Michael O'Neill – författare

This major new edition, originally commissioned for the acclaimed Oxford Authors series under the general editorship of Frank Kermode, brings together a unique combination of Shelley's poetry and prose - the lyric poems, plays, longer poems, criticism, and essays - to give the essence of his work and thinking.Percy Bysshe Shelley (1792-1822) was a Romantic poet of radical imaginings, living in an age of change. His tempestuous life and friendship with Byron, and his tragically early death, at times threatened to overwhelm his legacy as a poet, but today his standing as one of the foremost English authors is assured. This freshly edited anthology - the fullest one-volume selection in English - includes all but one of the longer poems, from Queen Mab onwards, in their entirety. Only Laon and Cythna is excerpted, in a generous selection. As well as works such asPrometheus Unbound, The Mask of Anarchy, and Adonais, the volume includes a wide range of Shelley's shorter poems and much of his major prose, including A Defence of Poetry and almost all of A Philosophical View of Reform. Shelley emerges from these pages as a passionate and eloquent opponent of tyranny and a champion of human possibility. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Drawn from Shelley''s Prometheus Unbound, the title of this book suggests the cultural and literary persistence of the Romantic in the work of many British, American, and Irish poets since 1900. Allowing for and celebrating the multiple, even fractured nature of Romantic legacies, Michael O''Neill focuses on the creative impact of Romantic poetry on twentieth- and twenty-first century poetry. Individual chapters embrace numerous authors and texts, and spandifferent cultures; the intention is not the forlorn hope of completeness, but the wish to open up possibilities and intersections, and there is a strong sense throughout of poetry serving as a subtle and profound form of literary criticism.A wide-ranging introduction analyses the persistence of the Romantic in poets such as Ted Hughes, Wilfred Owen, Robert Frost, Denise Levertov, Robert Lowell, and others, and sets the scene for subsequent discussions. Chapter 1 dwells on images of ''air'', using these to understand the efforts of a number of twentieth-century poets to ''sustain'' Romanticism, or forms of it. Chapters 2 and 3 focus on Yeats and Eliot, respectively, the latter apparently shunning the Romantic, the former seemingto embrace it, but both responding with subtlety and individuality to the Romantic bequest. Chapter 4 argues that Wallace Stevens''s ''Esthétique du Mal'' should be read as a work that illuminates the writings of the major Romantics, especially about evil and suffering. Chapter 5 discusses the work of W.H. Auden and Stephen Spender, exploring the complex response of both poets to the Romantic, Auden complicated in his post-Romantic attitudes, Spender daring in his attempts to renew a Romantic lyricism in a post-Romantic age. Chapter 6 returns to a broader sweep as it investigates the response of a range of contemporary poets from Northern Ireland, including Heaney, Kavanagh, Mahon, and Carson, to Romantic poetry. Chapter 7 sustains the Irish connection, discussing Paul Muldoon''s dealings withByron and other Romantics, especially in Madoc. And Chapter 8 focuses on Geoffrey''s Hill''s tense and tensed relations with Romantic poetry, and on Roy Fisher''s sense of being a ''gutted Romantic'', in order to illustrate two diverse ways of being post-Romantic in contemporary culture.

The Oxford Handbook of Percy Bysshe Shelley takes stock of current developments in the study of a major Romantic poet and prose-writer, and seeks to advance Shelley studies in new directions. It consists of forty-two chapters written by an international cast of established and emerging scholar-critics. This Handbook is divided into five thematic sections: Biography and Relationships; Prose; Poetry; Cultures, Traditions, Influences; and Afterlives. The first section reappraises Shelley''s life and relationships, including those with his publishers through whom he sought to reach an audience for the ''Ashes and sparks'' of his thought, and with women, creative collaborators as well as muse-figures. The second section gives his under-investigated prose works detailed attention, bringing multiple perspectives to bear on his conceptual positions, and demonstrating the range of his achievement in prose works from novels to political and poetic treatises. The third section explores Shelley''s creativity and gift as a poet, emphasizing his capacity to excel in many different poetic genres. The fourth section looks at Shelley''s response to past and present literary cultures, both English and international, and at his immersion in science, music, theatre, the visual arts, and travel. The fifth section concludes the volume by analysing Shelley''s literary and cultural afterlife, from his influence on Victorians and Moderns, to his status as the exemplary poet for Deconstruction. Packed with stimulating insights and readings, The Oxford Handbook of Percy Bysshe Shelley brings out the relevance to Shelley''s own work of his dictum that ''All high poetry is infinite'' .

