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Yeats's Mask

 | 
Margaret Mills Harper
, 
Warwick Gould

Notes on the Contributors

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1Lauren Arrington is Lecturer in Literature at the Institute of Irish Studies, University of Liverpool. Her book, W. B. Yeats, the Abbey Theatre, Censorship, and the Irish State, was published by Oxford University Press in 2010. She is currently writing Revolutionary Lives: Constance and Casimir Markievicz, a biography which will be published by Princeton University Press.

2Philip R. Bishop, independent scholar, writer-essayist, bibliographer, book collector and ABAA/ILAB bookseller, is the compiler of Thomas Bird Mosher: Pirate Prince of Publishers (New Castle DE: Oak Knoll Press; London: The British Library, 1998) and contributes to numerous publications and exhibitions. He has assembled one of the world’s largest book and MS collections on Mosher and the Mosher Press, and maintains the website: www.ThomasBirdMosher.net. His collecting, memoirs and the Collected Letters of Thomas Bird Mosher are his longer term projects.

3David Bradshaw is Professor of English Literature at Oxford University and a fellow of Worcester College. As well as numerous articles and essays on all aspects of modernism, he has edited, among other volumes, The Hidden Huxley (1994), A Concise Companion to Modernism (2003), The Cambridge Companion to E. M. Forster (2007), A Companion to Modernist Literature and Culture (with Kevin J. H. Dettmar, 2006), Waugh’s Decline and Fall, Ford’s The Good Soldier, Woolf ’s Carlyle’s House and Other Sketches, Huxley’s Brave New World and Oxford World’s Classics editions of Lawrence’s The White Peacock and Women in Love, and Woolf ’s Mrs Dalloway, Selected Essays, To the Lighthouse and The Mark on the Wall and Other Short Fiction. He is Co-Executive Editor (with Professor Martin Stannard) of the 42 volume Oxford University Press edition of The Complete Works of Evelyn Waugh.

4Michael Cade-Stewart is currently pursuing a British Academy post-doctoral fellowship at King’s College London, where he is researching a history of poetic rhythm from Wordsworth to Auden using innovative digital tools. His PhD (2013) was undertaken at the Institute of English Studies (also University of London) and examined the effects of Yeats’s reading for the Oxford Book of Modern Verse (1936) upon his subsequent poems. He has also published on the form of Yeats’s ‘News for the Delphic Oracle’ in the South Carolina Review (43:1).

5Aisling Carlin (née Mullan) is an independent scholar specialising in modern Irish Theatre. Her thesis, ‘Religious Transformations in the Drama of W. B. Yeats and J. M. Synge’ was completed at Queen’s University in 2009. Her current research focuses on concepts of ritual, tragedy and utopia. She has presented papers at the ‘Yeats and Mask’ conference at Lille, IASIL conferences and the Synge Summer School.

6Warwick Gould is Professor of English Literature in the University of London (at Royal Holloway) and Senior Research Fellow of the Institute of English Studies (in the School of Advanced Study), of which he was Founder-Director 1999–2013. He is co-author of Joachim of Fiore and the Myth of the Eternal Evangel in the Nineteenth and Twentieth Centuries (1988, rev. 2001), and co-editor of The Secret Rose, Stories by W. B. Yeats: A Variorum Edition (1981, rev. 1992), The Collected Letters of W. B. Yeats, Volume II, 1896–1900 (1997), and Mythologies (2005). He has edited Yeats Annual for thirty years.

7Margaret Mills Harper is Glucksman Professor of Contemporary Writing in English at the University of Limerick, Ireland. She is the author of Wisdom of Two: the Spiritual and Literary Collaboration of George and W. B. Yeats (Oxford: Oxford University Press, 2006) and The Aristocracy of Art: James Joyce and Thomas Wolfe (Baton Rouge: LSU Press, 1990). She has co-edited two of the four volumes of Yeats’s “Vision” Papers (Basingstoke: Macmillan, 1992 and 2001). With Catherine Paul, she has edited A Vision (1925) and is now preparing A Vision (1937) for The Collected Works of W. B. Yeats (New York: Scribner, 2008 and 2014).

8Geraldine Higgins is Associate Professor of English and Director of Irish Studies at Emory University. Her most recent book, Heroic Revivals from Carlyle to Yeats examines the flexibility of heroic identity in a range of Revival writers. She has also published a book on Brian Friel for the ‘Writers and their Work’ series and several articles on Yeats and popular culture. She is currently curating a major exhibition on ‘Seamus Heaney: The Music of What Happens’ which will open at Emory in February 2014.

