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Dissertations / Theses on the topic 'Yeats, W. B. in fiction'

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1

Swartz, Laura A. "Occulture : W.B. Yeats' prose fiction and the late ninteenth- and early twentieth-century occult revival." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1560843.

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In addition to being a respected poet, dramatist, essayist, and statesman, William Butler Yeats was a dedicated student of the occult and practicing magician for most of his adult life. In spite of his dedication, Yeats’ commitment to occultism has often been ridiculed as “bughouse” (as Ezra Pound put it), shunted to the margins of academic discourse, or ignored altogether. Yeats’ occult-focused prose fiction—the occult trilogy of stories “Rosa Alchemica,” “The Tables of the Law,” and “The Adoration of the Magi” and the unfinished novel The Speckled Bird—has often received similarly dismissive treatment. Some critics have accused Yeats of being an escapist or of being out of touch with the intellectual currents of his time. However, Yeats was in touch with the intellectual currents of his time, one of which was the late nineteenth- and early twentieth-century occult revival. This was not a fringe movement; it was one which intersected with some of the most pressing social and cultural issues of the time. These include the dissatisfaction with mainstream religions, the renegotiation of women’s roles, the backlash against science, and nationalism and the colonial enterprise. This intersection is what I have termed occulture. The central purpose of this dissertation is twofold. First, I demonstrate the cultural and academic relevance of the occult revival by analyzing its connections to these critical issues. Second, I situate the occult trilogy and The Speckled Bird as artifacts of the occult revival and its associated facets. Through its main characters, the occult trilogy illustrates a fragmented self associated with literary modernism and with scientific challenges to individual identity from Darwin, Freud, and others. In addition, these three stories exemplify a sacralization of the domestic sphere which conflicts with the officially-sanctioned sacred spaces of mainstream religions. The Speckled Bird also reconfigures the sacred space as Michael Hearne contemplates a magical order with Irish nationalist implications. In examining these works within this historical context, I present them as texts which engage with the social and cultural landscape of the time.
Occulture : occultism and the occult revival -- The occult trilogy : self and space in an occult context -- The speckled bird : sacralizing Ireland.
Department of English
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2

Hendriok, Alexandra Michaela Petra. "Myth and identity in twentieth century Irish fiction and film." Thesis, [n.p.], 2000. http://library7.open.ac.uk/abstracts/page.php?thesisid=17.

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3

Bryce, Leila Heather. "W. B. Yeats and the visual arts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq31280.pdf.

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4

Ikeda, Hiroko. "W. B. Yeats : Irish folklore and nationalism." Kyoto University, 2005. http://hdl.handle.net/2433/144971.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第11672号
人博第278号
新制||人||69(附属図書館)
16||169(吉田南総合図書館)
23315
UT51-2005-D421
京都大学大学院人間･環境学研究科文化･地域環境学専攻
(主査)教授 鈴木 雅之, 教授 丸橋 良雄, 助教授 水野 眞理, 助教授 桂山 康司
学位規則第4条第1項該当
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5

Gruszczak, Margaret E. "The portrait gallery : Yeat's iconography of heroic ideals /." View abstract, 2000. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1618.

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Thesis (M.A.)--Central Connecticut State University, 2000.
Thesis advisor: Richard Bonaccorso. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 71-74).
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6

Smatt, Kristen M. "A Yeatsian definition of the poet and the poet's role /." View abstract, 2001. http://wilson.ccsu.edu/theses/etd-2002-??/ThesisTitlePage.html.

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Thesis (M.A.)--Central Connecticut State University, 2001.
Thesis advisor: Richard Bonaccorso. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 64-66). Also available via the World Wide Web.
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7

Saylor, Carol Clough. "That other Heracles : Yeat's counter epic of Cuchulain /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1987.

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8

Homem, Rui Carvalho. "Correspondências : Seamus Heaney e a tradição poética irlandesa pós-W. B. Yeats." Tese, Porto : [Edição do Autor], 1994. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000030565.

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9

Homem, Rui Carvalho. "Correspondências : Seamus Heaney e a tradição poética irlandesa pós-W. B. Yeats." Doctoral thesis, Porto : [Edição do Autor], 1994. http://hdl.handle.net/10216/10892.

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10

Supheert, Roselinde Gwendoline Jolanthe Laine. "Yeats in Holland : the reception of the work of W. B. Yeats in the Netherlands before World War Two /." Amsterdam ; Atlanta (Ga.) : Rodopi, 1995. http://catalogue.bnf.fr/ark:/12148/cb366867050.

