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Recurring Themes and Ideas

Alexander, Doris M. ‘Eugene O’Neill, “The Hound of Heaven,” and “The Hell Hole.”’ Modern Language Quarterly 20 1959 307-14 [M160] (Thompson’s poem  as a source for Servitude, Welded, and Days Without End)

Besch, Thomas M. ‘Kantian constructivism, the issue of scope, and perfectionism: O’Neill on ethical standing.’ European Journal of Philosophy 19 i 2011 1-20

Bogard, Travis. ‘Eugene O’Neill in the West.’ Eugene O’Neill Newsletter 9 ii 1985 11-16 [S11]

Combs, Robert. ‘O’Neill and Horovitz: toward home.’ Pp 39-49 in Leslie Kane, ed. Israel Horovitz: a collection of critical essays. Westport, CT: Greenwood Pr., 1994 [S85] (the mutual theme of America’s unfulfilled promise)

Costello, Donald P. ‘Forgiveness in O’Neill.’ Modern Drama 34 1991 499-512 [S17]

Dowling, Robert M. ‘On Eugene O’Neill’s “philosophical anarchism.”’ Eugene O’Neill Review 29 2007 50-72 ; repr. on pp 270-92 in Herrmann

Fink, Ernst O. ‘Postmoderne: Forsetzung oder Ende der Moderne? Literatur zwischen Kulturkrise und kulturellem  Wandel.’ Neohelicon 16 i 1989 11-27

Fjelde, Rolf. ‘Eugene O’Neill and Henrik Ibsen: struggle, fate, freedom.’ Theater Three 5 1988 67-74 [S24]

Fluckinger, Stephen L. ‘The idea of Puritanism  in the plays of Eugene O’Neill.’ Renascence 30 1978 152-62 [S25]; repr. on pp 263-72 in Houchin

Gillett, Peter J. ‘O’Neill and the racial myths.’ Twentieth Century Literature 18 1972 111-20; repr. on pp 45-58 in Griffin [S96] (on five ‘Negro’ plays)

Glicksberg, Charles I. The sexual revolution in modern American literature. The Hague: Nijhoff, 1971, 68-81: ‘Eugene O’Neill: the tragedy of love without God’

Griffin, Ernest G. ‘Pity, alienation and reconciliation in Eugene O’Neill.’ Mosaic 2 i 1968 66-76 (the treatment of pity in Lazarus Laughed and four late plays)

Hays, Peter L. ‘Child murder and incest in American drama.’ Twentieth Century Literature 36 1990 434-48 [S32]

Jackson, Esther M. ‘O’Neill the humanist.’ Eugene O’Neill Newsletter 1 ii 1977 1-4 [S35]

Konick, Marcus. ‘Eugene O’Neill and Puritanism.’ Pp 13-20 in Liu [S102]

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’

Kushner, Tony. ‘The genius of the fog: notes on O’Neill.’ Pp 255-68 in Bloom 3

Labelle, Maurice M. ‘Dionysus and despair: the influence of Nietzsche upon O’Neill’s drama.’ Educational Theatre Journal 25 1973 436-42 [S38]

Lai, Sheng-chuan. ‘Mysticism  and Noh in O’Neill.’ Theatre Journal 35 1983 74-87 [S38]

Liu, Hai-Ping. ‘Taoism  in O’Neill’s Tao House plays.’ Eugene O’Neill Newsletter 12 ii 1988 28-33 [S40]

Maufort, Marc. ‘The playwright as Lord of Touraine: O’Neill and French civilization.’ English Studies 71 1990 501-08 [S43] (reflections of French culture in his plays)

Ohkawa, Tetsuo. ‘Gothicism  in some plays of Eugene O’Neill.’ Chu Shikoko / Studies in American Literature 26 1990 76-83

O’Neill, Michael. ‘Confession as artifice in the plays of Eugene O’Neill.’ Renascence 39 1987 430-41 [S49]

Plett, Heinrich F., & Renate Plett. ‘New York: Variationen über das Thema Metropolis im amerikanischen Drama der zwanziger Jahre.’ Zeitschrift für Literaturwissenschaft und Linguistik 12 1982 103-33

Pommer, Henry F. ‘The mysticism  of Eugene O’Neill.’ Modern Drama 9 1966 26-39 [M203]

Porter, Thomas E. ‘Jansenism  and O’Neill’s “black mystery of  the soul.”’ Eugene O’Neill Review 26 2004 31-42

Raleigh, John H. ‘The last confession: O’Neill and the Catholic confessional.’ Pp 212-28 in Floyd [S117]

Regenbaum, Shelly. ‘O’Neill and the Hebraic theme of sacrifice.’ Theatre Annual 36 1981 52-67

Richter, Robert A. ‘A dense fog lies heavily upon the still sea’: O'Neill's sense of place.’ Pp 97-113 in Bloom 3

Rollyson, Carl. ‘O’Neill’s mysticism: from  his historical trilogy to Long Day’s Journey Into Night.’ Studies in Mystic Literature (Taiwan) 1 1981 218-36 [S56]

Salem, James M. ‘Eugene O’Neill and the sacrament of marriage.’ Serif 3 ii 1966 23-35 [M206]

Seidel, Margot. Aberglaube bei O’Neill. Frankfurt: Lang, 1984. 155 pp

-----. Bibel und Christentum im dramatischen Werk Eugene O’Neills. Frankfurt: Lang, 1984. 339 pp

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. Down  the nights and down the days: Eugene O’Neill’s Catholic sensibility. Notre Dame, IN: Univ. of Notre Dame Pr., 1996. 226 pp [S121] ; includes pp 66-75: ‘“The substitute-God search”: brief remarks on three plays—The Great God Brown, Lazarus Laughed, Strange Interlude’ (book incorporates ‘The iceman melteth: O’Neill’s return to cultural origins.’EON 3 ii 1979 3-6 [S59])

Slochower, Harry. No  voice is wholly lost: writers and thinkers in war and peace. NY: Creative Age Pr., 1945, 248-54; repr. on pp 383-89 in Cargill [M149] (from ‘Eugene O’Neill’s lost moderns.’ University Review [Kansas City] 10 Autumn 1943 32-37 [M208])

Steinhauer, H. ‘Eros and Psyche: a Nietzschean motif in Anglo-American literature.’ Modern Language Notes 64 1949 217-28 [M210]

Stroupe, John H. ‘The abandonment of ritual: Jean Anouilh and Eugene O’Neill.’ Renascence 28 1976 147-54 [S64]

Törnqvist, Egil. ‘Jesus and Judas: on biblical allusions in O’Neill’s plays.’ Études Anglaises 24 1971 41-49 [M211]

-----. ‘O’Neill’s philosophical and literary paragons.’ Pp 18-32 in Manheim [S127]

Werth, Lee F. ‘Eugene O’Neill’s diverse use of fog as an existential metaphor.’ Analecta Husserliana 73 2001 237-46

Wilkins, Frederick C. ‘O’Neill’s secular saints.’ Eugene O’Neill Review 14 1990 71-78 [S70]

Wilkins, Frederick C. ‘The pressure of Puritanism  in Eugene O’Neill’s New England plays.’ Pp 237-44 in Floyd [S130]

Wynstra, Beth. ‘”It sounds wonderful, doesn’t it?” Promises of marriage in the plays of Eugene O’Neill.’ Eugene O’Neill Review 35 2014 1-14 (applies the ‘lens of verity’ to plays that hinge on marriage, such as Bread and Butter and The Great God Brown)


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