breezily intertextual volume, a particular version of Shakespeare is emp
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,‘Filial Ingratitude’: Marina Carr’s Bond with Shakespeare,d jealous in their responses. Marina Carr is different. She is doubly removed from Shakespeare, by her nationality as well as her gender. Perhaps as a result of this double removal, a mixture of admiration, acute awareness of an overweening influence, and the resentment it can give rise to in some c
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,Performing Prospero: Intertextual Strategies in John Banville’s , against the background of Banville’s overall postmodern intertextual project and the scattered references to Shakespeare’s plays throughout his oeuvre. If most of these references can be categorised as intertextual quotations and intertextual allusions, typically ironic or playful, the more sustain
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