Yeats

[AMAZON LINK BELOW TO BOOK ITSELF -- TOC and book intro in downloadable .pdf] 

"It is a common experience that a problem difficult at night is resolved in the morning after the committee of sleep has worked on it." --John Steinbeck Scientific research confirms what people have always known: answers, ideas, and inspiration do come to us in dreams. Harvard psychologist and world-renowned dream specialist Deirdre Barrett, Ph.D., offers this rich collection of examples of how the world's most creative practitioners in art, music, film, science, literature and other fields have used the revelations of their dream life to inform their work. Dr. Barrett offers insights showing us how to encourage lucid, meaningful dreaming, and how to apply the meanings of our dreams to solving problems--from the everyday to the extraordinary. This is the stuff dreams are made of. In the visual arts, Jasper Johns couldn't find his unique artistic vision until he dreamed it in the form of a large American flag. Salvador Dali and his colleagues built the startling new genre of surrealism out of dreams. Kubla Kahn dreamed the design for his stately pleasure dome; thousands of years later, Lucy Davis, chief architect at a major firm, continues the tradition of dreaming designs into life in her extraordinary buildings. Film is a fertile avenue for dreams: "Twice I have transferred dreams to film exactly as I had dreamed them," confides director Ingmar Bergman, as have Federico Fellini, Orson Welles, Akira Kurosawa, Robert Altman, and John Sayles. From Mary Shelley's terrible nightmare, which became Frankenstein, to Stephen King's haunting dream as a little boy, which led to his first bestseller, countless writers have consulted the Committee. Musicians from Beethoven to Billy Joel and Paul McCartney have whistled the Committee's tunes. In science, physiologist Otto Loewi dreamed the medical experiment that earned him the Nobel Prize. In sports, Marion Jones dreamed she'd broken a world record, then brought the dream to life. Gandhi translated his dream of resistance into a movement that changed the world. Since Freud, we take it for granted that our dreams reflect our past. In The Committee of Sleep, Barrett reveals how dreams can also tell us about our future potential--and how to reach it.

"The oldest records indicate that the performance of poetry in Gaelic Ireland was normally accompanied by music, providing a point of continuity with past tradition while bolstering a sense of community in the present. Music would also offer, particularly for poets writing in English from the eighteenth century onwards, a perceived authenticity, a connection with an older tradition perceived as being untarnished by linguistic and cultural division.

While providing an innovative analysis of theoretical work in music and literary studies, this book examines how traditional Irish music, including the related song tradition (primarily in Irish), has influenced, and is apparent in, the work of Irish poets. While looking generally at where this influence is evident historically and in contemporary Irish poetry, this work focuses primarily on the work of six poets, three who write in English and three who write primarily in the Irish language: Thomas Kinsella, Seamus Heaney, Ciaran Carson, Gearóid Mac Lochlainn, Nuala Ní Dhomhnaill and Cathal Ó Searcaigh."

Abstract: It is a given that Yeats wrote and/or assembled books of poems. Some collections of poems within books inform one another within the larger arc of the book as a whole and, as a result, an examination of how poems placed adjacent to one another deepens readers’ and scholars’ appreciation and understanding of the poems. This is certainly the case of the final four poems of Michael Robartes and the Dancer, which shows Yeats wrestling with a new father’s complicated feelings about having a beloved daughter born in troubling times.
Key words: Yeats, Michael Robartes and the Dancer, “The Second Coming”, “A Prayer for My Daughter”, “A Meditation in Time of War”, “To Be Carved on a Stone at Thoor Ballylee.”

Bryan MacMahon’s 1966 Easter Rising Pageant, Seachtar Fear, Seacht Lá (Seven Men, Seven Days) is currently written out of the master narrative of 1916’s cultural history. When mentioned, its radical inclusion of female, queer, and post-independent Ireland’s politically “dissident” voices —  those of socialists, loyalists, feminists, and World War I enlistees — is never acknowledged. MacMahon’s secular and inclusive production departs from the masculinist and narrowly ideological precedent set by Pearse’s pageants. Seachtar’s singling out of Connolly, its writing back of women into 1916, its suggestively-worded evocation of the 1965 return of the remains of Roger Casement, and its skepticism regarding the platitudes of nationalist historiography all amount to a plea to resuscitate the Rising’s elided socialist, feminist, and even queer agendas. In addition, it provocatively enfolds contemporary Ulster loyalism.