The Oxford Handbook of Percy Bysshe Shelley takes stock of current developments in the study of a major Romantic poet and prose-writer, and seeks to advance Shelley studies in new directions. It consists of forty-two chapters written by an international cast of established and emerging scholar-critics. This Handbook is divided into five thematic sections: Biography and Relationships; Prose; Poetry; Cultures, Traditions, Influences; and Afterlives. The first section reappraises Shelley''s life and relationships, including those with his publishers through whom he sought to reach an audience for the ''Ashes and sparks'' of his thought, and with women, creative collaborators as well as muse-figures. The second section gives his under-investigated prose works detailed attention, bringing multiple perspectives to bear on his conceptual positions, and demonstrating the range of his achievement in prose works from novels to political and poetic treatises. The third section explores Shelley''s creativity and gift as a poet, emphasizing his capacity to excel in many different poetic genres. The fourth section looks at Shelley''s response to past and present literary cultures, both English and international, and at his immersion in science, music, theatre, the visual arts, and travel. The fifth section concludes the volume by analysing Shelley''s literary and cultural afterlife, from his influence on Victorians and Moderns, to his status as the exemplary poet for Deconstruction. Packed with stimulating insights and readings, The Oxford Handbook of Percy Bysshe Shelley brings out the relevance to Shelley''s own work of his dictum that ''All high poetry is infinite'' .

Through attuned close readings, this volume brings out the imaginative and formal brilliance of Percy Bysshe Shelley''s writing as it explores his involvement in processes of dialogue and influence. Shelley recognizes that poetic individuality is the reward of connectedness with other writers and cultural influences. ''A great Poem is a fountain forever overflowing with the waters of wisdom and delight'', he writes, ''and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight'' (A Defence of Poetry). He is among the major Romantic poetic exponents and theorists of influence, because of his passionately intelligent commitment to the onward dissemination of ideas and feelings, and to the unpredictable ways in which poets position themselves and are culturally positioned between past and future. The book has a tripartite structure. The first three chapters seek to illuminate his response to representative texts, figures, and themes that constitute the triple pillars of his cultural inheritance: the classical world (Plato); Renaissance poetry (Spenser and Milton); Christianity and, in particular, the concept of deity and the Bible. The second and major section of the book explores Shelley''s relations and affinities with, as well as differences from, his immediate predecessors and contemporaries: Hazlitt and Lamb; Wordsworth; Coleridge; Southey; Byron; Keats (including the influence of Dante on Shelley''s elegy for his fellow Romantic) and the great painter J. M. W. Turner, with whom he is often linked. The third section considers Shelley''s reception by later nineteenth-century writers, figures influenced by and responding to Shelley including Beddoes, Hemans, Landon, Tennyson, and Swinburne. A coda discusses the body of critical work on Shelley produced by A. C. Bradley, a figure who stands at the threshold of twentieth-century thinking about Shelley.

Through attuned close readings, this volume brings out the imaginative and formal brilliance of Percy Bysshe Shelley''s writing as it explores his involvement in processes of dialogue and influence. Shelley recognizes that poetic individuality is the reward of connectedness with other writers and cultural influences. ''A great Poem is a fountain forever overflowing with the waters of wisdom and delight'', he writes, ''and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight'' (A Defence of Poetry). He is among the major Romantic poetic exponents and theorists of influence, because of his passionately intelligent commitment to the onward dissemination of ideas and feelings, and to the unpredictable ways in which poets position themselves and are culturally positioned between past and future. The book has a tripartite structure. The first three chapters seek to illuminate his response to representative texts, figures, and themes that constitute the triple pillars of his cultural inheritance: the classical world (Plato); Renaissance poetry (Spenser and Milton); Christianity and, in particular, the concept of deity and the Bible. The second and major section of the book explores Shelley''s relations and affinities with, as well as differences from, his immediate predecessors and contemporaries: Hazlitt and Lamb; Wordsworth; Coleridge; Southey; Byron; Keats (including the influence of Dante on Shelley''s elegy for his fellow Romantic) and the great painter J. M. W. Turner, with whom he is often linked. The third section considers Shelley''s reception by later nineteenth-century writers, figures influenced by and responding to Shelley including Beddoes, Hemans, Landon, Tennyson, and Swinburne. A coda discusses the body of critical work on Shelley produced by A. C. Bradley, a figure who stands at the threshold of twentieth-century thinking about Shelley.