9Pierre Longuenesse is a graduate of the Ecole Normale Superieure in Paris and holds a PhD from Paris 4 Sorbonne. He is currently Associate Professor in Drama studies at Artois University in France. His publications include Yeats dramaturge, la voix et ses masques (2012) along with articles in French journals such as Etudes Théâtrales, Registres, Théâtre/Public and Etudes Irlandaises. He is also an actor, and Director of Compagnie du Samovar, a professional theatre company based in Paris.

10Neil Mann has taught in Britain, Finland and Spain. He has written primarily on A Vision and related matters, maintaining the website www.yeatsvision.com and a blog on aspects of A Vision, yeatsvision.blogspot.co.uk. He has also co-edited the collection of essays W. B. Yeats’s ‘A Vision’: Explications and Contexts (Clemson University, 2012). He was involved with the exhibition on W. B. Yeats at the National Library of Ireland, and currently works at the Berg Collection, New York Public Library.

11Stoddard Martin is a writer, lecturer and publisher. His academic books include Wagner to the Waste Land, California Writers, Art, Messianism and Crime, Orthodox Heresy and The Great Expatriate Writers, published by Macmillan. He edited anthologies of Byron, Nietzsche and D. H. Lawrence in the Duckworth ‘Sayings of ’ series, which he helped to devise. He has reviewed widely on literature and culture, and his essays have appeared in anthologies including George Moore: Dublin, Paris, Hollywood. He has taught at Harvard, Oxford, Łódź and Warsaw universities and is an Associate Fellow of the Institute of English Studies, University of London.

12Jerusha McCormack’s work focused on Oscar Wilde and his disciple, John Gray: first through an academic biography, then through a fictionalized account in The Man Who Was Dorian Gray (2000), during her long career at UCD. Two volumes of edited essays reflect current interests: Wilde the Irishman (1998) and China and the Irish (2009; Mandarin edition, 2010), for which her own essay explores the relationship of Oscar Wilde and a fourth-century Chinese sage called Zhuangzi (Chuang Tsŭ). Over the past eight years she has served as Visiting Professor at Beijing Foreign Studies University where she helped found the first multidisciplinary Irish Studies Centre in China.

13Emilie Morin is Lecturer in the Department of English and Related Literature at the University of York. Her research interests lie in Irish and European modernism, and her publications include Samuel Beckett and the Problem of Irishness (Palgrave, 2009).

14Elizabeth Müller is an Associate Professor at the University of Nantes. She has published numerous articles on Yeats including ‘Yeats and the Figure of the Bard’, ‘Reshaping Chaos: Platonic Elements in Yeats’s A Vision and Later Poetry’ and ‘The Cult of Dionysus in the Work of W. B. Yeats’; ‘“The Embattled Stance”: Resistance in Yeats’s Late Poetry’, and ‘“Of Golden King and Silver Lady”: Yeats and the pre-Socratic Philosophers’. With Meg Harper and Alexandra Poulain, she has also co-organized conferences on Yeats at the University of Lille III, at Emory University, and at the Catholic University of Paris where she also lectures. Her book on Yeats and Dante is forthcoming.

15Alexandra Poulain is Professor of Irish Literature and Drama at the Université Charles de Gaulle – Lille 3. Her recent books include Homo Famelicus: le théâtre de Tom Murphy (Presses Universitaires de Caen, 2008), Hunger on the Stage (Scholars Press, 2008), co-edited with Elisabeth Angel-Perez, Endgame ou le théâtre mis en pièces (Presses Universitaires de France, 2009), also with Elisabeth Angel-Perez, and Passions du corps dans les dramaturgies contemporaines (Septentrion, 2010). Her current project is on versions of the Passion narrative in modern Irish drama.

16Tara Stubbs is a University Lecturer in Literature and Creative Writing at the Department for Continuing Education, Oxford University (OUDCE). Her monograph, American Literature and Irish Culture, 1910–1955: the Politics of Enchantment, was published this year by Manchester University Press. It uses a transatlantic framework to consider the ways in which American modernist fiction and poetry was rejuvenated and shaped by cultural and political movements in Ireland during the period. She has worked as a Research Assistant on the Collected Letters of W. B. Yeats, and has published articles and book chapters on Yeats and the Ghost Club, Thomas McGreevy, and Bernard Shaw.

17Tom Walker is the Ussher Lecturer in Irish Writing at Trinity College Dublin. He has published essays in The Cambridge Quarterly, The Review of English Studies and The Oxford Handbook of Modern Irish Poetry (Oxford University Press, 2012), and is completing a monograph on the poetry of Louis MacNeice.

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