In the present study, we investigated of the ethanol (Eth), 2-phenylethanol (2-PE) and ethanol/2-phenylethanol (Eth/2-PE) stress tolerance and established relationship between stress tolerance and fatty acid compositions of wine yeast strain S. cerevisiae UCM Y-524 in relation to different cultivation factors. Changes in cell membrane fatty acid profiles studied under different temperature and media. The active oxygenation, semi-aerobic cultivation supplemented Tween 80 conditions were used in different combinations. The concentrations of 2-PE and Eth, the fatty acids methyl esters (FAMES) in the media were measured by GC-MS analyses. 2-PE, Eth, FAMES were identified by NIST02 MS database at the 2-PE and Eth standard solution (Merck, Germany), bacterial FAMES standard (Supelco). Palmitoleic and oleic acid were dominated for S. cerevisiae UCM Y-524. The unsaturated/saturated fatty acid (UFA/SFA) ratio was higher than five for S. cerevisiae UCM Y-524 at 14 °C in simple medium and about more than three for other conditions. It has been found that yeast cells grown in the presence of the 2-PE, Eth and Eth/2-PE appear to increase the amount of unsaturated fatty acids, especially oleic acid, in cellular lipids especially under active oxygenation supplemented with Tween 80. S. cerevisiae UCM Y-524 has a higher tolerance under 2-PE, Eth and Eth/2-PE stress at 28 °C in a simple medium under aerobic conditions. A higher concentration of unsaturated fatty acids in the membrane S. cerevisiae UCM Y-524 and a lower temperature under aerobic conditions, has been considered to have a positive influence on the excretion of 2-phenylethanol.

An examination of Yeats’s apocalyptic works reveals a clear delineation of gender roles. The act of revelation is clearly seen as women’s work rather than the work of men, who are left to try and interpret—often incompletely—what women can intuit. This gender division, which is expressed in works like “The Second Coming” and “The Gift of Harun al-Rashid,” are rooted in the system of A Vision, as it appears in the 1925 and 1937 editions, as well as in the relationship between the husband and wife who co-created it through the system’s raw material, as preserved in the automatic script, dream notebooks, card catalog, and draft materials.

Poetry is a mirror held up by the poets to the life; it reflects the various aspects of the life. Social and political situations and events as parts of the life have been reflected, whether directly or indirectly, in the poetry of the social poets throughout history. It is worth mentioning that almost always it is dissatisfaction with the unpleasant situation of society that inspires the poets to write on the social and political subjects. The reformist poets who desire to change the unfavorable situation through writing social poetry warn the mass and make them aware of their social life. This awareness usually brings the change in the social and political conditions. The contemporary Iranian poet, Mehdi Akhavan Saless in "The Winter"  (1955) and the Irish William Butler Yeats in "Easter 1916" (1916) demonstrate their dissatisfaction and anger with the social and political conditions of their societies.

예이츠의 작품은 다시 찾은 시공과 재창조된 시공에 존재한다. 창조된 시공은 현대시대에서 음유시인의 역할을 재상상함으로써 자신을 위해 만든 것이다. 1937 년 환상록을 완성함으로써 그의 작품은 전통적인 영원성의 시간개념(일순간 인식된 모든 시간)을 반영하기 시작할 뿐 아니라, 『창유리에 쓰인 말』과 『연옥』에서 보이는 현세적인 시간과 영원한 시간 사이에 존재하는 초자연적 시간도 반영한다. 이 초자연적 시 간은 보통 우리가 살아가는 시간보다 더 유동적이다.
Yeats’s works exist within a recovered and reinvented space in time — one that he created for himself by reimagining the bardic role within a modern era. With the completion of the 1937 edition of A Vision, his art began to project an understanding of time that incorporated an orthodox conception of the eternal — all of time conceived as a single instance — but also of a supernatural time that inhabited a space between the mundane and the eternal. This supernatural time, as seen in The Words Upon the Window-Pane and Purgatory, is more fluid than the one we normally inhabit.

W. B. Yeats conceptualized time differently from his contemporaries and most of his fellow poets. Most view and employ time as a progression or as a metaphorical being. Yeats, like William Blake, also engages with time and its relationship to the eternal  all time perceived in a single instant. This difference in outlook, born out of a stew of bardic, folkloric, physical and metaphysical outlooks, fundamentally impacted his outlook and his work.

