The collected poems of W. B. Yeats. Edited with an Introduction by Piotr Kasjas.

Trained as an archaeologist and art historian and being a practising painter, Professor Galavaris has been able to relate diverse disciplines in his work, as shown by the wide range of his numerous publications. He moves from the early history of the eucharistic bread in the Orthodox Church, the dramatic impact of the Liturgy on illuminated Byzantine manuscripts, to the role of the icon in: the life of the Church, the poetry of Rainer Maria Rilke and the European painting of the 20th century. He is a leading authority on the study of the relationship between worship, Liturgy and art. Whether it is the cult of the Byzantine Emperor or the Eucharistic Liturgy, manifested in numismatics, illuminated manuscripts, icons, church lights (candles and oil lamps) - all witnesses of the creative forces of the Byzantine artist - Galavaris' interests are symbols, forms and their meaning. He investigates their contribution to worship, to the visual shaping of the Liturgy and how they reveal the freedom and the mission of the artist in realizing the Unseen in everyday life. The 31 studies in the present volume, published over 40 years (5 of them appear in English for the first time) are brought together with an introduction, annotations and an index. The volume contributes essentially to our knowledge of the spirituality of the Eastern Church.

Traditional symbols form a visual shorthand for ideas, yet their functions and meaning extend far beyond that—for thousands of years they have enabled artists and craftsmen to embody and reinforce beliefs about human life in immediate and powerful images. This accessible and comprehensive guide features more than 2,000 major themes from Absinthe to the Zodiac: figures and symbols found in myth, literature and art, as well as those that have entered into the mainstream of everyday life. Covering classical and other mythologies, Biblical themes and traditional symbols from cultures across the world, this wonderful dictionary has thorough yet concise entries on individual animals, plants, objects, supernatural creatures, mythical episodes, miracles, and many other topics.

This book focuses on W. B. Yeats’s critical writings, an aspect of his oeuvre which has been given limited treatment so far. It traces his critical work from his earliest articles, through to his occult treatises, and all the way to his last pamphlets, in which he sought to delineate the idea of a literary culture: a community of people willing to credit poetry with the central role in imagining and organising social praxis throughout society. The chapters of this study investigate the contexts in which Yeats’s thought developed, his many disputes over the shape of Irish cultural politics, the future of poetry and the place literature occupies in the world. What transpires is an image of Yeats who is strung between the impulses of faith in the existence of a supernatural order and ironic scepticism as to the possibility of ever capturing that order in language. This study is distinguished by its grounding of Yeats's critical agenda in a broader context through textual analysis. In addition, it organises and systematises his conceptions of poetry and its social role through its approach to his criticism as a fully-fledged area of his artistic practice. The monograph has been written within the framework of the project financed by The National Science Centre, Cracow, Poland, pursuant to the decision number DEC-2013/09/D/HS2/02782.

In critical yet appreciative dialogue with four different art critics who demonstrated theological sensitivities, Adam Edward Carnehl traces an ongoing religious conversation that ran through nineteenth-century aesthetics. In Carnehl's estimation, this critical conversation between the John Ruskin, Walter Pater, and Oscar Wilde, culminated in the brilliant approach of G. K. Chesterton, who began his journalistic career with a series of insightful works of art criticism. By conducting a close reading of these largely neglected works, Carnehl demonstrates that Chesterton developed a theological aesthetic that focuses us on the revelation of God's image in every human being. In Chesterton's eyes, only those made in God's image can produce images themselves, and only those who receive a revelation of truth are able to reveal truths for others. Art is therefore a rich and symbolic unveiling of the truth of humanity which finds its origin and purpose in God the Divine Artist.

In our post-modern, technological and visual age, there seems to be a new fascination with symbols. And in such an age as this, it is not enough just to understand and use the written liturgy, whether old or new, like Common Worship. In worship and in our pastoral rites, the preoccupation with texts has to be balanced with the vital liturgical language of symbols. Never before has there been such scope for the use of symbols as can be found in the family of Common Worship services. Not simply visual aids, liturgical symbols are suggestive and evocative; they belong to a whole matrix of imagery in Scripture and in the prayer texts that accompany the ritual acts of worship. Each chapter of Symbols and Worship provides theological and historical background to the symbols discussed (water, oil, light and incense), as well as practical guidance on the place and use of these symbols in the whole range of Common Worship services.

Forty chapters, written by leading scholars across the world, describe the latest thinking on modern Irish poetry. The Handbook begins with a consideration of Yeats's early work, and the legacy of the 19th century. The broadly chronological areas which follow, covering the period from the 1910s through to the 21st century, allow scope for coverage of key poetic voices in Ireland in their historical and political context. From the experimentalism of Beckett, MacGreevy, and others of the modernist generation, to the refashioning of Yeats's Ireland on the part of poets such as MacNeice, Kavanagh, and Clarke mid-century, through to the controversially titled post-1969 'Northern Renaissance' of poetry, this volume will provide extensive coverage of the key movements of the modern period. The Handbook covers the work of, among others, Paul Durcan, Thomas Kinsella, Brendan Kennelly, Seamus Heaney, Paul Muldoon, Michael Longley, Medbh McGuckian, and Ciaran Carson. The thematic sections interspersed throughout - chapters on women's poetry, religion, translation, painting, music, stylistics - allow for comparative studies of poets north and south across the century. Central to the guiding spirit of this project is the Handbook's consideration of poetic forms, and a number of essays explore the generic diversity of poetry in Ireland, its various manipulations, reinventions and sometimes repudiations of traditional forms. The last essays in the book examine the work of a 'new' generation of poets from Ireland, concentrating on work published in the last two decades by Justin Quinn, Leontia Flynn, Sinead Morrissey, David Wheatley, Vona Groarke, and others.

This is the definitive edition of W.B. Yeats's folklore & early prose fiction, edited according to Yeats's final textual instructions. Its extensive annotation makes luminous Yeats's 'fibrous darkness', that 'matrix out of which everything else has come', by dealing with oral & written sources, abandoned & unpublished writings.