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Structural and Formal Qualities

Berlin, Normand. ‘O’Neill and absurdity.’ Pp 33-55 in Enoch Brater & Ruby Cohn, eds. Around the absurd: essays on modern and postmodern drama. Ann Arbor: Univ. of Michigan Pr., 1990 [S76]

-----. ‘O’Neill the novelist.’ MD 34 1991 49-58 [S9] (stresses Strange Interlude)

Blanke, Gustav H. ‘Die Dramenschlüsse bei O’Neill.’ Pp 155-67 in Hans Itschert, ed. Das amerikanische Drama von den Anfängen bis zur Gegenwart. Darmstadt: Wissenschaftliche Buchgesellschaft, 1972

Brugger, Ilse. ‘Verwendung und Bedeutung der Maske bei O’Neill.’ Neueren Sprachen 5 1957 153-67; repr. on pp 137-54 in Hans Itschert, ed. Das amerikanische Drama von den Anfängen bis zur Gegenwart. Darmstadt: Wissenschaftliche Buchgesellschaft, 1972

Daniel, Anne. ‘The frozen countenance.’ Southern Speech Journal 25 1960 190-98 (masks in plays)

Egri, Péter. Chekhov and O’Neill: the uses of the short story in Chekhov’s and O’Neill’s plays. Budapest: Akadémiai, 1986. 183 pp [S89] (incorporates ‘The short story in the drama: Chekhov and O’Neill.’ Acta Litteraria Academae Scientiarum Hungaricae 20 1978 3-28 [S20])

-----. ‘Dramatic exposition and resolution in O’Neill, Williams, Miller, and Albee.’ Neohelicon 19 i 1992 175-84 (stresses Albee) [S22]

-----. ‘Epic retardation and diversion: Hemingway, Strindberg and O’Neill.’ Zeitschrift für Anglistik und Amerikanistik  33 1985 324-30 [S21]; ‘The fusion of  the epic and dramatic: Hemingway, Strindberg and O’Neill.’ Eugene O’Neill Newsletter 10 i 1986 16-22 [S21]; ‘Epic retardation and diversion: Hemingway, Strindberg and O’Neill.’ Neohelicon 14 i 1987 9-20 [S22]

Halfmann, Ulrich. ‘Ironie und Symbolik der Dramentitel O’Neills.’ Neueren Sprachen 68 1969 322-35

-----. ‘“With clenched fist ... ”: observations on a recurrent motif in the drama of Eugene O’Neill.’ Pp 107-21 in Maufort [S98]; ‘“With clenched fist ... ”: Beobachtungen zu einem  rekurrierenden Motiv in Dramen Eugene O’Neills.’ Pp 188-202 in Halfmann

Hori, Mariko. ‘Aspects of Noh theatre in three late O’Neill plays.’ Eugene O’Neill Review 18 1994 143-48 [S34]

Kalson, Albert E., & Lisa M. Schwerdt. ‘Eternal recurrence and the shaping of O’Neill’s dramatic structures.’ Comparative Drama 24 1990 133-50 [S36]; repr. on pp 71-88 in Liu

Kisselintcheva, X. ‘Les problèmes dans la dramaturgie d’Eugène O’Neill et Sean O’Casey.’ Literaturna Misul 30 iv 1986 96-104

Koritz, Amy. ‘Re/moving boundaries: from  dance history to cultural studies.’ Pp 88-106 in Gay Morris, ed. Moving words: re-writing dance. London: Routledge, 1996 (dance in performances of O’Neill plays)

Künstler, Gustav. Interpretationen: die Aussage dramatischer und lyrischer Werke. Tübingen: Schroll, 1976, 88-113: ‘Vom Wesenkern des dramatischen Kunstwerks als Vision der Menschheitskatastrophe: Beispiele von O’Neill, Christopher Fry, Cocteau, Brecht, Lorca, Eliot, Georg Kaiser’

Lapisardi, Frederick S. ‘Not-so-random  notes on masks in Yeats and O’Neill.’ Eugene O’Neill Review 20 1996 132-38 [S38]

