George Moore: L'homme et l'oeuvre (1852-1933)

1969 ◽  
Vol 64 (1) ◽  
pp. 156
Author(s):  
Ian Fletcher ◽  
Jean C. Noel
Keyword(s):  
George Moore

George Moore in Transition: Letters to T. Fisher Unwin and Lena Milman, 1894-1910

1972 ◽  
Vol 2 ◽  
pp. 323
Author(s):  
Leonée Ormond ◽  
George Moore ◽  
Helmut E. Gerber ◽  
Leonee Ormond
Keyword(s):  
George Moore

Ibsen and the Irish Theatre

1990 ◽  
Vol 15 (1) ◽  
pp. 18-28
Author(s):  
Katharine Worth
Keyword(s):  
The Other ◽  
Psychological Process ◽  
Dramatic Literature ◽  
Social Activities ◽  
Irish Theatre ◽  
Lady Gregory ◽  
Other Hand ◽  
George Moore ◽  
Irish School ◽  
The Way

The Irish Literary Theatre, from which a new Irish theatre was to develop, came to birth at the very point when Ibsen was about to depart from the European theatrical scene. His last play, When We Dead Awaken, appeared in 1899, the year in which Yeats's The Countess Cathleen and Edward Martyn's The Heather Field were produced in Dublin. They were the first fruits of the resolve taken by the two playwrights, with Lady Gregory and George Moore, to ‘build up a Celtic and Irish school of dramatic literature’ and they offered decidedly different foretastes of what that ‘school’ might bring forth. Yeats declared himself an adherent of a poetic theatre that would use fantasy, vision and dream without regard for the limits set by the realistic convention. Martyn, on the other hand, was clearly following Ibsen in his careful observance of day-to-day probability. The central symbol of his play, the heather field, represents an obscure psychological process which might have received more ‘inward’ treatment. But instead it is fitted into a pattern of social activities in something like the way of the prosaically functional but symbolic orphanage in Ghosts.

V.—Notes on the cathedral church of Cefalù, Sicily

Archaeologia ◽  
1898 ◽  
Vol 56 (1) ◽  
pp. 57-70
Author(s):  
George Hubbard
Keyword(s):  
Medieval Period ◽  
George Moore

Ever since 1838, when Mr. Gally Knight published his Normans in Sicily,” with a folio volume of drawings by Mr. George Moore, who accompanied him on his Sicilian tour, the cathedral church of Cefalú has been known to antiquaries and architectural students as the most important example of the earliest Sicilian Norman pointed style. Many years later it was visited by Professor Freeman, who unhappily did not survive to carry his Sicilian history into the medieval period; had he done so there can be little doubt that the present paper would have been wholly superfluous. The late Mr. Fergusson, the architect, also seems to have been familiar with the main features of the architecture, but whether from Mr. Knight's work or from actual inspection I am not in a position to say.

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