@article{thuente_2012, title={The Last Minstrels: Yeats and the Revival of the Bardic Arts.}, volume={109}, ISSN={["0026-8232"]}, DOI={10.1086/665259}, abstractNote={Ronald Schuchard’s The Last Minstrels: Yeats and the Revival of the Bardic Arts demonstrates the lifelong importance to Yeats’s writings of his endeavors to revive the oral tradition of chanting and musical speech and reconstructs what amounts to a lost literary movement central to the development of poetry in the early twentieth century. He demonstrates that what has been generally regarded among Yeats scholars as an eccentric enthusiasm, usually referred to by the title of Yeats’s 1902 essay, ‘‘Speaking to the Psaltery,’’ was enormously important to his own work and to the development of modern poetry. Using an impressive array of new archival materials, Schuchard provides a detailed and fascinating narrative of Yeats and Florence Farr’s twenty-two-year collaboration to take the art of chanting to Great Britain, America, and Europe and reveals for the first time the influence of their auditory poetics on the visual paradigm of the Imagists. From the beginning of his career Yeats was determined to return the living voice of the poet to the center of culture—on its platforms, stages, and streets—thereby establishing a spiritual democracy in the arts for the nonreading as well as the reading public. For years he experimented with Florence Farr in the arts of musical speech, speaking to musical notes and regulated declamation, far different from setting poems to music. To Yeats and Farr, the psaltery was at once an instrument and a symbol of evocation, and the living voice of the poet-reciter an expression of the emotion and ecstasy of vision. Ezra Pound was convinced that when Yeats chanted his poems in a strange, trancelike state in a moment of passionate intensity he achieved ‘‘the absolute rhythm’’ of a poet (52). Yeats’s conception}, number={4}, journal={MODERN PHILOLOGY}, author={Thuente, Mary Helen}, year={2012}, month={May}, pages={E277–E280} }
 @misc{thuente_2001, title={Border crossings: Irish women writers and national identities / Kathryn Kirkpatrick, ed.}, volume={66}, DOI={10.2307/3201805}, abstractNote={Ranging from consideration of early writers such as Maria Edgeworth and Sydney Owenson to recent feminist pamphlet wars, this text explores the connections between personal and national identities, politics and literary style, and gender and artistic vocation. Some essays in the text focus on prominent writers such as Augusta Gregory and Eavan Boland, and others introduce readers to lesser-known voices such as Emily Lawless and Mary Beckett. Some of the essays show how groups of women, such as upper-middle-class Catholics and lesbians, have used their writing to construct social goals.}, number={3}, journal={South Atlantic Review}, author={Thuente, M. H.}, year={2001}, pages={151–153} }
 @misc{thuente_2001, title={Crossing Highbridge: A memoir of Irish America by Maureen Waters}, volume={20}, number={2001 Fall}, journal={Irish Literary Supplement}, author={Thuente, M. H.}, year={2001}, pages={5–6} }
 @article{thuente_2001, title={Development of the exile motif in songs of emigration and nationalism}, volume={26}, DOI={10.2307/25515303}, number={1}, journal={Canadian Journal of Irish Studies}, author={Thuente, M. H.}, year={2001}, pages={8–24} }