SILVA, Patrícia, "The poetic drama of Fernando Pessoa and W.B. Yeats and the Symbolist Theatre Tradition" (2018). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 14, Fall, pp. 5-28. Brown Digital Repository. Brown University Library. https://doi.org/10.26300/9cpf-wd41

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 14

The poetic drama of Fernando Pessoa and W.B. Yeats and the Symbolist Theatre Tradition
[O drama poético de Fernando Pessoa e de W. B. Yeats e a Tradição Teatral Simbolista]

https://doi.org/10.26300/9cpf-wd41

ABSTRACT

This essay explores the impact and influence of the Symbolist theatre and, in particular, of the dramas of Maeterlinck and Villiers de L'Isle-Adam, on Fernando Pessoa and W.B. Yeats. It examines the way in which the principles underlying the theatre produced by those playwrights and that movement met with the aesthetic aspirations and philosophical inclinations of the two poets, which led them to engage with those principles and their enacting dramatic devices in their poetic drama. It also analyses points of contact between their works and works by those playwrights, their critique of their practices and efforts to surpass what they perceive as being their limitations and to make original contributions to the development of that strain of Symbolist theatre in the twentieth century.

RESUMO

Este ensaio explora o impacto e a influência do teatro simbolista e, em particular, dos dramas de Maeterlinck e de Villiers de L'Isle-Adam, sobre Fernando Pessoa e W.B. Yeats. Examina a forma como os princípios subjacentes ao teatro produzido por aqueles dramaturgos e aquele movimento foram ao encontro das aspirações estéticas e as preocupações e inclinações filosóficas de ambos os poetas, o que os levou a dialogarem com esses princípios e as suas estratégias de encenação nos seus dramas poéticos. Analisa, igualmente, pontos de contacto entre as suas obras e com as obras daqueles dramaturgos, a sua crítica das práticas que aqueles desenvolveram e esforço para ultrapassar o que percebem ser limitações e para oferecer contribuições originais para o desenvolvimento dessa linha de teatro simbolista no século XX.

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BITHELL, Jethro (1913). Life and Writings of Maurice Maeterlinck. London: Walter Scott Pub. Co.
BRACHEAR, Robert (1966). “Maurice Maeterlinck and His ‘Musée Grévin’”, in The French Review, vol.
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CASTRO, Carla Isabel Ferreira de (1996). “Do drama estático das almas ao drama extático em gente:
de L'Intruse e Les Aveugles de Maurice Maeterlinck a O Marinheiro de Fernando Pessoa”.
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1, Spring, pp. 1-69. <https://doi.org/10.7301/Z0B56GZH>.
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Abstract: There is less certainty when we approach the material known as the Vision Papers — the notebooks and loose pages filled with the automatic writing, the dream notebooks, the card catalogs, and draft manuscripts produced through the partnership of W. B. and George Yeats that are the source material of A Vision. But, while the Vision Papers may not have the same kind of authorial authority as the published editions of A Vision, an examination of them provides us with a window into the Yeatses’ thoughts about their system through a reading of its development — a window that foregrounds Yeats’s extension of time into realms that normally lie outside its borders. And there, Time plays its usual role within Yeats’s oeuvre— counting moments, encompassing eternity, and resonating with a symbolic energy.

Many poems in Chamber Music bear an undeniable Yeatsian stamp that goes beyond mere influence. That Joyce was familiar with Yeats’s poetry needs no substantiation: echoes from The Wind Among the Reeds and The Rose will reverberate throughout Joyce’s future works. Joyce also grafts a number of Yeatsian poetic elements onto his own poems in the acts of “silent translexion,” or deliberate but covert intralingual assimilation of lexes and imagery. This essay presents close-readings of a few instances of lexical and phraseological overlaps in both poets with a twin objective: firstly, to demonstrate that, while Joyce’s early poetic expression derives from Yeats’s quite conspicuously, Joyce transcends the Yeats material by committing it to an entirely new poetic end (as befits the decidedly apostate ways of the young nonconformist we recognize in Joyce) and, secondly, to address some of the ramifications of “silent translexion” of Yeats for Joyce’s early artistic development.