In this wide-ranging study Michael O'Neill examines the phenomenon of the `self-conscious poem' - that is, a poem concerned with poetry or, more centrally if often connectedly, a poem that displays awareness of itself as a poem - in the work of the major Romantic poets: Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats. The book freshly illuminates many famous lyrics and longer poems and revalues less regarded works such as The Excursion.For O'Neill, self-consciousness is allied to the new status granted to poetry by the Romantics. His closely attentive readings suggest that self-consciousness in Romantic poetry often accompanies exploration of, even anxiety about, poetry's significance. Yet his emphasis falls on the imaginatively productive ends to which such exploration and anxiety are put. An extended coda looks at the bequest of Romantic self-consciousness to post-Romantic writers; it offers chapters comparing Yeats and Stevens, discussing later Auden's scepticism about poetry, and exploring the affecting intricacies of Amy Clampitt's `Voyages: A Homage to John Keats'. Throughout, O'Neill challenges recent accounts of Romanticism by placing at the centre of his study poetry's imaginative and aesthetic value.

This book provides a selective, critical guide to the best and the typical in scholarship and criticism directed towards literature of the Romantic period, circa 1780-1830. It includes chapters on the most studied poets of the period: Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, and Clare. It also contains separate chapters on the fiction (and other writings) of Scott, and the novels of Austen, Mary Shelley, and Peacock. Reflecting recent changes in understanding of the period, there are also chapters on women poets, political prose, essayists, and a range of male poets including Burns, Cowper, and Crabbe. A separate chapter is devoted to women novelists of the period. An introduction surveys general studies of the period and evaluates contributions to debate about the nature of the Romantic. All chapters include a list of references at their ends. Throughout, the impact of literary theory and recent editorial work is taken into account. The book will prove an invaluable resource to students, academics, teachers, and general readers.

The Oxford Handbook of Percy Bysshe Shelley takes stock of current developments in the study of a major Romantic poet and prose-writer, and seeks to advance Shelley studies in new directions. It consists of forty-two chapters written by an international cast of established and emerging scholar-critics. This Handbook is divided into five thematic sections: Biography and Relationships; Prose; Poetry; Cultures, Traditions, Influences; and Afterlives. The first section reappraises Shelley's life and relationships, including those with his publishers through whom he sought to reach an audience for the 'Ashes and sparks' of his thought, and with women, creative collaborators as well as muse-figures. The second section gives his under-investigated prose works detailed attention, bringing multiple perspectives to bear on his conceptual positions, and demonstrating the range of his achievement in prose works from novels to political and poetic treatises. The third section explores Shelley's creativity and gift as a poet, emphasizing his capacity to excel in many different poetic genres. The fourth section looks at Shelley's response to past and present literary cultures, both English and international, and at his immersion in science, music, theatre, the visual arts, and travel. The fifth section concludes the volume by analysing Shelley's literary and cultural afterlife, from his influence on Victorians and Moderns, to his status as the exemplary poet for Deconstruction. Packed with stimulating insights and readings, The Oxford Handbook of Percy Bysshe Shelley brings out the relevance to Shelley's own work of his dictum that 'All high poetry is infinite' .

Through attuned close readings, this volume brings out the imaginative and formal brilliance of Percy Bysshe Shelley's writing as it explores his involvement in processes of dialogue and influence. Shelley recognizes that poetic individuality is the reward of connectedness with other writers and cultural influences. 'A great Poem is a fountain forever overflowing with the waters of wisdom and delight', he writes, 'and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight' (A Defence of Poetry). He is among the major Romantic poetic exponents and theorists of influence, because of his passionately intelligent commitment to the onward dissemination of ideas and feelings, and to the unpredictable ways in which poets position themselves and are culturally positioned between past and future. The book has a tripartite structure. The first three chapters seek to illuminate his response to representative texts, figures, and themes that constitute the triple pillars of his cultural inheritance: the classical world (Plato); Renaissance poetry (Spenser and Milton); Christianity and, in particular, the concept of deity and the Bible. The second and major section of the book explores Shelley's relations and affinities with, as well as differences from, his immediate predecessors and contemporaries: Hazlitt and Lamb; Wordsworth; Coleridge; Southey; Byron; Keats (including the influence of Dante on Shelley's elegy for his fellow Romantic) and the great painter J. M. W. Turner, with whom he is often linked. The third section considers Shelley's reception by later nineteenth-century writers, figures influenced by and responding to Shelley including Beddoes, Hemans, Landon, Tennyson, and Swinburne. A coda discusses the body of critical work on Shelley produced by A. C. Bradley, a figure who stands at the threshold of twentieth-century thinking about Shelley.