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Texte remanié de: Diss.
En appendice, la bibliogr. des traductions néerlandaises des oeuvres de Yeats publiées avant la Deuxième guerre mondiale, et toutes celles faites par Roland Holst. Bibliogr. p. [285]-311. Index.
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11

Stendel, Andrea. ""It is myself that I remake" : Identitätsbildungsprozesse beim lyrischen Schreiben am Beispiel von W. B. Yeats /." Trier : Wissenschaftlicher Verl, 2003. http://catalogue.bnf.fr/ark:/12148/cb390818539.

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12

Brooks, John C. "Unity, Ecstasy, Communion: The Tragic Perspective of W.B. Yeats." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331259/.

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As a young man of twenty-one in 1886, William Butler Yeats announced his ambition to unify Ireland through heroic poetry. But this prophetic urge lacked structure. Yeats had only some callow notions about needing self-possession and appropriate control of his imagery. As a result, his search for essential knowledge and experience soon led him into occult and symbolist vagueness. Yeats' mind grew flaccid, and his art languished in preciosity for over a decade. Lotos-eating had replaced prophetic fervor. However, early in the new century, as Yeats neared middle age and permanent mediocrity, he recovered his early zeal and finally found the means to give it artistic shape. Through daily theatre work he had discovered tragedy. And through personal trials he had developed a tragic sense. Hence, an entire tragic perspective was born, one that would dominate Yeats' mind and art the rest of his life. Locating the contours of Yeats' shift in-viewpoint, then, provides the key to understanding the man and his mature work. The present study does just that, tracing the origin, development, and elaboration of Yeats' tragic perspective, from its theoretical underpinnings to its poetic triumphs. Above all, this study supplies the basic context of Yeats* careers why he took the path he did, and how he wove all that he found along the way into a remarkable fabric.
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13

Peter, Denise. "W.B. Yeats' Four Plays for Dancers : the search for unity." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23732.

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This thesis proposes that Yeats found in certain conventions of the Noh drama a realization and defense of his idea of unity of culture, which his Noh-like Four Plays for Dancers illustrates. Yeats' use of recurrent imagery in the dance plays expresses his belief in a unity of culture defined and evoked by an image and stems in part from the pattern of images he discovered in the Pound-Fenollosa translations of the Noh. The imagery of the poetic text reappears in symbolic visual designs or is coordinated with music and dance in the production of the plays. The importance of the spoken word above all determined the basis of the association of arts with which Yeats characterized unity of culture and shaped his adaptation and occasional misconception of the staging techniques of the Noh. A common love of vivid, allusive words joined the audience for whom the dance plays were written. When Yeats stated that they were modelled on the audience of the Noh, his perception was colored, as usual, by his own priorities and experience.
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14

Devine, Brian. "Yeats, the master of sound : an investigation of the technical and aural achievements of William Butler Yeats /." Gerrards Cross, Buckinghamshire : Smythe, 2006. http://www.loc.gov/catdir/toc/fy0705/2006283579.html.

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15

Anderson, Rachel Leigh. ""I talk to God but the sky is empty" W.B. Yeats's influence on Sylvia Plath's renunciation of Christianity /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/anderson.pdf.

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Thesis (M.A.)--University of Alabama at Birmingham, 2009.
Additional advisors: Sue Kim, Christopher Metress, Kieran Quinlan. Description based on contents viewed June 4, 2009; title from PDF t.p. Includes bibliographical references (p. 87-91).
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16

Bannerman, Marian White. "Poetic questions, interrogative in the poetry of W. B. Yeats, T. S. Eliot, and Wallace Stevens." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27601.pdf.

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17

Cane, David Cervigni Dino S. "The falcon, the beast and the image Dante's Geryon and W. B. Yeats' The second coming /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1046.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages." Discipline: Romance Languages; Department/School: Romance Languages.
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18

Parris, Molly V. Russell Richard Rankin. "Subversive pseudo-dialogic : W.B. Yeats's use of the dialogic to present the monologic /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4033.

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19

Smith, Carly Catherine. ""The right twigs for an eagle's nest" children in the writings of William Butler Yeats /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1492600911&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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20

Clougherty, Robert James. "The historiography of three Irish poets W.B. Yeats, Seamus Heaney, and Richard Murphy /." Access abstract and link to full text, 1991. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9123419.

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21

Saylor, Lawrence (Lawrence Emory). "W. B. Yeats's "The Cap and Bells": Its Sources in Occultism." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278020/.

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While it may seem that "The Cap and Bells" finds its primary source in Yeats's love for Maud Gonne, the poem is also symbolic of his search for truth in occultism. In the 1880s and 90s Yeats coupled his reading of Shelley with a formal study of magic in the Golden Dawn, and the poem is a blend of Shelleyan and occult influences. The essay explores the Shelleyan/occult motif of death and rebirth through examining the poem's relation to the rituals, teachings, and symbols of the Golden Dawn. The essay examines the poem's relation to the Cabalistic Tree of Life, the Hanged Man of the Tarot, two Golden Dawn diagrams on the Garden of Eden, and the concept of Kundalini.
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22

Nohrnberg, Peter C. L. "The book the poet makes : collection and re-collection in W. B. Yeats's "The tower" and Robert Lowell's "Life studies /." Cambridge (Mass.) : Harvard university press, 1994. http://catalogue.bnf.fr/ark:/12148/cb37709119d.