Time is not only fleeting, it is difficult to define. When we measure distance, we see the ground we cover. When we measure a second, however, we know time has passed but we do not directly sense what we have measured. Indeed, it is still something of a mystery to contemporary physicists as to what time fundamentally is. We have long known how to measure it and, following the work of Albert Einstein, recognize it is inextricably linked to space. Time-Space is an imperceptible medium through which we move, as a fish does through water. Unlike most fish, however, we strive to understand the medium we inhabit.
How any of us conceptualizes this fundamental portion of existence necessarily changes our approach to it and poets, including William Butler Yeats, as well as physicists, have long engaged with the notion of time -- both as a progression and as a thing in and of itself. Even before he began seriously considering the New Physics in the mid-1920s, Yeats had begun to conceptualized time differently from his contemporaries and most of his fellow poets. This difference in outlook, born out of a stew of bardic, folkloric, physical and metaphysical outlooks, fundamentally impacted his work.

In the later years of his life, between 1931 and 1937, W. B. Yeats was directly involved in the broadcast of eight BBC programmes about his work. These were Yeats’s talk on his version of Oedipus the King, a performance of which was broadcast from the Belfast Studio by the Abbey Players (8 September 1931),1 the reading of his poems in An Irish Programme (8 September 1931), the St Patrick’s Night broadcast of 1934, the Lecture on Modern Poetry broadcast after the publication of the Oxford Book of Modern Verse (11 October 1936), In The Poet’s Pub (2 April 1937), In The Poet’s Parlour (22 April 1937), and the two programmes of Yeats’s own readings (3 July and 29 October 1937).

MCNEILL, Patrícia Silva, "Sacred Geometry of Being: Pessoa's Esoteric Imagery and the Geometry of Modernism" (2014). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 6, Fall, pp. 20-45. Brown Digital Repository. Brown University Library. https://doi.org/10.7301/Z0GF0S0D

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 6

The Sacred Geometry of Being: Pessoa’s Esoteric Imagery and the Geometry of Modernism
[Geometria Sagrada do Ser: imagética esotérica de Pessoa e a geometria do modernismo]

https://doi.org/10.7301/Z0GF0S0D

ABSTRACT

It is a known fact that throughout his life Pessoa was interested in and conversant with an array of esoteric currents and doctrines. Underpinning that interest was a marked tendency to a form of symbolic thinking encapsulated in the lines "[…] my thinking is condemned / To symbol and analogy" from a 1907 poem by the incipient heteronym Alexander Search, which recur in a fragment from 1932 of the dramatic poem Fausto. Pessoa's continued symbolic thinking, informed by copious readings mainly in Western Esotericism, allowed him to develop a creative hermeneutical approach to esoteric epistemologies. This essay will be concerned specifically with Pessoa's conception of the mystical significance of geometrical forms, arguing that they not only enriched the figurative expressiveness of his poetry but also played a crucial role in his formulation of a poetics of Sensationism. Pessoa's use of geometric imagery will be considered in the context of the fascination with sacred geometry and exploration of its aesthetic potential displayed by other modernists, like Yeats and Pound, and by avant-garde movements from the early XX th century which were also driven by analogous concerns, such as Futurism, Vorticism, Cubism, Expressionism and Suprematism.

RESUMO

É conhecido o interesse de Pessoa por e a sua familiaridade com uma variedade de correntes e doutrinas esotéricas ao longo da sua vida. A esse interesse subjaz uma tendência marcada para uma forma de pensamento simbólico cristalizada nos versos "[…] o meu pensamento está condenado / ao símbolo e à analogia" de um poema de 1907 pelo heterónimo incipiente Alexander Search, que seriam retomados num fragmento de 1932 do poema dramático Fausto. O pensamento simbólico continuado de Pessoa, informado por leituras abundantes sobretudo acerca do esoterismo ocidental, permitiu-lhe desenvolver uma abordagem hermeneutica criativa às epistemologias esotéricas. Este ensaio prender-se-á especificamente com a concepção do significado místico de formas geométricas por parte de Pessoa, defendendo que estas não só enriqueceram a expressividade figurativa da sua, mas também desempenharam um papel crucial na sua formulação de uma poética do sensacionismo. O uso da imagética geométrica por Pessoa será considerado no contexto da
fascinação com geometria sagrada e da exploração do seu potencial estético por outros modernistas, como Yeats e Pound, e pelas vanguardas artísticas do início do século XX
igualmente motivadas por preocupações análogas, tais como o futurismo, o vorticismo, o cubismo, o expressionismo e o suprematismo.

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