Heinz Kosok & Wolfgang Zach, eds., Literary Interrelations: Ireland, England and the World, 3 vols. (Tübingen: Guntar Narr Verlag, 1987)’ [270pp; 370pp., 244pp.]

Contents
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].
Vol. III - National Images and Stereotypes
  • 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].

 

 

 

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