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23

Grimes, Linda S. "William Butler Yeats' transformations of eastern religious concepts." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/530371.

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This study addresses the issue of William Butler Yeats' use of Upanishad philosophy in his poetry. Although many analyses of Yeats' art vis-a-vis Eastern religion exist, none offer the thesis that the poet transformed certain religious concepts for his own purpose, thereby removing those concepts from the purview of Eastern religion. Quite the contrary, many of the analyses argue a parallel between Yeats' poetry and the religious concepts.In Chapter 1 this study gives a brief overview of the problem and proposes the thesis that instead of paralleling Eastern religious concepts, Yeats transformed those concepts; such transformations result in ideas which run counter to the yogic goal as expounded in the Upanishads.Chapter 2 summarizes yogic sources which help elucidate the concepts of Upanishad thought. Also Chapter 2 introduces various the critical analyses which present inaccurate conclusions regarding Yeats' use of Eastern religion.Chapter 3 explains certain Eastern religious concepts such concepts as karma and reincarnation and asserts that the goal of the discipline of yoga is self-realization.Chapter 4 discusses the poems of Yeats' canon which have been analyzed critically in terms of Eastern religious concepts and have erroneously been considered to parallel certain Eastern concepts. This chapter argues that Yeats' transformations resulted in an art which is chiefly based on the physical level of being, whereas the goal of yogic discipline places its chief emphasis on the spiritual level of being. Also it is argued that Yeats cultivated imagination, whereas the Eastern religious devotee cultivates intuition.Chapter 5 details the critical analyses which have erroneously argued the Yeatsian parallel to Eastern religion, showing how these critics have sometimes failed to understand concepts adequately and thus have misapplied them to Yeats' art.Chapter 6 contrasts Yeats' poetry with that of Rabindranath Tagore. Yeats failed to realize Tagore's motivation when Tagore referred to God. Yeats claimed that all reference to Cod was vague and that he disliked Tagore's mysticism. This lack of understanding on Yeats' part, I suggest, further supports the thesis that Yeats' use of Eastern religion constitutes transformations which do not reflect Upanishad philosophy but instead reflect a Yeatsian version of those concepts--a version which many critics have not clearly elucidated.
Department of English
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24

Horne, Nicholas Lawrence. "Galilean turbulence : disruption and the bible in the poetry of W.B.Yeats /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00001473.

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25

Estrade, Charlotte. "" Mythomorphoses " écriture du mythe, écriture métapoétique chez Basil Bunting, T. S. Eliot, Ezra Pound et W. B. Yeats." Phd thesis, Université du Maine, 2012. http://tel.archives-ouvertes.fr/tel-00770332.

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Les mythologies - gréco-romaine, irlandaise, perse, indienne, japonaise, chinoise -sont omniprésentes dans la poésie de Bunting, Eliot, Pound et Yeats. Les prédilections desauteurs pour certaines mythologies, véritables choix identitaires et politiques, montrenttoutefois une péroccupation commune pour les mythes violents, aux niveaux martial et sexuel.Ce premier niveau thématique se combine avec une réflexion plus distanciée sur le mythe,outil critique qui permet la reformulation de croyances rituelles et spirituelles, et de nouvellesthéories poétiques qui visent à ordonner et donner un sens au monde chaotique du XXe siècle.Le mythe, subversif, permet donc l'articulation de nouvelles spiritualités et denouvelles expériences poétiques. Enfin, matériau vivant et modelable, dont la mention est à lafois un raccourci de récits anciens et un horizon élargi vers d'autres références et réécritures,le mythe est objet linguistique. En traduction, le mythe transfert les contenus thématiques,déplace les rythmes et fait circuler et s'entremêler les arts. En effet, retour fantasmé à uneorigine du langage artistique, le mythe est parfois fiction d'un art total où les figuresmythiques seraient à la fois objet linguistique, représentation imaginaire picturale etmanifestation musicale. De cette vision du mythe émane une poésie polyphonique et hybride,à l'image du centaure et des autres créatures monstrueuses présents dans l'oeuvre poétique deBunting, Eliot, Pound et Yeats.
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26

Lee, Deng-Huei. "The Evolution of Yeats's Dance Imagery: The Body, Gender, and Nationalism." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4312/.

