Abstracted in Dissertation abstracts international, v. 39 (1979) no. 3, p. 7055-A.

Jason Marc Harris's ambitious book argues that the tensions between folk metaphysics and Enlightenment values produce the literary fantastic. Demonstrating that a negotiation with folklore was central to the canon of British literature, he explicates the complicated rhetoric associated with folkloric fiction. His analysis includes a wide range of writers, including James Barrie, William Carleton, Charles Dickens, George Eliot, Sheridan Le Fanu, Neil Gunn, George MacDonald, William Sharp, Robert Louis Stevenson, and James Hogg. These authors, Harris suggests, used folklore to articulate profound cultural ambivalence towards issues of class, domesticity, education, gender, imperialism, nationalism, race, politics, religion, and metaphysics. Harris's analysis of the function of folk metaphysics in nineteenth- and early twentieth-century narratives reveals the ideological agendas of the appropriation of folklore and the artistic potential of superstition in both folkloric and literary contexts of the supernatural.

W. B. Yeats is widely regarded as the greatest English-language poet of the twentieth century. This new critical biography seeks to tell the story of his life as it unfolded in the various contexts in which Yeats worked as an artist and as public figure.

A comprehensive and accessible introduction to the major themes of this important poet's life and career.

The fundamental difference between rhetoric and poetry, according to Yeats, is that rhetoric is the expression of ones quarrels with others while poetry is the expression of ones quarrel with oneself. Through exquisite attention to outer and inner forms, Vendler explores the most inventive reaches of the poets mind.

This book provides the first complete account of Patrick Pearse's educational work at St. Enda's and St. Ita's schools (Dublin). Extensive use of first-hand accounts reveals Pearse as a humane, energetic teacher and a forward-looking and innovative educational thinker. Between 1903 and 1916 Pearse developed a new concept of schooling as an agency of radical pedagogical and social reform, later echoed by school founders such as Bertrand Russell. This placed him firmly within the tradition of radical educational thought as articulated by Paulo Freire and Henry Giroux. The book examines the tension between Pearse's work and his increasingly public profile as an advocate of physical force separatism and, by employing previously unknown accounts, questions the perception that he influenced his students to become active supporters of militant separatism. The book describes the later history of St. Enda's, revealing the ambivalence of post-independence administrations, and shows how Pearse's work, which has long been neglected by historians, has had a direct influence on a later generation of school founders up to the present.

Originally published in 1927 in a small-circulation amateur magazine, spanning the period from antiquity until the 1930s, and covering both the Anglo-American world and Continental Europe, Lovecraft’s essay remains unparallelled as a survey of horror literature in our hemisphere. Said literature’s emergence as a genre coincided with the institutional establishment of liberalism, which represents a diametrically opposed worldview. This would suggest that horror literature, even if inadvertently or subconsciously, represents an attempt at escaping the limitations of the secular, materialist, rationalist Weltanschauung of liberal modernity, as well as a desire for meaning in a world rendered meaningless through ‘liberation’ from hierarchies, folk traditions, the occult, and the supernatural. Also of interest is the fact that the aesthetics of Gothic horror are invariably and luxuriantly beautiful (if in a dark way), whereas the logical extreme of rationality (utilitarianism, standardisation) is inherently anti-aesthetic. Would this not indicate, then, that the Age of Reason marked the beginning of a process that concluded in late modernity with the wholesale destruction of beauty, except where it, or the counterfeiting of it, was dictated by economic necessity? If so, we may view Lovecraft’s essay not merely as a resource for those seeking entertainment within a genre of literature, but also a map for those seeking to escape, and begin to transcend, the despair engendered by a worldview that pronounced itself dead when someone spoke of ‘the end of history’.

Patrick Pearse, teacher, poet, and one of the executed leaders of the 1916 Rising has long been a central figure in Irish history. The book provides a radically new interpretation of Patrick Pearse's work in education, and examines how his work as a teacher became a potent political device in pre-independent Ireland. The book provides a complete account of Pearse's educational work at St. Enda's school, Dublin where a number of insurgents such as William Pearse, Thomas McDonagh and Con Colbert taught. The author draws upon the recollections of past-pupils, employees, descendants of those who worked with Pearse, founders of schools inspired by his work - including the descendants of Thomas McSweeny and Louis Gavan Duffy – and a vast array or primary source material to provide a comprehensive account of life at St. Enda's and the place of education within the 'Irish-Ireland' movement and the struggle for independence.

The Collected Works of W. B. Yeats, Volume VIII: The Irish Dramatic Movement is part of a fourteen-volume series under the general editorship of eminent Yeats scholars Richard J. Finneran and George Mills Harper. This complete edition includes virtually all of the Nobel laureate's published work, in authoritative texts and with extensive explanatory notes. Edited by the distinguished Yeats scholars Mary FitzGerald and Richard J. Finneran, The Irish Dramatic Movement gathers together -- for the first time -- all of the poet's time-honored essays on drama and the groundbreaking movement that led to the enduring Irish theater of today. Although the reputation of W. B. Yeats as one of the preeminent writers of the twentieth century rests primarily on his poetry, drama and the theatre were among his abiding concerns. Indeed, in 1917 he wrote, "I need a theatre; I believe myself to be a dramatist." Here in this volume is the collection of all his major dramatic criticism for the years 1899-1919, including previously uncollected material. A practicing dramatist himself, Yeats had strong convictions about the goals of the Irish theater and the appropriate plays to be produced. The essays in this collection address many topics, from the turbulent early years of what became the Abbey Theatre to the controversies over the plays of John Millington Synge and the relationship between drama and nationalism. Also evident are Yeats's judgments on numerous plays, playwrights, and productions, both in Irish and in English. FitzGerald and Finneran's volume includes an Introduction and a History of the Text, as well as copious but unobtrusive annotation. The Irish Dramatic Movement is an essential volume for both readers of Yeats and students of the early years of twentieth-century theater.