Music and the Irish literary imagination

著者

• White, Harry

書誌事項

Music and the Irish literary imagination

Harry White

Oxford University Press, 2008

注記

Includes bibliographical references (p. [244]-249) and index

収録内容

• Introduction: words for music: in search of the Irish Omphalos
• The auditory imagination of Thomas Moore
• W. B. Yeats and the music of poetry
• Why J. M. Synge abandoned music
• Opera and drama: Bernard Shaw and "The brandy of the damned"
• The "Thought-tormented Music" of James Joyce
• Words after music: Samuel Beckett after Joyce
• Operas of the Irish mind: Brian Friel and music
• Words alone: Seamus Heaney, music, and the jurisdiction of literary forms

内容説明・目次

内容説明

Harry White examines the influence of music in the development of the Irish literary imagination from 1800 to the present day. He identifies music as a preoccupation which originated in the poetry of Thomas Moore early in the nineteenth century. He argues that this preoccupation decisively influenced Moore's attempt to translate the 'meaning' of Irish music into verse, and that it also informed Moore's considerable impact on the development of European musical romanticism, as in the music of Berlioz and Schumann. White then examines how this preoccupation was later recovered by W.B. Yeats, whose poetry is imbued with music as a rival presence to language. In its readings of Yeats, Synge, Shaw and Joyce, the book argues that this striking musical awareness had a profound influence on the Irish literary imagination, to the extent that poetry, fiction and drama could function as correlatives of musical genres. Although Yeats insisted on the synonymous condition of speech and song in his poetry, Synge, Shaw and Joyce explicitly identified opera in particular as a generic prototype for their own work. Synge's formal musical training and early inclinations as a composer, Shaw's perception of himself as the natural successor to Wagner, and Joyce's no less striking absorption of a host of musical techniques in his fiction are advanced in this study as formative (rather than incidental) elements in the development of modern Irish writing. Music and the Irish Literary Imagination also considers Beckett's emancipation from the oppressive condition of words in general (and Joyce in particular) through the agency of music, and argues that the strong presence of Mendelssohn, Chopin and Janacek in the works of Brian Friel is correspondingly essential to Friel's dramatisation of Irish experience in the aftermath of Beckett. The book closes with a reading of Seamus Heaney, in which the poet's own preoccupation with the currency of established literary forms is enlisted to illuminate Heaney's abiding sense of poetry as music.

目次

• Introduction: Words for Music: In Search of the Irish Omphalos
• 1. The Auditory Imagination of Thomas Moore
• 2. W.B.Yeats and the Music of Poetry
• 3. Why J.M. Synge Abandoned Music
• 4. Opera and Drama: Bernard Shaw and 'The Brandy of the Damned'
• 5. The 'Thought-Tormented Music' of James Joyce
• 6. Words after Music: Samuel Beckett after Joyce
• 7. Operas of the Irish Mind: Brian Friel and Music
• 8. Words Alone: Seamus Heaney, Music, and the Jurisdiction of Literary Forms
• Select Bibliography

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詳細情報

• NII書誌ID(NCID): BA88166500
• ISBN:
  • 9780199547326
• LCCN: 2008036149
• 出版国コード: us
• タイトル言語コード: eng
• 本文言語コード: eng
• 出版地: New York
• ページ数/冊数: xiv, 260 p.
• 大きさ: 23 cm
• 分類:
  • LCC : PR8722.M85
  • DC22 : 820.9/35780899162
• 件名:
  • LCSH : English literature -- Irish authors -- History and criticism
  • LCSH : English literature -- Irish authors -- Musical settings -- History and criticism
  • LCSH : English literature -- 19th century -- History and criticism
  • LCSH : English literature -- 20th century -- History and criticism
  • LCSH : Music and literature -- History -- 19th century
  • LCSH : Music and literature -- History -- 20th century
  • LCSH : Music -- Ireland -- 19th century -- History and criticism
  • LCSH : Music -- Ireland -- 20th century -- History and criticism