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Tracing the development of his dance imagery, this dissertation argues that Yeats's collaborations with various early modern dancers influenced his conceptions of the body, gender, and Irish nationalism. The critical tendency to read Yeats's dance emblems in light of symbolist-decadent portrayals of Salome has led to exaggerated charges of misogyny, and to neglect of these emblems' relationship to the poet's nationalism. Drawing on body criticism, dance theory, and postcolonialism, this project rereads the politics that underpin Yeats's idea of the dance, calling attention to its evolution and to the heterogeneity of its manifestations in both written texts and dramatic performances. While the dancer of Yeats's texts follow the dictates of male-authored scripts, those in actual performances of his works acquired more agency by shaping choreography. In addition to working directly with Michio Ito and Ninette de Valois, Yeats indirectly collaborated with such trailblazers of early modern dance as Loie Fuller, Isadora Duncan, Maud Allan, and Ruth St. Denis. These collaborations shed important light on the germination of early modern dance and on current trends in the performative arts. Registering anti-imperialist and anti-industrialist agendas, the early Yeats's dancing Sidhe personify a romantic nationalism that seeks to inspire resistance to the cultural machinery of British colonization. In his middle career, these collective Sidhe transmute into the solitary figure of a bird-woman-witch dancer, who, resembling the soloists of early modern dance, occupies center stage without any support from men and (to some extent) contests patriarchal assumptions. The late Yeats satirizes the imposition of sexual, racial, and religious purity on postcolonial Irish identity by means of Salome-like dances in which "fair" dancers hold the severed heads of "foul" spectators. These dances blur customary socio-political boundaries between fair and foul, classical and grotesque. Early to late, the evolution of Yeats's dancers reflects his gradual incorporation of more innovative female roles partly resembling those created by the pioneers of modern dance.
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27

Prosser, Christopher Skinner 1978. "Two Trees." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11048.

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1 score (viii, 79 p.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The Two Trees is a fifteen-minute musical composition for orchestra. Inspired by William Butler Yeats' poem of the same name, the piece depicts the images described by Yeats' poetic narrative through a double theme and variations form consisting of two contrasting themes that are related, one ascending and one descending. Each theme represents one of the two contrasting sections of the poem and is followed by a set of five variations for a total of ten. Since the rhyme scheme of each section of the poem is divided into five phrases of four lines, each musical variation corresponds to four lines of text.
Committee in Charge: David Crumb, Chair; Robert Kyr; Jack Boss
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28

Yoo, Baekyun. "Religion and Politics in the Poetry of W.B. Yeats." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278080/.

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Previous critics have paid insufficient attention to the political implications of Yeats's life-long preoccupation with a wide range of Western and Eastern religious traditions. Though he always preserved some skepticism about mysticism's ability to reshape the material world, the early Yeats valued the mystical idea of oneness in part because he hoped (mistakenly, as it turned out) that such oneness would bring Catholic and Protestant Ireland together in a way that might make the goals of Irish nationalism easier to accomplish. Yeats's celebration of mystical oneness does not reflect a pseudo-fascistic commitment to a static, oppressive unity. Like most mystics—and most modernists—Yeats conceived of both religious and political oneness not as a final end but rather as an ongoing process, a "way of happening" (as Auden put it).
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Shokouhi, Marjan. "The play of the nature/culture dichotomy in an ecocritical study of W. B. Yeats, Patrick Kavanagh, and Louis MacNeice." Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654718.

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This dissertation aims at contributing to the emerging ecocritical scholarship in the field of Irish studies by undertaking an environmental study of the poetry of William Butler Yeats, Patrick Kavanagh, and Louis MacNeice. Ecocriticism, the study of literary texts in relation to their interconnectedness with the environment, has often been limited to the analysis of more 'natural' landscapes and the genre of nature writing. This thesis, however, problematises the common association of the term 'environment' as 'nature' and includes a study of wild, semi-urban, and urban landscapes in order to arrive at a more comprehensive understanding of environment and environmental awareness. The study of the nature-culture interactions in Irish literature offers a renegotiation of the complex and intricate relationship between place and identity as well as allowing for a consideration of the current state of ecological crisis in Ireland from a cultural perspective. The first chapter starts with the history of deforestation in Ireland from an ecophilosophical perspective and continues with an analysis of W. B. Yeats's sense of place in relation to natural/supernatural landscapes. The second chapter moves from wilderness to the country, where a romanticised idea of a primeval Irish culture was believed to be existent among the insular communities of rural West. This chapter entails a close reading of Patrick Kavanagh's rural aesthetics in comparison with W. B. Yeats's image of Ireland as a 'countrified' landscape of myth and heroism. The third chapter moves to the city as the less 'natural' but more frequently experienced form of environment. The relative peripheralisation of cities in narratives of Irish identity during the Irish Literary Revival corresponds to the overly 'pastoralised' domain of ecocriticism. I will consider Patrick Kavanagh and Louis MacNeice's urban poetics in relation to the modern Irish land/cityscape and the formation of new identity patterns. The philosophy of Martin Heidegger and Tim Ingold on environment and dwelling as well as Waiter Benjamin's work on modernity, flanerie, and metropolis provide the theoretical framework for this study.
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Viana, Maria Rita Drumond. "\"Não se pode lutar uma batalha com sussurros\": a prática epistolar de W.B. Yeats e sua correspondência para periódicos no século XIX." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-18092015-124131/.