Through attuned close readings, this volume brings out the imaginative and formal brilliance of Percy Bysshe Shelley's writing as it explores his involvement in processes of dialogue and influence. Shelley recognizes that poetic individuality is the reward of connectedness with other writers and cultural influences. 'A great Poem is a fountain forever overflowing with the waters of wisdom and delight', he writes, 'and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight' (A Defence of Poetry). He is among the major Romantic poetic exponents and theorists of influence, because of his passionately intelligent commitment to the onward dissemination of ideas and feelings, and to the unpredictable ways in which poets position themselves and are culturally positioned between past and future.The book has a tripartite structure. The first three chapters seek to illuminate his response to representative texts, figures, and themes that constitute the triple pillars of his cultural inheritance: the classical world (Plato); Renaissance poetry (Spenser and Milton); Christianity and, in particular, the concept of deity and the Bible. The second and major section of the book explores Shelley's relations and affinities with, as well as differences from, his immediate predecessors and contemporaries: Hazlitt and Lamb; Wordsworth; Coleridge; Southey; Byron; Keats (including the influence of Dante on Shelley's elegy for his fellow Romantic) and the great painter J. M. W. Turner, with whom he is often linked. The third section considers Shelley's reception by later nineteenth-century writers, figures influenced by and responding to Shelley including Beddoes, Hemans, Landon, Tennyson, and Swinburne. A coda discusses the body of critical work on Shelley produced by A. C. Bradley, a figure who stands at the threshold of twentieth-century thinking about Shelley.

The nation state is now faced with unprecedented pressures. Global shifts (a medley of powerful forces in contemporary political economy, military affairs and international security, technology and communications, cultural changes, ecological challenges and so on) require policy solutions at levels of governance beyond traditional states. At the same time, and in part as a response to these wider forces and the uncertainty they bring in their wake, established national polities are challenged too by the rise of politicized sub-national (ethnic, religious, linguistic and cultural) movements. This phenomenon presents a challenge to the extant political systems and the elites who manage their affairs. Moreover, it offers a particular challenge to democratic states. Inasmuch as these polities celebrate the virtues of self-determination and encourage pluralism as a matter of course, flourishing and assertive movements demanding in some degree the re-negotiation of the national bargain, present a serious challenge to the continuity of historic national projects. At the same time, democracy is particularly well equipped, both as a discourse and method of practising politics, for accommodating cultural diversity. This book contains an overview of this challenge to the art of democratic government, and case studies from every region of the world. The contributions are by acknowledged international experts on how democratic states have confronted the task of managing cultural diversity and accommodating perceived differences of identity short of political break-up.

Drawn from Shelley's Prometheus Unbound, the title of this book suggests the cultural and literary persistence of the Romantic in the work of many British, American, and Irish poets since 1900. Allowing for and celebrating the multiple, even fractured nature of Romantic legacies, Michael O'Neill focuses on the creative impact of Romantic poetry on twentieth- and twenty-first century poetry. Individual chapters embrace numerous authors and texts, and span different cultures; the intention is not the forlorn hope of completeness, but the wish to open up possibilities and intersections, and there is a strong sense throughout of poetry serving as a subtle and profound form of literary criticism. A wide-ranging introduction analyses the persistence of the Romantic in poets such as Ted Hughes, Wilfred Owen, Robert Frost, Denise Levertov, Robert Lowell, and others, and sets the scene for subsequent discussions. Chapter 1 dwells on images of 'air', using these to understand the efforts of a number of twentieth-century poets to 'sustain' Romanticism, or forms of it. Chapters 2 and 3 focus on Yeats and Eliot, respectively, the latter apparently shunning the Romantic, the former seeming to embrace it, but both responding with subtlety and individuality to the Romantic bequest. Chapter 4 argues that Wallace Stevens's 'Esthétique du Mal' should be read as a work that illuminates the writings of the major Romantics, especially about evil and suffering. Chapter 5 discusses the work of W. H. Auden and Stephen Spender, exploring the complex response of both poets to the Romantic, Auden complicated in his post-Romantic attitudes, Spender daring in his attempts to renew a Romantic lyricism in a post-Romantic age. Chapter 6 returns to a broader sweep as it investigates the response of a range of contemporary poets from Northern Ireland, including Heaney, Kavanagh, Mahon, and Carson, to Romantic poetry. Chapter 7 sustains the Irish connection, discussing Paul Muldoon's dealings with Byron and other Romantics, especially in Madoc. And Chapter 8 focuses on Geoffrey's Hill's tense and tensed relations with Romantic poetry, and on Roy Fisher's sense of being a 'gutted Romantic', in order to illustrate two diverse ways of being post-Romantic in contemporary culture.

