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The Chinese May Fourth Generation and the Irish Literary Revival: Writers and Fighters
This book examines how the early twentieth-century Irish Renaissance (Irish Literary Revival) inspired the Chinese Renaissance (the May Fourth generation) of writers to make agentic choices and translingual exchanges. It sheds a new light on “May Fourth” and on the Irish Renaissance by establishing that the Irish Literary Revival (1900-1922) provided an alternative decolonizing model of resistance for the Chinese Renaissance to that provided by the western imperial center. The book also argues that Chinese May Fourth intellectuals translated Irish Revivalist plays by W. B. Yeats, Lady Gregory, Seán O’Casey and Synge and that Chinese peasants performed these plays throughout China during the 1920s and 1930s as a form of anti-imperial resistance. Yet this literary exchange was not simply going one way, since Yeats, Lady Gregory, Synge and O’Casey were also influenced by Chinese developments in literature and politics. Therefore this was a reciprocal encounter based on the circulation of Anti-colonial ideals and mutual transformation.
Hegemony and Fantasy in Irish Drama, 1899-1949
Hegemony and Fantasy in Irish Drama, 1899-1949 offers a theoretically innovative reconsideration of drama produced in the Irish Renaissance, as well as an engagement with non-canonical drama in the under-researched period 1926-1949.
Lineage Book
Includes inclusive "Errata for the Linage book."
The 1920s London-Irish Theatre
The 1920s London-Irish Theatre: A History documents, explores and interrogates the Irish theatre that was prevalent in London during the 1920s. This includes consideration of the movements that impacted 1920s London theatre, such as the influential repertory theatres of the first decade of the twentieth century, as well as the detailed history of the Irish Players. Each identified London-Irish production is discussed through contemporary theatre reviews from London newspapers and journals, and within the decade’s historical context. Dramatists, their plays, actors, producers, and the physical theatres are all considered as extensively as evidence allows. Major productions, like those of Le...
