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Relevant bibliographies by topics / Lord Dunsany

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Academic literature on the topic 'Lord Dunsany'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Lord Dunsany"

1

Tinterri, Alessandro. "‘The Gods of the Mountain’ at the Odescalchi Theatre." New Theatre Quarterly 3, no. 12 (1987): 352–57. http://dx.doi.org/10.1017/s0266464x00002499.

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AFTER THE one‐act Festival of Our Lord of the Ship, the opening‐night gala performance at the Teatro d'Arte concluded with The Gods of the Mountain by the Irish writer Lord Dunsany, whose work had never been performed in Italy before. In the early press releases about the future programme of the company, there was even talk about a second Dunsany play, A Night at the Inn, but this never reached production. There were also plans for Dunsany to visit Rome and give some lectures about his work: clearly, he was intended to play a large part in the work of the newly established theatre.

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2

Hardy, Augusta. "Magic As Art in Lord Dunsany's The King of Elfland's Daughter." Irish University Review 48, no. 2 (2018): 265–80. http://dx.doi.org/10.3366/iur.2018.0354.

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In The King of Elfland's Daughter, Lord Dunsany crafts a fairy-story in which magic serves as an allegory for art. Elfland is a place of art, its timeless beauty created and sustained through magic; and its influence extends to the real world in the form of artistic inspiration. Indeed, elfin magic functions as art does: it preserves the past, renews one's vision, and imbues the material world with meaning. Dunsany's portrayal of art as magic in the novel is a poetic representation of his understanding of art as discussed in his non-fiction works. The novel concludes with a moment that symbolizes the creation of art: Earthly fields enchanted by elfin magic represent the familiar beauties of nature ‘enchanted’ into flights of fancy by the poet's words.

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3

Jiménez de Báez, Yvette. "Escisión y unidad. Pedro Páramo, Susana San Juan y Lord Dunsany." Caravelle 53, no. 1 (1989): 81–92. http://dx.doi.org/10.3406/carav.1989.2408.

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4

Patrick Maume. "Dreams of Empire, Empire of Dreams: Lord Dunsany Plays the Game." New Hibernia Review 13, no. 4 (2009): 14–33. http://dx.doi.org/10.1353/nhr.0.0113.

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5

Grenander, M. E., and S. T. Joshi. "The Weird Tale: Arthur Machen, Lord Dunsany, Algernon Blackwood, M. R. James, Ambrose Bierce, H. P. Lovecraft." American Literature 63, no. 1 (1991): 134. http://dx.doi.org/10.2307/2926576.

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6

Lobdell, Jared C. "The Man Who Didn’t Write Fantasy: Lord Dunsany and the Self-Deprecatory Tradition in English Light Fiction." Extrapolation 35, no. 1 (1994): 33–42. http://dx.doi.org/10.3828/extr.1994.35.1.33.

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7

Robinson, Christopher L. "The Stuff of Which Names are Made: A Look at the Colorful and Eclectic Namecraft of Lord Dunsany." Names 60, no. 1 (2012): 26–35. http://dx.doi.org/10.1179/002777311x13148870565473.

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8

Bassnett, Susan. "Pirandello's Debut as Director: the Opening of the Teatro d' Arte." New Theatre Quarterly 3, no. 12 (1987): 349–51. http://dx.doi.org/10.1017/s0266464x00002487.

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In this, the centenary year of Pirandello's birth, there has been a revival, hopefully more than just circumstantial, of interest in his work in the English-speaking theatre – which has previously tended to acknowledge his influence without often producing his plays. But Pirandello's own theatrical ambitions, which came quite late in his creative life, were initially as a director – indeed, the association with Mussolini which has sometimes cast a pall upon his reputation was largely in the interests of obtaining state patronage for his Teatro d' Arte company, which struggled unsuccessfully for survival between 1925 and 1928. Initially, however, hopes were high, and the inaugural productions both artistically and technically exciting. In the following feature. Susan Bassnett, a Pirandello specialist who teaches in the Graduate School of Comparative Literature in the University of Warwick and is a regular contributor to NTQ, describes the circumstances behind the opening of the company, while Alessandro Tinterri, of the Actors' Museum of Genoa, analyzes the curious encounter in the first major production. The Gods of the Mountain, between Pirandello as director and the now little-remembered Irish cricketer-dramatist. Lord Dunsany.

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9

"Lord Dunsany: a bibliography." Choice Reviews Online 31, no. 06 (1994): 31–3022. http://dx.doi.org/10.5860/choice.31-3022.

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10

"Lord Dunsany: master of the Anglo-Irish imagination." Choice Reviews Online 33, no. 03 (1995): 33–1387. http://dx.doi.org/10.5860/choice.33-1387.

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Dissertations / Theses on the topic "Lord Dunsany"

1

Scott, Tania. "Locating Ireland in the fantastic fiction of Lord Dunsany." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2630/.