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Uma das mais influentes figuras da literatura irlandesa, o escritor W. B. Yeats conta com uma vasta obra em diversos gêneros (poesia, prosa ficcional, ensaios, teatro, autobiografias) e que se estende por uma longa carreira, do final dos anos 1880 até sua morte, em 1939. Durante todos esses anos de intensa atividade, Yeats acumulou uma profícua correspondência, da qual quase oito mil cartas sobrevivem. Parte de um esforço de décadas, vêm sendo publicados volumes das Collected Letters of W. B. Yeats, um projeto de edição crítica completa da correspondência ativa do autor sob edição-geral de John Kelly para a Oxford University Press. Partindo de uma análise do histórico de publicação das cartas do escritor até o presente momento da edição de John Kelly, esta tese contextualiza as diferentes formas como o rico material das cartas foi utilizado pela crítica do autor e propõe uma exploração das epístolas que Yeats envia a periódicos de língua inglesa para publicação nas seções de Cartas ao Editor, ao final do século XIX. O recorte proposto e a abordagem adotada baseiam-se em um entendimento da correspondência de escritores como um campo de estudo distinto, regido por preocupações que remetem a características específicas do gênero carta. Ancorando-se em diversos outros estudos sobre a escrita epistolar, sejam eles de cunho mais teórico (como DIAZ, 2002), sejam aplicados a escritores específicos (como STANLEY, 2011), a presente pesquisa explora a correspondência aberta do jovem Yeats para ressaltar os usos políticos que ele faz desse tipo de texto. Considerando-se diferentes temas e controvérsias nas quais ele se envolve, partese de uma contextualização do conteúdo referencial das cartas para uma análise das formas como o escritor busca engajar-se com o leitor com o intuito de convencêlo. O estudo revelou que o período escolhido é rico em material sobre a relação entre a literatura e a construção da identidade seja a identidade pessoal e artística do próprio poeta, que busca definir-se em relação à tradição, seja a identidade de toda uma literatura nacional. Para o poeta, definir o cânone nacional irlandês era uma condição essencial para a independência política, uma antiga reinvidicação de parcelas do povo irlandês e que volta a ter grande relevância com os movimentos nacionalistas dos séculos XIX e XX. A análise das estratégias utilizadas por Yeats nas cartas abertas revela uma crescente sofisticação de técnicas e no uso das potencialidades dialógicas e performativas da escrita epistolar e demonstra, concomitantemente, seu amadurecimento como escritor.
One of the most influential figures in Irish literature, the writer W. B. Yeats has produced a vast oeuvre spanning many genres (poetry, prose fiction, essays, theater, autobiographies) and extending over a long career, from the late 1880s until his death in 1939. During all these years of intense activity, Yeats accumulated a fruitful correspondence, of which nearly eight thousand letters survive. Part of an effort of decades that have been published as The Collected Letters of W. B. Yeats, an ongoing critical edition of the authors correspondence under the general editorship of John Kelly for the Oxford University Press. From an analysis of the history of publication of the writers correspondence until John Kellys edition, this thesis contextualizes the different ways in which this rich material has been used by Yeats criticism and proposes an exploration of the letters Yeats sends to periodicals for publication in the Letters to the Editor section during the end of the nineteenth century. The proposed focus and approach are based on an understanding of the writers correspondence as a distinct field of study, governed by concerns that refer back to the specific characteristics of the letter genre. Anchored by several other studies on epistolary writing, both from a more theoretical nature (as DIAZ, 2002) or applied to specific writers (as STANLEY, 2011), this research explores the open correspondence of the young Yeats to highlight the political uses of this kind of text. Considering different issues and controversies in which he engages, the study includes a contextualization of the content of the letters and an analysis of the ways in which the writer seeks to engage with readers in order to convince them. The research found that the chosen period is rich in material dealing with the relationship between literature and the construction of identity be it the personal and artistic identity of the poet, who tries to define himself in relation to tradition, or the identity of a national literature. For the poet, defining Irish national canon was an essential condition for political independence a centuries-long aspiration of the Irish people that once again achieves great relevance among the nationalist movements in the nineteenth and twentieth century. The analysis of the strategies used by Yeats in open letters reveals a growing sophistication in terms of the techniques and his use of the dialogical and performative potentials of the epistolary writing, concomitantly revealing how he matures as a writer.
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Cusack, George Thomas. "Restaging Ireland : the politics of identity in the early drama of W.B. Yeats, Augusta Gregory, and J.M. Synge /." Connect to online resource to view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102159.

