Female Characters in the Dramatic Works of Yeats and Shakespeare |
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Encounter between the Irish and Japanese Spiritual Traditions in At the Hawk’s Well, The Only Jealousy of Emer, Yōrō, and Awoi no Ue |
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W. B. Yeats’s A Full Moon in March: An Example of Ritual and Symbolic Drama |
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‘The Grey Rock’ as W. B. Yeats’s Final Farewell to Maud Gonne |
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Yeats’s Epitaphs: Locating the Dead in the Text and Making the Dead Speak |
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Myth and History in Yeats’s “The Statue” and “Under Ben Bulben” |
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The Meaning of “The Winding Stair” in W. B. Yeats’s Poems |
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Yeats and Eliot: From Their First Meeting and Mutual Evaluations to the Older Poet’s Transformation |
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A Comparative Study of Yeats’s “A Dialogue of Self and Soul” and Whitman’s “Song of Myself,” Focusing on Yeats’s A Vision |
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The Double-sidedness of Family Relations in Philadelphia, Here I Come! |
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Individual and Collective Trauma in Roxana and “Easter 1916” |
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William Blake’s Mythical Imagination in Vision of the Daughters of Albion |
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The Affectus of Sorrow and Shame: An Affective Network in Conor McPherson’s The Weir and Shining City |
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Helen Hennessy Vendler. Yeats’s Vision and the Later Plays. (Cambridge, Mass.: Harvard UP, 1963. 286 pages) |
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