The Oxford Handbook of Percy Bysshe Shelley takes stock of developments in the study of a major Romantic poet and prose writer, and seeks to advance Shelley studies in new directions. It consists of forty-two chapters written by an international cast of established and emerging scholar-critics. This Handbook is divided into five thematic sections: Biography and Relationships; Prose; Poetry; Cultures, Traditions, Influences, and Afterlives. The first section reappraises Shelley's life and relationships, including those with his publishers through whom he sought to reach an audience for the 'Ashes and sparks' of his thought, and with women, creative collaborators as well as muse-figures. The second section gives his under-investigated prose works detailed attention, bringing multiple perspectives to bear on his conceptual positions, and demonstrating the range of his achievement in prose works from novels to political and poetic treatises. The third section explores Shelley's creativity and gift as a poet, emphasizing his capacity to excel in many different poetic genres. The fourth section looks at Shelley's response to past and present literary cultures, both English and international, and at his immersion in science, music, theatre, the visual arts, and travel. The fifth section concludes the volume by analyzing Shelley's literary and cultural afterlife, from his influence on Victorians and Moderns, to his status as the exemplary poet for Deconstruction. Packed with stimulating insights and readings. The Oxford Handbook of Percy Bysshe Shelley brings out the relevance to Shelley's own work of his dictum that 'All high poetry is infinite'.

Drawn from Shelley's Prometheus Unbound, the title of this book suggests the cultural and literary persistence of the Romantic in the work of many British, American, and Irish poets since 1900. Allowing for and celebrating the multiple, even fractured nature of Romantic legacies, Michael O'Neill focuses on the creative impact of Romantic poetry on twentieth- and twenty-first century poetry. Individual chapters embrace numerous authors and texts, and span different cultures; the intention is not the forlorn hope of completeness, but the wish to open up possibilities and intersections, and there is a strong sense throughout of poetry serving as a subtle and profound form of literary criticism. A wide-ranging introduction analyses the persistence of the Romantic in poets such as Ted Hughes, Wilfred Owen, Robert Frost, Denise Levertov, Robert Lowell, and others, and sets the scene for subsequent discussions. Chapter 1 dwells on images of 'air', using these to understand the efforts of a number of twentieth-century poets to 'sustain' Romanticism, or forms of it. Chapters 2 and 3 focus on Yeats and Eliot, respectively, the latter apparently shunning the Romantic, the former seeming to embrace it, but both responding with subtlety and individuality to the Romantic bequest. Chapter 4 argues that Wallace Stevens's 'Esthétique du Mal' should be read as a work that illuminates the writings of the major Romantics, especially about evil and suffering. Chapter 5 discusses the work of W. H. Auden and Stephen Spender, exploring the complex response of both poets to the Romantic, Auden complicated in his post-Romantic attitudes, Spender daring in his attempts to renew a Romantic lyricism in a post-Romantic age. Chapter 6 returns to a broader sweep as it investigates the response of a range of contemporary poets from Northern Ireland, including Heaney, Kavanagh, Mahon, and Carson, to Romantic poetry. Chapter 7 sustains the Irish connection, discussing Paul Muldoon's dealings with Byron and other Romantics, especially in Madoc. And Chapter 8 focuses on Geoffrey's Hill's tense and tensed relations with Romantic poetry, and on Roy Fisher's sense of being a 'gutted Romantic', in order to illustrate two diverse ways of being post-Romantic in contemporary culture.

