Michael McAteer – författare

Michael McAteer examines the plays of W. B. Yeats, considering their place in European theatre during the late nineteenth and early twentieth century. This original study considers the relationship Yeats's work bore with those of the foremost dramatists of the period, drawing comparisons with Henrik Ibsen, Maurice Maeterlinck, August Strindberg, Luigi Pirandello and Ernst Toller. It also shows how his plays addressed developments in theatre at the time, with regard to the Naturalist, Symbolist, Surrealist and Expressionist movements, and how symbolism identified Yeats's ideas concerning labour, commerce and social alienation. This book is invaluable to graduates and academics studying Yeats but also provides a fascinating account for those in Irish studies and in the wider field of drama.

Michael McAteer examines the plays of W. B. Yeats, considering their place in European theatre during the late nineteenth and early twentieth century. This original study considers the relationship Yeats's work bore with those of the foremost dramatists of the period, drawing comparisons with Henrik Ibsen, Maurice Maeterlinck, August Strindberg, Luigi Pirandello and Ernst Toller. It also shows how his plays addressed developments in theatre at the time, with regard to the Naturalist, Symbolist, Surrealist and Expressionist movements, and how symbolism identified Yeats's ideas concerning labour, commerce and social alienation. This book is invaluable to graduates and academics studying Yeats but also provides a fascinating account for those in Irish studies and in the wider field of drama.

This book examines the topic of excess in modern Irish writing in terms of mysticism, materialism, myth and language. The readings presented illustrate how Matthew Arnold’s nineteenth-century idea of the excessive character of the Celt is itself exceeded within the modernity of twentieth-century Irish writing.

This book examines the topic of excess in modern Irish writing in terms of mysticism, materialism, myth and language. The readings presented illustrate how Matthew Arnold’s nineteenth-century idea of the excessive character of the Celt is itself exceeded within the modernity of twentieth-century Irish writing.

This interdisciplinary study addresses Hungarian perspectives on Ireland and Irish engagements with Hungary from the early nineteenth to the early twentieth centuries, examining nationalist, colonialist and imperialist aspects of these encounters. It discusses Hungarian writings on Ireland during the 1830s and 1840s, including commentaries on the Irish political leader, Daniel O’Connell. McAteer analyses Hungarian translations of verses from Thomas Moore’s Irish Melodies by Sándor Petőfi, the iconic poet of the Hungarian Revolution, 1848-49. He addresses Irish nationalist responses to the Hungarian Revolution in The Nation newspaper and in Irish poetry. McAteer also shows the transnational connection that William Smith O’Brien’s Hungarian journal of 1861 forms between nineteenth-century Irish and Hungarian politics, Smith O’Brien having led the Young Ireland Rebellion of 1848. The book provides the first account of debates during the 1880s over whether or not the Austro-Hungarian Ausgleich/Compromise of 1867 provided a basis for an Irish Home Rule settlement. McAteer sheds light on these debates as they arose in the British, Irish and Hungarian press, in addition to Westminster Parliament. He thereby lays a basis for new readings of the two most significant political and literary engagements between Ireland and Hungary in modern times: Arthur Griffith’s The Resurrection of Hungary, first published in 1904, and James Joyce’s Ulysses, published in 1922 but set famously in Dublin in 1904. Ireland and Hungary, 1840-1905: Transnational Politics and Literature will appeal to anyone interested in transnational aspects of nationalism and modernism; in European and imperial contexts for Irish history, politics and literature; in nineteenth century Hungarian history and culture.