Larner, Daniel. ‘O’Neill’s endings: the tragicomedy of distant echoes.’ Eugene O’Neill Review 31 2009 8-16 (exemplified by More Stately Mansions, Moon for the Misbegotten, and Long Day’s Journey)

Manheim, Michael. ‘Confession as artifice in the plays of Eugene O’Neill.’ Renascence 39 1987 430-41 [S41]

Maufort, Marc. ‘À la recherche d’un réalisme irréel: symbolisme des couleurs dans l’oeuvre d’Eugène O’Neill.’ Figures du Noir au Blanc 6-7 1990-91 197-212

Miller, Gabriel. ‘The visionary moment in the plays of Eugene O’Neill.’ Annals of Scholarship 9 1992 293-306 [S45]

Moleski, Joseph J. ‘Eugene O’Neill and the cruelty of  theater.’ Comparative Drama 15 1981 327-42 [S46]; repr. on pp 37-52 in Stroupe (Emperor Jones, Long Day’s Journey, etc. ‘in terms of Stravinsky’)

Müller, Kurt. ‘The crisis of memory in modern American drama: the case of Eugene O’Neill.’ Pp 115-23 in Udo J. Hebel, ed. Sites of memory in American literature and cultures. Heidelberg: Winter, 2003

-----. Inszenierte Wirklichkeiten: die Erfahrung der Moderne im Leben und Werk Eugene O’Neills. Darmstadt: Wissenschaftliche Buchgesellschaft, 1993. 218 pp

Prasad, Hari M. The dramatic art of Eugene O’Neill. New Delhi: Associated Publishing House, 1987, 12-27: ‘Symbols’; 28-52: ‘Symbolism  of stage’ (draws upon ‘The symbolism  of  the sea in Eugene O’Neill’s plays.’ Journal of the Karnatak University: Humanities 22 1978 108-13 [S52] and  ‘Symbols of fog and home in the plays of Eugene O’Neill.’ Rajasthan Journal of English Studies 10 1979 1-9 [S52]); 53-68: ‘Metaphor of mask’

Przemecka, Irena. ‘Symbolizm  i symetria w dramatach O’Neilla.’ Prace Historycznoliterackie 14 1968 311-21

Raleigh, John H. The plays of Eugene O’Neill. Carbondale: Southern Illinois UP, 1965, 171-208: ‘Structure’

Reif-Hülser, Monika. ‘Überlegungen sur Funktion der pipe dreams in O’Neills Dramen.’ Pp 158-76 in Halfmann

Robinson, James A. ‘O’Neill’s symbolic sounds.’ Modern Language Studies 9 ii 1979 36-45 [S55]

Sharma, Ghanshiam. ‘The theme of self-transcendence in Marlowe, Shakespeare and Eugene O’Neill.’ Meerut Journal of Comparative Literature and Language 2 i 1989 1-21

Shaughnessy, Edward L. ‘Masks in the dramaturgy of Yeats and O’Neill.’ Irish University Review 14 1984 205-20 [S59]

Smith, Susan H. Masks in modern drama. Berkeley: Univ. of California Pr., 1984, 66-70, 106-08, 131-36 and see index [S124]

Stroupe, John H. ‘Eugene O’Neill and the problem  of masking.’ Lock Haven Review 12 1971 71-80 [M210]

Törnqvist, Egil. Eugene O’Neill: a playwright’s theatre. Jefferson, NC: McFarland, 2003, 87-93: ‘Play titles’; 94-106: ‘Time and place’; 107-27: ‘Personal names and words of address’; 140-50: ‘Intertextuality’

Voglino, Barbara. Perverse mind: Eugene O’Neill’s struggle with closure. Madison, NJ: Fairleigh Dickinson UP, 1999. 166 pp [S145]

Winther, Sophus K. Eugene O’Neill: a critical study. Enlarged ed. NY: Russell & Russell, 1961, 246-75: ‘Technique’

Worthen, W. B. Modern drama and the rhetoric of theater. Berkeley: Univ. of California Pr., 1992, 54-70: ‘Invisible actors: O’Neill, the method, and the masks of “character”’ [S131] (63-69 on O’Neill’s plays)

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