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Thesis (Ph. D.)--University of Oregon, 2003.
Includes vita and abstract. Includes bibliographical references (leaves 299-309). Also available for download via the World Wide Web; free to University of Oregon users.
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Schmidthorst, Burkhard. "Mythos und Primitivismus in der Lyrik von T. S. Eliot, W. B. Yeats und Ezra Pound : zur Kulturkritik in der klassischen Moderne /." Heidelberg : Universitätsverl. Winter, 2004. http://catalogue.bnf.fr/ark:/12148/cb39263081r.

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Poinsot, Claire. ""Poussières de Mnémosyne". Les pathologies de la mémoire collective et individuelle dans le théâtre de W. B. Yeats et J. M. Synge (1892-1939)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA119.

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Depuis les débuts de W. B. Yeats en tant que dramaturge dans les années 1890, le personnage de théâtre irlandais semble pris dans une tempête de mémoire, chavirant entre deux écueils également mortifères, l’impossibilité d’oublier (hypermnésie) et celle de se souvenir (amnésie). Cette crise de la mémoire et par conséquent de l’identité entraîne une prolifération de troubles mentaux chez les personnages et une utilisation métaphorique croissante et peut-être inconsciente de la maladie mentale par les dramaturges comme théâtralisation des bouleversements de la société contemporaine. W. B. Yeats (1865-1939) et J. M. Synge (1871-1909) font de la mémoire dysfonctionnelle non seulement l’un des thèmes centraux de leur œuvre théâtrale, mais plus encore la matière même de leur écriture, alors que la mémoire désacralisée et déstabilisée est réécrite, remodelée par une prolifération de récits mensongers et contradictoires (paramnésie). Ce travail veut alors définir le rapport entre mémoire, maladie mentale et Modernisme sur une période relativement longue (1892-1939) afin d’observer l’évolution des modes d’inscription de la mémoire à l’intérieur du texte en se centrant sur les trois troubles de la mémoire identifiés à l’époque et à la lumière desquels seront étudiées successivement les pièces. Il s’agit de faire un aller-retour entre la perception intuitive de la mémoire par la littérature et les théories psychiatriques contemporaines, l’hypothèse centrale étant que le texte théâtral intègre certaines notions cliniques dans l’étude de la mémoire, ce qui permettrait de voir dans cette relation entre texte médical et texte théâtral l’un des éléments d’un (pré-)Modernisme irlandais
Ever since Yeats started writing plays in the 1890s, the Irish character seems to be struggling between two opposite pitfalls of memory: on the one hand an impossibility for him to forget, and the other hand an impossibility to retain memories. This memory crisis, which entails an identity crisis, leads to an increasing staging of mental disorders by the playwrights to represent, perhaps involuntarily, a destabilised contemporary society. W. B. Yeats (1865-1939) and J. M. Synge (1871-1909) use mental disorder not only as a theme, but also as a literary ploy as memories in their plays are relived and reconstructed in misleading and contradictory tales. This work focuses on the relationship between memory, mental disorder and Modernism in a long period (1892-1939) in order to underline the evolutions of the representation of dysfunctional memory in the texts. It successively examines the plays in the light of the three major memory disorders identified by psychiatrists at the time: amnesia, hypermnesia and paramnesia. This work relies on a parallel reading of the intuitive perception of memory by literature and the contemporary psychiatric theories, the underlying hypothesis being that some clinical notions of memory dysfunctions have been integrated to the theatrical corpus, which could be a feature of an Irish (early) Modernism
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De, Gruchy John. "W.B. Yeats's Japan : more myth than reality." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=50844.

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This thesis analyses the development of Yeats's image of Japan from his introduction to Japanese culture through 'Japonisme' in the mid-1880's, until the end of his life in 1939. It also surveys the sources of information that Yeats had on Japan other than the Noh drama, and shows how these sources were as important as the Noh, if not more, in defining his image of Japan as an artistic utopia. Three periods of Japanese history were of particular interest to Yeats: The early nineteenth century, in which most Japanese colour prints were produced; the Ashikaga period (1333-1573), when the Noh flourished, and Heian Japan (794-1100), an extraordinary culture which produced some of the world's greatest works of art. Images of Japanese culture from these periods combined to produce a composite, mythical vision of Japan in Yeats's imagination.
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Pulis, Anne Elizabeth. "The vanishing inquiry : modernists in pursuit of spirit /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974673.

