Twentieth-Century Literary Criticism


Abbey Theatre in the Irish Literary Renaissance | Copyright Page

ISSN 0276-8178

Volume 154

Twentieth-Century Literary Criticism

Criticism of the Works of Various Topics in Twentieth-Century Literature, including Literary, and Critical Movements, Prominent Themes and Genres, Anniversary Celebrations, and Surveys of National Literatures

Linda Pavlovski

Project Editor

Twentieth-Century Literary Criticism, Vol. 154
Project Editor

Linda Pavlovski

Editorial

Jessica Bomarito, Kathy D. Darrow, Jeffrey W. Hunter, Jelena O. Krstovi ´

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ISBN 0-7876-8908-4
ISSN 0276-8178

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Preface

S
ince its inception more than fifteen years ago, Twentieth-Century Literary Criticism (TCLC) has been purchased and used by nearly 10,000 school, public, and college or university libraries. TCLC has covered more than 500 authors, representing 58 nationalities and over 25,000 titles. No other reference source has surveyed the critical response to twentieth-century authors and literature as thoroughly as TCLC. In the words of one reviewer, “there is nothing comparable available.” TCLC “is a gold mine of information—dates, pseudonyms, biographical information, and criticism from books and periodicals—which many librarians would have difficulty assembling on their own.”

Scope of the Series

TCLC is designed to serve as an introduction to authors who died between 1900 and 1999 and to the most significant interpretations of these author’s works. Volumes published from 1978 through 1999 included authors who died between 1900 and 1960. The great poets, novelists, short story writers, playwrights, and philosophers of the period are frequently studied in high school and college literature courses. In organizing and reprinting the vast amount of critical material written on these authors, TCLC helps students develop valuable insight into literary history, promotes a better understanding of the texts, and sparks ideas for papers and assignments. Each entry in TCLCpresents a comprehensive survey on an author’s career or an individual work of literature and provides the user with a multiplicity of interpretations and assessments. Such variety allows students to pursue their own interests; furthermore, it fosters an awareness that literature is dynamic and responsive to many different opinions.

Every fourth volume of TCLC is devoted to literary topics. These topics widen the focus of the series from the individual authors to such broader subjects as literary movements, prominent themes in twentieth-century literature, literary reaction to political and historical events, significant eras in literary history, prominent literary anniversaries, and the literatures of cultures that are often overlooked by English-speaking readers.

TCLC is designed as a companion series to Thomson Gale’s Contemporary Literary Criticism, (CLC) which reprints commentary on authors who died after 1999. Because of the different time periods under consideration, there is no duplication of material between CLC and TCLC.

Organization of the Book

A TCLC entry consists of the following elements:

  • © The Author Heading cites the name under which the author most commonly wrote, followed by birth and death dates. Also located here are any name variations under which an author wrote, including transliterated forms for authors whose native languages use nonroman alphabets. If the author wrote consistently under a pseudonym, the pseudonym will be listed in the author heading and the author’s actual name given in parenthesis on the first line of the biographical and critical information. Uncertain birth or death dates are indicated by question marks. Singlework entries are preceded by a heading that consists of the most common form of the title in English translation (if applicable) and the original date of composition.
  • © A Portrait of the Author is included when available.
  • © The Introduction contains background information that introduces the reader to the author, work, or topic that is the subject of the entry.
  • © The list of Principal Works is ordered chronologically by date of first publication and lists the most important works by the author. The genre and publication date of each work is given. In the case of foreign authors whose

