The Edinburgh Companion to W. B. Yeats and the Arts

W. B. Yeats was not only a poet but also a cultural revolutionary. A restless collaborator, he fostered countless artistic enterprises, from the Abbey Theatre to the Cuala Press, and pursued various inter-artistic media and forums for his work. From childhood co-creations with his siblings to the arresting combination of sound and movement in his final play, 'The Death of Cuchulain', his work also repeatedly addresses and incorporates music, dance, and the visual, material and theatrical arts with remarkable intensity. For him, literature was a vital thing that engaged, in one form or another, all the senses. This volume's newly commissioned chapters analyse afresh such engagements. Bringing together scholars of literature, aesthetics, cultural history and specialists in drama, music, dance and the visual arts, they provide a broad range of historical, conceptual, and disciplinary approaches and perspectives.

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Contents

Frontmatter
pp i-iv
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Contents
pp v-vii
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Illustrations
pp viii-xii
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Acknowledgments
pp xiii-xiii
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Abbreviations
pp xiv-xvi
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Introduction
pp 1-16
- By Charles I. Armstrong, Adrian Paterson, Tom Walker
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Part I - Contexts and Concepts
pp 17-18
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1 - Yeats, William Morris and the Aesthetics of theEveryday
pp 19-35
- By Lucy Hartley, John Whittier-Ferguson
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2 - Yeats and The Savoy: French Decadence and IrishPoetry
pp 36-52
- By Matthew Creasy
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3 - The Institutionalisation of Art in Dublin: Yeats,Sociability and Transnationalism
pp 53-66
- By Kathryn Milligan
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4 - The Virtual Archive of Anima Mundi
pp 67-82
- By Charles I. Armstrong
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5 - Yeats, William Morris and the Aesthetics of theEveryday
pp 83-98
- By Barry Sheils
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6 - Knowing Ruskin‘s Cat: Yeats and the Proper Names ofthe Aesthetic
pp 99-111
- By Christopher Morash
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7 - Cuchulain the Cowboy: A Tale of Yeats and the WildWest
pp 112-128
- By Margaret Mills Harper
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Part II - Visual and Material Culture
pp 129-130
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8 - Yeats, Blake and the Romanticism of the Arts andCrafts Movement
pp 131-145
- By Colin Trodd
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9 - Yeats and Edwardian Languages of Art
pp 146-158
- By Sophie Hatchwell
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10 - The Wild Swans at Coole (1917, 1919), MichaelRobart es and the Dancer (1921) and the Limits ofPortraiture
pp 159-176
- By Tom Walker
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11 - A ‘cacophony of sardine tins’:Yeats and ModernArt
pp 177-192
- By Hugh Haughton
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12 - Yeats, Byzantine Art and Celtic Occultism
pp 193-207
- By J. B. Bullen
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13 - A Swedish Bounty: Yeats, Public Art and EuropeanNationalisms in the Free State
pp 208-223
- By Jack Quin
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14 - Preservation and Proportion in ‘The MunicipalGallery Revisited’
pp 224-237
- By Adam Hanna
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15 - Late Yeats, Print and Symbolic Book Design: TheCase of Responsibilities
pp 238-251
- By David Holdeman
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16 - Illustrating the 1935 and 1937 Cuala PressBroadsides
pp 252-267
- By Angela Griffith
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17 - Poetry, Painting and Posterity: Yeats as Exampleand Burden
pp 268-284
- By Rui Carvalho Homem
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Part III - Performance and Sound
pp 285-286
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18 - The ‘World That Sang and Listened’: Yeats andFlorence Farr‘s ‘New Art’ of Verse Speaking
pp 287-305
- By Isabelle Stuart
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19 - ‘Music had driven their wits astray𠅩: Raftery,Nietzsche and the Applied Arts
pp 306-327
- By Adrian Paterson
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20 - Yeats and Wagner: The Countess Cathleen and OtherPlays
pp 328-344
- By Michael McAteer
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21 - ‘We must have a new kind of scenic art’: Yeats‘sSet Design and Stagecraft
pp 345-360
- By Seán Golden
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