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Viana, Maria Rita Drumond. ""Não se pode lutar uma batalha com sussurros": a prática epistolar de W. B. Yeats e sua correspondência para periódicos no século XIX." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/156889.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2015.
Made available in DSpace on 2015-12-08T03:12:11Z (GMT). No. of bitstreams: 0 Previous issue date: 2015
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Hoffmann, Deborah. "The spirit of sound prosodic method in the poetry of William Blake, W.B. Yeats, and T. S. Eliot." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115657.

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Accompanying materials housed with archival copy.
This project focuses on the prosody of three major poets, William Blake, W. B. Yeats, and T. S. Eliot. It explores the relationship between each poet's poetic sound structures and his spiritual aims. The project argues that in Blake's prophetic poems The Four Zoas, Milton, and Jerusalem, in Yeats's middle and late poetry, and in Eliot's post-conversion poetry, the careful structuring of the non-semantic features of language serves to model a process through which one may arrive at the threshold of a spiritual reality.
The introductory chapter situates these poets' works within the genre of mystical writing; establishes the epistemological nature of poetic sound and its relationship to mystical expression; considers the historical and personal exigencies that influence each poet's prosodic choices; and outlines the prosodic method by which their poetry is scanned. Chapter one addresses William Blake's efforts to re-vision Milton's Christian epic Paradise Lost by means of a logaoedic prosody intended to move the reader from a rational to a spiritual perception of the self and the world. Chapter two considers the development of W.B. Yeats's contrapuntal prosody as integral to his attempt to make of himself a modern poet and to his antithetical mystical philosophy. Chapter three explores the liminal prosody of T. S. Eliot by which he creates an incantatory movement that points to a spiritual reality behind material reality. The project concludes with a consideration of the spiritual aims of Gerard Manley Hopkins and H.D. (Hilda Doolittle) and posits a revaluation of Hopkins' sprung rhythm and H.D.'s revisionary chain of sound as prosodic practices intrinsic to their spiritual aims.
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Brady, Bronwyn. "The idea of gaiety in Yeats's lyric poetry." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1015642.

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In June 1917 W.B. Yeats wrote to his father : Much of your thought resembles mine . . but mine is part of a religious system more or less logically worked out, a system which will I hope interest you as a form of poetry. I find the setting it all in order has helped my verse, has given me a new framework and new patterns. (Wade 1954, 627) The new framework and new patterns that he claimed to have found in his system generated a new, and for Yeats, radically different sort of poetry. Before 1919 (The Wild Swans at Coole), the poetry had as its subject various traditional themes: the pity of love; the romance and heroism of Irish mythology; the threat of age, change and death. The poetry up to this point is, formally speaking, highly skillful, but locked into its own admissions of failure to touch or incorporate reality in any but a romantically defeatist way. However, the order which Yeats refers to in his letter, and the system he generated as a propaedeutic to this new order, once assimilated into the habit and texture of the poetry, generated new topics of its own which made those of the earlier work seem subjective, self- indulgent and intellectually uninformed. Yeats's poetry now changed drastically in focus and form, from subjective to objective poetry. Whereas the earlier poetry had opposed reality with romantic heroism or selfdestructive despondency, the poetry subsequent to his change of practice, incorporates a new vision of reality as the intrinsic architechtonics of poetry itself. Now the measure of human and aesthetic completion is no longer an inexplicable and inscrutable sadness, but an intelligent and informed detachment, an energy of mind that Yeats called "gaiety". My thesis explores this energy of mind and what it meant for Yeats and his poetry. My contention is that the idea of gaiety provides a way for Yeats to grant meaning to his life, a way for him to create himself. As the poetry is completed thanks to the new system, so is the poet. In order to see this, it is necessary to read the poems as a series of collections, or stories, that resonate back and forth with meaning and qualification and understanding. Yeats's system is his myth, and he writes his poetry in terms of and informed by that myth, shaping and re-shaping the experience of the created and fictional self until it has meaning in a way that the real self does not. The thesis explores this process of creation firstly in theoretical terms, using Lotman's ideas of Story and Myth, and looking at Yeats's intellectual and poetic inheritance. It goes on to examine some of the great poems in an attempt to define gaiety, and how Yeats achieves it in the poetry, and then to look at the early, pre-system poems to see how they differ. Finally, it takes the last of Yeats's lyric collections, Last Poems, and shows how gaiety works in the most mature poetry when the poems are read as narrative events within a story.
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Manicom, David 1960. "Romantic nationalism and the unease of history : the depiction of political violence in Yeats's poetry." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75915.

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Yeats's depiction of political violence is examined through a reading of the political poetry centred on "Easter 1916," "Nineteen Hundred and Nineteen," and "Meditations in Time of Civil War," each of these bearing a title emphasizing the poem's historicality, each representing one of the violent epochs in modern Ireland. By studying the dramatized narrative persona utilized by Yeats--a persona constituting the ideological and societal contexts of the poem, and effecting, through the choice of perspective, the selection of historical materials--the particular contents of Yeats's history-making are brought into focus. Yeats was both a romantic poet uneasy with the political component of verse, and an Irish nationalist for whom these events were essential ingredients of his life's work. In these poems we find the collision of Yeats's own conflicting ideals about poetry, politics, and history; a collision which produces a complex portrayal of Irish political violence.
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Tracy, Hannah R. "Willing progress: The literary Lamarckism of Olive Schreiner, George Bernard Shaw, and William Butler Yeats." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10596.