    • vii

    duced by permission of Devin-Adair Publishers, Inc, Old Greenwich, Connecticut, 06870.—Lowery, Robert G. From an introduction to A Whirlwind in Dublin: ‘The Plough and the Stars’ Riots. Edited by Robert G. Lowery. Greenwood Press, 1984. Copyright © 1984 by Robert G. Lowery. All rights reserved. Reproduced by permission of Greenwood Publishing Group, Inc., Westport, CT.—Malone, Andrew E. From “The Early History of the Abbey Theatre,” in The Irish Theatre: Lectures Delivered during the Abbey Theatre Festival held in Dublin in August 1938. Edited by Lennox Robinson. Copyright © 1939. Reproduced by permission of Palgrave Macmillan Ltd.—Mayo, Marlene J. From “Literary Reorientation in Occupied Japan: Incidents of Civil Censorship,” in Legacies and Ambiguities: Postwar Fiction and Culture in West Germany and Japan. Edited by Ernestine Schlant and J. Thomas Rimer. Johns Hopkins University Press, 1991. Copyright © 1991 by the Woodrow Wilson International Center for Scholars. Reproduced by permission of Johns Hopkins University Press.—McClintock, Cara B. From “‘It Will Be Very Difficult to Find a Definition’: Yeats, Language, and the Early Abbey Theatre,” in W. B. Yeats and Postcolonialism. Edited by Deborah Fleming. Locust Hill Press, 2001. Copyright © 2001 by Deborah Fleming. All rights reserved. Reproduced by permission.—McDiarmid, Lucy. From “The Abbey and the Theatrics of Controversy, 1909-1915,” in A Century of Irish Drama: Widening the Stage. Edited by Stephen Watt, Eileen Morgan and Shakir Mustafa. Indiana University Press, 2000. Copyright © 2000 by Indiana University Press. All rights reserved. Reproduced by permission.—Peterson, Geoffrey F. From “The Soviet Censorship and Samizdat,” in The Image of the Twentieth Century in Literature, Media, and Society. Edited by Will Wright and Steven Kaplan. Society for the Interdisciplinary Study of Social Imagery, University of Southern Colorado, 2000. Reproduced by permission.—Phillips, John. From Forbidden Fictions: Pornography and Censorship in Twentieth-Century French Literature. Pluto Press, 1999. Copyright

  • © 1999 John Phillips. All rights reserved. Reproduced by permission.—Robinson, Lennox. From “Lady Gregory,” in The Irish Theatre: Lectures Delivered during the Abbey Theatre Festival held in Dublin in August 1938. Edited by Lennox Robinson. Copyright © 1939. Reproduced by permission of Palgrave Macmillan Ltd.—Russell, George. From “The Coming of Age of the Abbey,” in The Abbey Theatre: Interviews and Recollections. Macmillan Press Ltd, 1988. Edited by E.
  • H. Mikhail. Copyright © 1988 Macmillan Press Ltd. Reproduced by permission of Palgrave Macmillan and Rowman and Littlefield.—Saddlemyer, Ann. From “The ‘Dwarf-Dramas’ of the Early Abbey Theatre,” in Yeats, Sligo and Ireland: Essays to Mark the 21st Yeats International Summer School. Edited by A. Norman Jeffares. Colin Smythe Ltd., 1980. Copyright © 1980 by Ann Saddlemyer. All rights reserved. Reproduced by permission.—Scammell, Michael. From “Interview with Joseph Brodsky,” in An Embarrassment of Tyrannies: Twenty-Five Years of Index on Censorship. Edited by W. L. Webb and Rose Bell. Victor Gollancz, 1997. Copyright © 1972 by Michael Scammell. All rights reserved. Reproduced by permission.—Webb, W. L. From “An Embarrassment of Tyrannies,” in An Embarrassment of Tyrannies: Twenty-Five Years of Index on Censorship. Edited by W. L. Webb and Rose Bell. Victor Gollancz, 1997. Copyright © 1997 by W. L. Webb and Writers & Scholars International, Ltd. All rights reserved. Reproduced by permission.—Werner, Craig. From “Leon Forrest and the AACM: The Jazz Impulse and the Legacy of the Chicago Renaissance,” in Leon Forrest: Introductions and Interpretations. Edited by John G. Cawelti. Bowling Green University Press, 1990. Copyright © 1990, by The Board of Regents of the University of Wisconsin System. All rights reserved. Reproduced by permission.—Wilkerson, Margaret B. From African American Performance and Theater History. Oxford University Press, 2001. Copyright © 2001, by Oxford University Press, Inc. All rights reserved. Reproduced by permission.—Woolley, Lisa. From American Voices of the Chicago Renaissance. Northern Illinois University Press, 2000. Copyright © 2000, by Northern Illinois University Press. All rights reserved. Reproduced by permission.
    • PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN TCLC, VOLUME 154, WERE RECEIVED FROM THE FOLLOWING SOURCES:

    Allen Ginsberg reading his poem “Howl,” outside the U.S. Court of Appeals in Washington, D.C., photograph. AP/Wide World Photos.—Exterior of the Abbey Theatre on Marlborough Street, Dublin, Ireland, photograph. Copyright © Bettmann/ Corbis.—Gregory, Augusta, photograph. The Library of Congress.—Miller, Henry, photograph. The Library of Congress.— Newly discovered manuscript of the “Circe” chapter of James Joyce’s Ulysses, photograph. Copyright © Lorenzo Ciniglio/ Corbis.—Wright, Richard, photograph. The Library of Congress.—Yeats, William Butler, photograph. The Library of Congress.

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