In keeping with increasing professionalism in nonprofits Michael O'Neill and Dennis R. Young have as editors produced a book, Educating Managers of Nonprofit Organizations, that seeks the best ways to educate the persons who are rising to the top in charitable enterprises. Apprenticeships still retain a high value, say some of the contributors to the book, but they are not often practical. Nonprofit management as an academic specialty is considered at length, and on-the-job course work is examined. In the course of the discussion the management of nonprofits is carefully dissected, and some of its most troublesome areas are revealed. LRC NewsbriefEducating Managers of Non-Profit Organizations examines the question of how to most productively train managers for these complex and diverse organizations whose non-profit basis makes them unsuited to many of the traditional business programs. The presentations are broad-based yet detailed, making this volume valuable to a wide range of readers: managers and policy-makers of non-profit organizations, scholars of managerial education, management program funders, consulting and technical service groups, as well as non-profit organization leaders. The editors have assembled 15 papers from highly prestigious scholars, practitioners, and researchers to present a clear and thorough coverage of the topic. Included are expert articles discussing: the types of non-profit managers; curricula for such managers; differences between non-profit and traditional organizations; the non-profit organization's place in higher education.

In 'Percy Bysshe Shelly: A Literary Life' , Michael O'Neill gives a knowledgeable and balanced account of Shelley's literary career from his earliest published work to his last unfinished masterpiece, The Triumph of Life . The book draws on recent research about the poet and his age, but its sense of the ways in which texts and contexts interact is sharply independent. Issues discussed include Shelley's social background, his radical politics and his complex response to Enlightenment rationalism. O'Neill stresses Shelley's often disappointed search for an audience, connecting it with the growing sophistication of his poetry and poetics. For Shelley, a poet was the 'combined product' of 'internal powers' and 'external influences' (Preface to Prometheus Unbound ); this book explores how such a combination manifests itself in his own writings.

In 'Percy Bysshe Shelly: A Literary Life' , Michael O'Neill gives a knowledgeable and balanced account of Shelley's literary career from his earliest published work to his last unfinished masterpiece, The Triumph of Life . The book draws on recent research about the poet and his age, but its sense of the ways in which texts and contexts interact is sharply independent. Issues discussed include Shelley's social background, his radical politics and his complex response to Enlightenment rationalism. O'Neill stresses Shelley's often disappointed search for an audience, connecting it with the growing sophistication of his poetry and poetics. For Shelley, a poet was the 'combined product' of 'internal powers' and 'external influences' (Preface to Prometheus Unbound ); this book explores how such a combination manifests itself in his own writings.

First Published in 1993. Routledge is an imprint of Taylor amp Francis, an informa company.

The debate over European integration is a central issue in the study of contemporary Europe. This book seeks to guide the student through the most important of the integration theories and academic literature on this vital topic. The reader starts with an expansive and wide ranging introductory essay which offers a clear overview and analysis of the shifting terms of the debate on European integration during the post-war period. Part two provides key extracts from the seminal authors who have contributed to and fashioned this debate throughout its duration. It brings together the most important parts from the most essential and influential literature on this important topic. This reader will be of value to the growing number of students, at both undergraduate and postgraduate level, who are undertaking courses in European studies and European politics. It will be especially useful to those who require some knowledge of the origins and developments of this important issue at the centre of the debate over Europe.

The debate over European integration is a central issue in the study of contemporary Europe. This book seeks to guide the student through the most important of the integration theories and academic literature on this vital topic. The reader starts with an expansive and wide ranging introductory essay which offers a clear overview and analysis of the shifting terms of the debate on European integration during the post-war period. Part two provides key extracts from the seminal authors who have contributed to and fashioned this debate throughout its duration. It brings together the most important parts from the most essential and influential literature on this important topic. This reader will be of value to the growing number of students, at both undergraduate and postgraduate level, who are undertaking courses in European studies and European politics. It will be especially useful to those who require some knowledge of the origins and developments of this important issue at the centre of the debate over Europe.