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ix, 288 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
While the impact of Darwin's theory of evolution on Victorian and modernist literature has been well-documented, very little critical attention has been paid to the influence of Lamarckian evolutionary theory on literary portrayals of human progress during this same period. Lamarck's theory of inherited acquired characteristics provided an attractive alternative to the mechanism and materialism of Darwin's theory of natural selection for many writers in the late-nineteenth and early-twentieth centuries, particularly those who refused to relinquish the role of the individual will in the evolutionary process. Lamarckian rhetoric permeated an ideologically diverse range of discourses related to progress, including reproduction, degeneration, race, class, eugenics, education, and even art. By analyzing the literary texts of Olive Schreiner, G.B. Shaw, and W.B. Yeats alongside their polemical writing, I demonstrate how Lamarckism inflected these writers' perceptions of the mechanism of human evolution and their ideas about human progress, and I argue that their work helped to sustain Lamarck's cultural influence beyond his scientific relevance. In the dissertation's introduction, I place the work of these three writers in the context of the Neo-Darwinian and Neo-Lamarckian evolutionary debates in order to establish the scientific credibility and cultural attractiveness of Lamarckism during this period. Chapter II argues that Schreiner creates her own evolutionary theory that rejects the cold, competitive materialism inherent in Darwinism and builds upon Lamarck's mechanism, modifying Lamarckism to include a uniquely feminist emphasis on the importance of community, motherhood, and self-sacrifice for the betterment of the human race. In Chapter III, I demonstrate that Shaw's "metabiological" religion of Creative Evolution, as portrayed in Man and Superman and Back to Methuselah , is not simply Bergsonian vitalism repackaged as a Neo-Lamarckian evolutionary theory but, rather, a uniquely Shavian theory of human progress that combines religious, philosophical, and political elements and is thoroughly steeped in contemporary evolutionary science. Finally, Chapter IV examines the interplay between Yeats's aesthetics and his anxieties about class in both his poetry and his 1939 essay collection On the Boiler to show how Lamarckian modes of thought inflected his understanding of degeneration and reproduction and eventually led him to embrace eugenics.
Committee in charge: Paul Peppis, Chairperson, English; Mark Quigley, Member, English; Paul Farber, Member, Not from U of O; Richard Stein, Member, English; John McCole, Outside Member, History
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Pagel, Amber Noelle. ""How Can We Know the Dancer from the Dance?": Cognitive Poetics and the Poetry of William Butler Yeats's." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984126/.

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Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.
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McRae, Shannon. "A dream of purely burning : myth, gender and modernism /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9479.

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Daly, Nora F. "Deirdre and the destruction of Emain Macha : Jungian archetypes and Irish drama /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ42365.pdf.

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Wong, Kuok. "The ghost story across cultures : a study of Liaozhai Zhiyi by Pu Songling and the Celtic Twilight by William Butler Yeats." Thesis, University of Macau, 2008. http://umaclib3.umac.mo/record=b1943892.

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Thanassa, Maria. "Across the enamelled sea : ancient Greek myth and philosophic thought in the poetry of W.B. Yeats." Thesis, King's College London (University of London), 2006. https://kclpure.kcl.ac.uk/portal/en/theses/across-the-enamelled-sea--ancient-greek-myth-and-philosophic-thought-in-the-poetry-of-w-b-yeats(1a55aaaa-02d5-4122-8fac-595bc74ac0b5).html.

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Bell, Caehlin O'Malley. "Being Ireland Lady Gregory in Cathleen Ni Houlihan /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211912530.

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Tomkins, David S. "Remembering the Forgotten Beauty of Yeatsian Mythology: Personae and the Problem of Unity in The Wind Among the Reeds." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2235/.

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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.

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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Martinelli, Robbin A. "Yeat's liberation and the search for spiritual truth : the rose, the myth, the mask /." 2004. http://www.consuls.org/record=b27083330.

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Thesis (M.A.)--Central Connecticut State University, 2004.
Thesis advisor: Richard Bonaccorso. " ... in partial fulfillment of the requirements for the degree of Master of Arts." Includes bibliographical references (leaves 92-95). Also available via the World Wide Web.
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Meihuizen, Nicholas Clive Titherley. "Yeats and individuation : an exploration of archetypes in the work of W.B. Yeats." Thesis, 1992. http://hdl.handle.net/10413/11300.

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