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W. B. Yeats and World Literature: The Subject of Poetry by Barry Sheils

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By Barry Sheils

Arguing for a reconsideration of William Butler Yeats's paintings within the gentle of latest reports of global literature, Barry Sheils indicates how studying Yeats allows a fuller realizing of the connection among the huge map of global literary creation and the intensities of poetic perform. Yeats's appropriation of jap Noh theatre, his advertising of translations of Rabindranath Tagore and Shri Purohit Swami, and his repeated ventures into American tradition signalled his dedication to relocating past Europe for his literary reference issues. Sheils means that a reexamination of the transnational personality of Yeats's paintings offers a chance to mirror severely at the cosmopolitan assumptions of worldwide literature, in addition to at the politics of modernist translation. via a sequence of shut and contextual readings, the ebook demonstrates how carrying on with international debates round the crises of monetary liberalism and democracy, fanaticism, uneven violence, and bioethics have been mirrored within the poet's formal and linguistic matters. not easy orthodox readings of Yeats as a late-romantic nationalist, W.B. Yeats and global Literature: the topic of Poetry makes a compelling case for studying Yeats's paintings within the context of its international modernity

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Self-consciously exiled from the whole drama, which would allow direct correspondence between addressor and addressee, the ‘lonely’ lyric voice requires from the reader explication of its own absent conditions. Jahan Ramazani points the way here by reminding us how unusual it is for a military poem of any stripe to lack an afterlife image: there is no implied redemption in Yeats’s poem; and unlike Tennyson’s famous Victorian elegy for the Duke of Wellington, which celebrates the dead man as a soldier who fought nobly for an official cause, the Irish Airman is left only with the existential thrill of his own finitude.

Benedict Anderson, Imagined Communities, revised edition (London; New York: Verso, 1991 [1983]); Benedict Anderson, The Spectre of Comparisons: Nationalism, Southeast Asia and the World (London; New York: Verso, 1998). 42 Franco Moretti, ‘Evolution, World-Systems, Weltliteratur’, Distant Reading (London; New York: Verso, 2013), 121–37: 134. 43 David Damrosch, What is World Literature? (Princeton; Oxford: Princeton University Press, 2003), 110. B. Yeats and World Literature 20 through his folklore anthologies produced a bricolage in English of Celtic cultures, so the world literature scholar by re-describing the field of literary representation resets the terms of cultural comparison, and even resets our perceptual habits with respect to the temporal and spatial co-ordinates of our experience.

For me, it’s more of a triangle: foreign form, local material – and local form’, he writes. Despite this geometric formulation, it remains unclear in Moretti’s work how local form is to be defined and represented in general terms except as a trace of what under modern conditions can no longer be manifest. Moretti, ‘Conjectures on World Literature’, 65. 18 See Michael North, The Political Aesthetics of Yeats, Eliot, and Pound (Cambridge: Cambridge University Press, 1991), 26. 19 Michael Golston, Rhythm and Race in Modernist Poetry and Science (New York: Columbia University Press, 2008), 175–6.

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