Bibliography

Notes on Contributors

Acknowledgements

Vol. I - Reception and Translation

• Wolfgang Zach, Introduction’ [ix].
• Robert Welch, ‘Translation and Irish Poetry in English’ [1].
• Andrew Carpenter, ‘Irish and Anglo-Irish Scholars in the Time of Swift: The Case of Anthony Raymond’ [11].
• Walter T. Rix, ‘Ireland as a Source of German Interest in the Early Nineteenth Century: From Politics to Literature’ [21].
• Istvan Palffy, ‘Hungarian Views of Ireland in the Nineteenth Century’ [33].
• Barbara Hayley, ‘The Eeerishers are marchin’ in leeterature’: British Critical Reception of Nineteenth-Century Anglo-Irish Fiction’ [39].
• Birgit Bramsback, ‘William Butler Yeats and Sweden’ [51].
• Ivanka Koviloska-Poposka, ‘The Reception of Yeats in Macedonian’ [61].
• Waffia Mursi, ‘Moliere and the Abbey Theatre’ [69].
• Palmira De Angelis & Odetta Tita Farinella, Synge in Italian: Problems of Translation’ [75].
• Theo D’haen, Translation, Adaptation, Inspiration: The Creative Reception of Anglo-Irish Works in Dutch Literature’ [81].
• Svetozar Koljevic, ‘The Reception and Translation of James Joyce in Serbo-Croat’ [91].
• Jerneja Petric, ‘How Adequately Can Joyce Be Translated? Ulysses and its Slovene Translation’ [101].
• John Paul Riquelme, ‘Ireland and Switzerland: The Cases of James Joyce and Fritz Senn’ [109].
• Mada Edekon, ‘Polish Critics on Joyce Cary’ [117].
• Richard Wall, ‘The Stage History and Reception of Brendan Behan’s An Giall’ [123].
• Paul C Buchloh, et al., ‘The Transposition of Politics in Anglo-Irish Drama: Brendan Behan on the German Stage’ [131].
• Gizella Kocztur, ‘Anglo-Irish and Hingarian Relations’ [141].
• Doroffiea Siegmund-Schultze, ‘Some Remarks on the Reception of Anglo-Irish Literature in the German Democratic Republic’ [149].
• Mirko Jurak, ‘Irish Playwrights in the Slovene Theatre’ [159].

Vol. II - Comparison and Impact

Wolfgang Zach, Introduction’ [xi];

Part 1: COMPARISON

• Heinz Kosok ‘Anglo-Irish Literature and Comparative Literary Studies in English’ [3].
• Mary E. F. Fitzgerald, ‘The Unveiling of Power: 19th Century Gothic Fiction in Ireland, England and America’ [15].
• Richard Ellmann, ‘The Uses of Decadence: Wilde, Yeats and Joyce’ [27].
• Maria Gottwald, ‘New Approaches and Techniques in the Short Story of James Joyce and Katherine Mansfield’ [41].
• Peter Barta, ‘Childhood in the Autobiographical Novel. An Examination of Tolstoy’s Childhood, Joyce’s A Portrait of the Artist as a Young Man and Bely’s Kotik Letaev’ [49].
• Ljiljana Gjurgjan, ‘The Subversion of a Traditional Value System Built into Language in Joyce’s Portrait and Kamov’s Dried-Up Bog’ [57].
• Johannes Kleinstuck, ‘Yeats and Ibsen’ [65].
• Maria Kurdi, ‘Parallels between the Poetry of W.B. Yeats and Endre Ady’ [75].
• Csilla Bertha, ‘An Irish and a Hungarian Model of Mythical Drama: W. B. Yeats and Aron Tamasi’ [85].
• Jacqueline Genet, ‘W.B. Yeats and W. H Auden’ [95].
• Ann Saddlemyer, ‘At Home in the Theatre: Ireland’s Lady Gregory and Canada’s Gwen Pharis Ringwood’ [111].
• Cecelia Zeiss, ‘Aspects of the Short Story: A Consideration of Selected Works of Frank O’Connor and Herman Charles Bosman’ [121].
• T.O. McLoughlin, ‘Fables from the Desert: Functions of Irony in Beckett and Some Southern African Writers’ [129].
• Anthony Roche, ‘A Bit Off the Map: Brian Friel’s Translations and Shakespeare’s Henry IV’ [139].
• Desirée Hirst, ‘Modern Writing in English from Ireland and Wales: A Comparative Study’ [149].
• Walentyna Wltoszek, ‘Culturomachia in Modern Irish and Polish Drama’ [161].