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This thesis will locate the fantastic fiction of Lord Dunsany in a tradition of Irish writing, while simultaneously examining representations of Ireland within the texts themselves. Dunsany has been regarded – until now – as a marginal figure in Irish literature, but this study will show that he deserves a place in the canon. My research will demonstrate that, from his early involvement in the Abbey Theatre through to his late introspective novels set in Ireland, Dunsany throughout his life engages with Irish literary and cultural traditions. The first chapter will focus on Lord Dunsany’s theatrical writings which have been rarely staged since his death and have attracted little attention from scholars. By examining performances of the plays in Ireland and beyond, the links between the playwright and the national theatre will become clear. Building on this work on the plays, Chapter Two and moves on to an analysis of Dunsany’s novels – including The King of Elfland’s Daughter, his best known work – and places them within a historical context of conflict both at home in Ireland and throughout Europe. The next chapter looks at Dunsany’s later novels set in Ireland and questions why it is at this point in the 1930s, after decades of writing fantastic fiction, that the author chooses to locate his works in his own land. The same themes and ideas found in the novels are also prominent in Dunsany’s short stories which form the focus of chapters four and five. Chapter Four examines the stories set in Pegāna, the first tales he wrote and those which made Dunsany’s reputation as a writer of high fantasy, and locates their other-worldliness within the real world of twentieth-century Ireland. The last chapter deals with the later short stories, and brings Dunsany’s work up to date by using recent work on Irish postcolonialism and theories of Empire to analyse these narratives. The conclusion will consider Dunsany’s work overall, by way of close readings of texts from the beginning and end of his career which will allow us to trace the development of Ireland as a concept and as a literary influence throughout his writings.

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2

Perrier, Marie. "Mythopoétique chez Lord Dunsany et H.P. Lovecraft : transmission et traduction(s)." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H016/document.

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Cette thèse, au carrefour de la traductologie et des études littéraires, se présente sous la forme d’une étude de cas prenant pour point de départ les liens d’influence entre deux écrivains, l’Irlandais Lord Dunsany et l’Américain H. P. Lovecraft. Leurs œuvres se construisent autour de mondes fictionnels où se conjuguent panthéons originaux, visions oniriques et voyages fantastiques. Par une approche descriptive et contrastive, on se propose d’éclairer comment cette démarche mythopoétique fondatrice a également marqué les divers projets de traduction et retraduction qui se sont succédé sur un peu plus d’un siècle.Dans cette perspective, cette recherche se fonde sur une conception de la traduction au sens large comme réécriture et allie plusieurs points de vue (sociologique, culturelle, stylistique) afin d’analyser la manière dont ces œuvres et le mythe qu’elles véhiculent sont reçues et se transmettent. En effet, le mythe naît précisément de la répétition de récits sans cesse régénérés, laissant toujours place à la variation, et le plaisir du mythe vient en partie de ce que lecteur reconnaisse, dans l’histoire qu’on lui conte, un récit familier bien que renouvelé qui pourra faire naître en lui le désir de le transmettre à son tour en se l’appropriant.Il apparaît alors possible de distinguer la spécificité d’une traduction mythopoétique dans le cadre de ce pan particulier des littératures de l’imaginaire, et de mettre au jour une vision nouvelle du ludique en traduction : en faisant appel à la complicité de lecteurs-joueurs qui deviennent à leur tour agents de leur transmission et de leur réception dans le champ littéraire français, ces œuvres se font textes-mondes, s’ouvrent à la démultiplication, à la réécriture et au partage, et traduisent un désir d’enchantement participatif qui, jusqu’à aujourd’hui, n’a cessé d’aller croissant<br>This dissertation stands at the crossroads of translation and literary studies and focuses on the case of two fantasy authors, Lord Dunsany and H. P. Lovecraft. One having inspired the other, they are both creators of fictional worlds marked by made-up cosmogonies, dream visions and fantasy journeys. Through comparison and contrast, we propose to highlight how the mythopoeic approach which their stories stem from has also shaped the various translation and retranslation projects in France over the past century.From this perspective, this research elaborates on a broad conception of translation as rewriting and relies on sociological, cultural and stylistic approaches in order to analyse how these works and the myth they convey have been received and transmitted. Indeed, myth is born from the endless repetition and regeneration of stories and includes variation as a characteristic; the pleasure derived from myth comes from the readers recognizing a familiar story under a new garment, before passing it on in their turn.It then becomes possible to delineate the specificity of mythopoeic translation as regards to this particular facet of fantasy literature, and to establish a new vision of play within translation: these works, triggering both attachment and complicity in readers who become players of a game of transmission, ensure their reception in the French literary field and become text-worlds. Demultiplied, rewritten, shared, they translate an evergrowing desire for participative enchantment

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3

Gallagher, Ronald. "The uses of the supernatural in the works of Lord Dunsany and James Stephens /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6675.

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Books on the topic "Lord Dunsany"

1

Joshi, S. T. Lord Dunsany: A bibliography. Scarecrow Press, 1993.

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2

Clarke, Arthur C., and Edward Plunkett. Arthur C. Clarke & Lord Dunsany: A Correspondence. Anamnesis Press, 1998.

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3

Joshi, S. T. Lord Dunsany: Master of the Anglo-Irish imagination. Greenwood Press, 1995.

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4

The weird tale: Arthur Machen, Lord Dunsany, Algernon Blackwood, M.R. James, Ambrose Bierce, H.P. Lovecraft. University of Texas Press, 1990.

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5

Edward Plunkett. Short Works of Lord Dunsany. BiblioBazaar, 2007.

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6

Edward Plunkett. Collected Works of Lord Dunsany. BiblioBazaar, 2007.

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7

Critical Essays on Lord Dunsany. Scarecrow Press, 2013.

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8

Lord Dunsany Studies in Supernatural Literature. Scarecrow Press, 2014.

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9

Dunsany, Lord. Selections from the Writings of Lord Dunsany. CreateSpace Independent Publishing Platform, 2014.

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10

Edward, J. M. D. Plunkett, and Edward Plunkett. Selections from the Writings of Lord Dunsany. Aegypan, 2006.

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Book chapters on the topic "Lord Dunsany"

1

Vaninskaya, Anna. "Lord Dunsany: The Conquering Hours." In Fantasies of Time and Death. Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-51838-5_2.

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2

O’Donnell, William H. "Introduction to Selections from the Writings of Lord Dunsany (1912)." In Prefaces and Introductions. Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-06236-2_18.

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