Deeply involved with Irish culture and history, W. B. Yeats (1865-1939) is one of the greatest poets writing in the last two centuries. This sourcebook provides essential help for readers who wish to learn more about his powerful, haunting poems.Considering Yeats's early, dreamily evocative poems as well as his passionate, tension-ridden later work, Michael O'Neill offers a refreshingly clear discussion of:*contexts - through an invaluable, accessible overview, a detailed chronology and contemporary documents revealing Yeats's understanding of his vocation as a poet;*interpretations - through helpfully introduced extracts from criticism of Yeats's work, ranging from early responses through to modern critical texts;*key poems - in a section where insightful commentary accompanies the full annotated text of many of Yeats's major poems;*further reading - to guide those interested in additional study.This sourcebook is ideal for those new to Yeats's poetry or those who wish to look deeper into its workings, its reception and the contexts from which it emerged.

Deeply involved with Irish culture and history, W. B. Yeats (1865-1939) is one of the greatest poets writing in the last two centuries. This sourcebook provides essential help for readers who wish to learn more about his powerful, haunting poems.Considering Yeats's early, dreamily evocative poems as well as his passionate, tension-ridden later work, Michael O'Neill offers a refreshingly clear discussion of:*contexts - through an invaluable, accessible overview, a detailed chronology and contemporary documents revealing Yeats's understanding of his vocation as a poet;*interpretations - through helpfully introduced extracts from criticism of Yeats's work, ranging from early responses through to modern critical texts;*key poems - in a section where insightful commentary accompanies the full annotated text of many of Yeats's major poems;*further reading - to guide those interested in additional study.This sourcebook is ideal for those new to Yeats's poetry or those who wish to look deeper into its workings, its reception and the contexts from which it emerged.

The European Union (EU) Constitution was one of the most important developments in the history of the EU, aiming to make the EU more transparent, relevant and accountable to the citizens of its member states. Current anxieties over the pace and direction of EU integration place this comprehensive study at the forefront of the EU governance debate. O’Neill goes far beyond a simple account of the EU Constitution, focussing also on the response to the current crisis of confidence between the Union and its citizens and how those in power have responded to the challenge. Making a substantial contribution to literature on the EU, key discussion points include: The political crisis behind the Constitution The power politics at work in the negotiations How the Constitution affects EU policymaking The impact on the citizens of the EUThis is essential reading for all those wishing to understand the background to one of the key areas within European Politics.Michael O’Neill is Jean Monnet Professor in EU Politics at Nottingham Trent University.

The European Union (EU) Constitution was one of the most important developments in the history of the EU, aiming to make the EU more transparent, relevant and accountable to the citizens of its member states. Current anxieties over the pace and direction of EU integration place this comprehensive study at the forefront of the EU governance debate. O’Neill goes far beyond a simple account of the EU Constitution, focussing also on the response to the current crisis of confidence between the Union and its citizens and how those in power have responded to the challenge. Making a substantial contribution to literature on the EU, key discussion points include: The political crisis behind the Constitution The power politics at work in the negotiations How the Constitution affects EU policymaking The impact on the citizens of the EUThis is essential reading for all those wishing to understand the background to one of the key areas within European Politics.Michael O’Neill is Jean Monnet Professor in EU Politics at Nottingham Trent University.

Michael D. Hurley and Michael O'Neill offer a perceptive and illuminating look into poetic form, a topic that has come back into prominence in recent years. Building on this renewed interest in form, Hurley and O'Neill provide an accessible and comprehensive introduction that will be of help to undergraduates and more advanced readers of poetry alike. The book sees form as neither ornamenting nor mimicking content, but as shaping and animating it, encouraging readers to cultivate techniques to read poems as poems. Lively and wide-ranging, engaging with poems as aesthetic experiences, the book includes a long chapter on the elements of form that throws new light on troubling terms such as rhythm and metre, as well as a detailed introduction and accessible, stimulating chapters on lyric, the sonnet, elegy, soliloquy, dramatic monologue and ballad and narrative.

Michael D. Hurley and Michael O'Neill offer a perceptive and illuminating look into poetic form, a topic that has come back into prominence in recent years. Building on this renewed interest in form, Hurley and O'Neill provide an accessible and comprehensive introduction that will be of help to undergraduates and more advanced readers of poetry alike. The book sees form as neither ornamenting nor mimicking content, but as shaping and animating it, encouraging readers to cultivate techniques to read poems as poems. Lively and wide-ranging, engaging with poems as aesthetic experiences, the book includes a long chapter on the elements of form that throws new light on troubling terms such as rhythm and metre, as well as a detailed introduction and accessible, stimulating chapters on lyric, the sonnet, elegy, soliloquy, dramatic monologue and ballad and narrative.