PART II: IMPACT

• Julian Moynahan, ‘Gerald Griffin and Charles Dickens’ [173].
• Patricia Coughlan, ‘The Recycling of Melmoth: “A Very German Story”’ [181].
• Jolanta Natlecz-Wojtczak, ‘Joseph Sheridan LeFanu and New Dimensions for the English Ghost Story’ [193].
• Samira Basta, ‘The French Influence on Dion Boucicault’s Sensation Drama’ [199].
• Patrick O’Neill, ‘Ossian’s Return: The German Factor in the Irish Literary Revival’ [207].
• Suheil Badi Bushrui, ‘Yeats, India, Arabia, and Japan The Search for a Spiritual Philosophy’ [221].
• B. N. Prasad, ‘The Impact of W. B. Yeats on Modern Indian Poetry’ [235].
• Donald T. Torchiana, ‘W. B. Yeats and Italian Idealism’ [245].
• William E. Hart, ‘Synge and Sienkiewicz’ [255].
• Peter Egri, ‘Synge and O’Neill: Inspiration and Influence’ [261].
• E. H. Mikhail, ‘The International Role of the Abbey Theatre’ [269].
• Fethi Hassaine, ‘The Influence of Bergson and Dujardin on Moore’s The Lake and Joyce’s “The Dead”’ [273].
• Carla de Petris, ‘The Shade of Shelley: From Prometheus to Ulysses’ [283].
• Monika Fludernik, ‘The “Ulyssean Paradigm” of the Modern Novel’ [293].
• Barbara Fisher, ‘The Influence of Tolstoy and Dostoevsky on Joyce Cary with Particular Reference to Cary’s Irish Novels’ [299].
• Ruth Fleischmann, ‘Old Irish and Classical Pastoral Elements in Patrick Kavanagh’s Tarry Flynn’ [311].
• Margaret E. Fogarty, ‘The Fiction of Iris Murdoch: Amalgam of Yeatsian and Joycean Motifs’ [323].
• Rüdiger Imhof, ‘German Influences on John Banville and Aidan Higgins’ [335].
• Ruth Niel, ‘Non-realistic Techniques in the Plays of Brian Friel: The Debt to International Drama’ [349].
• Joseph Swann, ‘The Poet as Critic: Seamus Heaney’s Reading of Wordsworth, Hopkins and Yeats’ [361].

Wolfgang Zach, Introduction’ [ix].

• Terence Brown, ‘Saxon and Celt: The Stereotypes’ [1].
• Patrick Rafroidi, Franco-Irish Encounters of the Literary Kind’ [11].
• Aladar Sarbu, ‘Literary Nationalism: Ireland and Hungary’ [19].
• Giuseppe Serpillo, ‘”Why donsh yeh tell ush shometin about Marseille?”: Being Abroad and Being Irish - Being Irish is Being Abroad’’ [27].
• Maurice Colgan, ‘Exotics or Provincials?: Anglo-Irish Writers and the English Problem’ [35].
• Janet Madden-Simpson, ‘Haunted Houses: The Image of the Anglo-Irish in Anglo-Irish Literature’ [41].
• Kathleen Rabl, ‘Taming the “Wild Irish” in English Renaissance Drama’ [47].
• Peter Bischoff & Peter Noçon, ‘The Image of the Irish in Nineteenth-Century American Popular Culture’ [61].
• Christopher J. Woods, ‘American Travellers in Ireland before and during the Great Famine: A Case of Culture-Shock’ [77].
• Harold Orel, ‘William Carleton: Attitudes toward the English and the Irish’ [85].
• Gunther Klotz, ‘Thackeray’s Ireland: Image and Attitude in The Irish Sketch Book and Barry Lyndon’ [95].
• Jochen Achilles, ‘Transformations of the Stage Irishman in Irish Drama: 1860-1910’ [103].
• Richard A. Cave, ‘The Presentation of English and Irish Characters in Boucicault’s Irish Melodramas’ [115].
• Steven D. Putzel, ‘Whiskey, Blarney and Land: Eugene O’Neill’s Conceptions and Misconceptions of the Irish’ [125].
• Robert O’Driscoll, ‘”A Greater Renaissance”: The Revolt of the Soul against the Intellect’ [133].
• Maurice Riordan, ‘Matthew Arnold and the Irish Revivall’ [145].
• Patrick F. Sheeran, ‘Wilfrid Scawen Blunt: A Tourist of the Revolutions’ [153].
• Ferenc Takacs, ‘Joyce and Hungary’ [161].
• Siga Asanga, ‘Joyce Cary’s Representation of African Reality: A Study of Cary’s Novels on Africa’ [169].
• Lorna Reynolds, ‘The Image of Spain in the Novels of Kate O’Brien’ [181].
• Michael Kenneally, ‘Ireland and Russia in the Autobiographical Imagination of Sean O’Casey’ [189].
• Werner Huber, ‘Autobiography and Stereotypy: Some Remarks on Brendan Behan’s Borstal Boy’ [197].
• Brendan P. O Hehir, ‘Flann O’Brien and the Big World’ [207].
• Donald E. Morse, ‘From Heaven to Hell: Ireland in the Novels of J. P. Donleavy’ [217].
• Paul N. Robinson, ‘Brian Friel’s Faith Healer: An Irishman Comes Back Home’ [223].
• Patricia Kelly, ‘The Big House in Contemporary Anglo-Irish Literature’ [229].
• Klaus Lubbers, ‘Balcony of Europe’: The Trend towards Internationalization in Recent Irish Fiction’ [235].