Titlebook: Shakespeare and Contemporary Irish Literature; Nicholas Taylor-Collins,Stanley van der Ziel Book 2018 The Editor(s) (if applicable) and Th

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Book 2018times in spite of the fact that his writing is inextricably tied to the Elizabethan and Jacobean colonization of Ireland. Contemporary Irish writers appropriate, adopt, adapt and strategize through their engagements with Shakespeare, and indeed through his own engagement with the world around him four hundred years ago.

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,Performing Prospero: Intertextual Strategies in John Banville’s ,he really is a Prospero figure who uses his imaginative powers to conjure up a world and control its characters. Yet, unlike Prospero, the narrator of . can find no release from these powers under a postmodern condition in which the real is always a representation, the original always a copy and a text always an intertextual web of quotations.

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,‘An Inconstant Stay’: Paul Muldoon, Seamus Heaney and the Ends of Shakespeare’s Sonnets,doon’s recent ‘Sonnet 15: A Graft’ (a direct response to Shakespeare’s Sonnet 15) to Muldoon’s earlier work in the form. It argues that Shakespeare’s Sonnets were one of the means by which Muldoon in the 1970s and 1980s sought out the end of the poem – to draw on the key guiding term of his Oxford P

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Moving the Statue: Myths of Motherhood in Eavan Boland, Shakespeare and Early Modern Culture,ione with Perdita (.) in Shakespeare’s drama, this is a story of restoring the mother-daughter relationship, rehabilitating mothers and of securing the daughter’s future. The paradigmatic figure for this strategy is the moving statue, when Hermione returns to ‘life’ from ‘death’, only for the play t

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,‘This Rough Magic’: Late Derek Mahon and Late Shakespeare,s own lateness. Tracing Mahon’s engagement with Shakespeare from an early poem commissioned by the Globe, through the 1990s poetry, to . (2005), this essay argues that Mahon’s Shakespeare has always been late, and a self-conscious emulation of Shakespeare’s late style has endured and enabled various