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| Acknowledgments | ||
| Preface | ||
| List of Abbreviations | ||
| 1 | Yeats, Hardy, and Poetic Exchange | 1 |
| 1912: a June meeting in Dorchester | 1 | |
| Hardy's relation to audience | 5 | |
| Translations from the English and Irish past | 17 | |
| Yeat's relation to audience | 21 | |
| The changing relation of audience to Yeats and Hardy | 23 | |
| 2 | The Cultural Value of Poetry | 28 |
| Henry Newbolt's report | 28 | |
| Yeat's and Burke's oaks | 32 | |
| Arnold and Yeats | 39 | |
| Joyce's response to Arnold's benign colonialism | 43 | |
| Wilde's strategies and Yeats's responses to Arnold's stereotypes | 47 | |
| Shy trafficking: Yeats's and Arnold's poetic economies | 53 | |
| Irish bards, Scots publishers, and English editors | 62 | |
| The course of culture from 1921 | 64 | |
| 3 | The 1930s: Yeats, Auden, and Others | 75 |
| The emergence of Auden | 75 | |
| Homosexuality and Auden's sexual identity | 82 | |
| Yeats, Wilde, and Auden: queer and colonial margins | 86 | |
| Quest or banishment? Critics' role in Auden's emigration | 90 | |
| Auden: poetry and questions of value | 96 | |
| Auden and Yeats | 108 | |
| MacNeice's intermediate eccentricity | 112 | |
| Some poetic traffic in the 1930s | 121 | |
| 4 | Publishing and Poetry in Ireland and England in the 1960s | 128 |
| Clarke and the Dolmen Press | 128 | |
| Kinsella and the Dolmen bond | 129 | |
| Montague's publishers in the 1960s and his British readership | 136 | |
| 'It could only happen in England': Larkin, Betjeman, and Eliot | 147 | |
| Hill and Larkin | 156 | |
| Hughes and the Celtic exchange | 161 | |
| The trenches, the Holocaust, and the bomb in the 1960s | 166 | |
| 5 | Toward the Present of English and Irish Poetry | 169 |
| Translation and recent Irish poetry | 170 | |
| Muldoon's 'imarrhage' and 'pied' writing | 176 | |
| Udar: the authority of the absent in Irish poetry | 179 | |
| The body in Irish and English poetry | 186 | |
| Hughes and Heaney: laureate prose | 193 | |
| Recent poetry and publishing in England and Ireland | 201 | |
| Heaney and English poetry: a postscript | 206 | |
| Notes | 209 | |
| Works Cited | 225 | |
| Index | 236 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Michael Burwell
reviewed Bank strategies and challenges in the new Europe on June 06, 2013
Bank strategies and challenges in the new Europe
History repeats itself, and the history the United States is repeating here in the early 21st Century is the period from 1865 to 1900 that historians often refer to as the Gilded Age. All the rights and freedoms promised by Abraham Lincoln were thrown into the dustbin of history by the alleged losers of the Civil War. Corporations became the beneficiaries of the war's only victories (the 13th, 14th and 15th Amendments) and the reaper of America's new industrial fortunes at the expense of the people who fought, suffered and died in the war. It was an Age of Betrayal and Jack Beatty goes into great historical detail in describing how it unfolded and how it set the stage for the New Deal era.
The Gilded Age has always been a mystery to me, so this book was the missing puzzle piece between the Civil War and the New Deal. It is a terribly depressing tale, but one that every American should know if they wish to understand what happened after Lincoln died and what's going on now here in 2013. The only reason it doesn't get five stars is because it is an intense book, written with an academic level that sometimes lost me in its diction and paragraph structure. Beatty is a very accomplished writer, and his command of the subject is absolute within the pages, but sometimes I felt lost amid the details and names. But the book is filled with too much historical knowledge to put down. It's a fascinating read. His humanitarian perspective is refreshing in a world dominated by corporate propaganda, and after reading this book, you know where the roots of corporate oligarchy in America begin.
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Add Bank strategies and challenges in the new Europe, Although modern English and Irish poetry arises from the different cultures, the poets themselves have shared, throughout this century, the same editors and publishers, competed for the same prizes and been judged, ostensibly, by the same standards. This , Bank strategies and challenges in the new Europe to the inventory that you are selling on WonderClubX
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Add Bank strategies and challenges in the new Europe, Although modern English and Irish poetry arises from the different cultures, the poets themselves have shared, throughout this century, the same editors and publishers, competed for the same prizes and been judged, ostensibly, by the same standards. This , Bank strategies and challenges in the new Europe to your collection on WonderClub |
