The Great God Brown

Ahuja, Chaman. Tragedy, modern temper and O’Neill. NY: Macmillan, 1984, 84-91

Alexander, Doris M. Eugene O’Neill’s creative struggle: the decisive decade, 1924-1933. Univ. Park: Pennsylvania State UP, 1992, 59-79: ‘The Great God Brown’

Ben-Zvi, Linda. ‘[Joyce’s] Exiles, The Great God Brown, and the specter of Nietzsche.’ Modern Drama 24 1981 251-69 [S7]

Berkelman, Robert. ‘O’Neill’s Everyman.’ South Atlantic Quarterly 58 1959 609-16 [M325]

Berlin, Normand. Eugene O’Neill. London: Macmillan, 1982, 85-89

Black, Stephen  A. Eugene O’Neill: beyond  mourning and tragedy. New Haven, CT: Yale UP, 2000, 322-28 and see index

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 261-78

Brietzke, Zander. The aesthetics of failure: dynamic structure in the plays of Eugene O’Neill. Jefferson, NC: McFarland, 2001, 67-71

Chabrowe, Leonard. Ritual and pathos: the theater of Eugene O’Neill. Lewisburg, PA: Bucknell UP, 1976, 26-30

Choi, Y.-J. ‘The American playwright’s social response between the wars: centering on Eugene O’Neill’s The Hairy Ape, The Great God Brown and Strange Interlude.’ Journal of Modern British and American Drama (Seoul) 15 iii 2002 199-231

Comarnescu, Petru. O’Neill Õi renaÕterea tragediei. Cluj: Dacia, 1986, 127-55: ‘The Great God Brown (Marele zeu Brown)’

Cotsell, Michael. The theater of trauma: American modernist drama and the psychological struggle for the American mind, 1900-1930. NY: Lang, 2005, 206-13

Cunningham, Frank R. ‘The Great God Brown and O’Neill’s romantic vision.’ Ball State University Forum 14 iii 1973 69-78 [S17]

Day, Cyrus. ‘Amor fati: O’Neill’s Lazarus as Superman and savior.’ Modern Drama 3 1960 297-305 [M366]; repr. on pp 72-81 in Gassner

Eisen, Kurt. The inner strength of opposites: O’Neill’s novelistic drama and  the melodramatic imagination. Athens: Univ. of Georgia Pr., 1994, 38-46

Elliott, Thomas S. ‘Altar ego: O’Neill’s sacrifice of self and character in The Great God Brown.’ Eugene O’Neill Review 18 1994 59-64 [S23]

Falk, Doris V. Eugene O’Neill and the tragic tension: an interpretive study of the plays. NY: Gordian Pr., 1958, 99-108

Filipowicz-Findlay, Halina. Eugene O’Neill. Warsaw: Wiedza Powszechna, 1975, 141-56

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 303-18

Frazer, Winifred L. The theme of loneliness in  modern American drama. Gainesville: Univ. of Florida Pr., 1960, 171-78

Gillespie, Michael. ‘Eugene O’Neill: the theatrical quest.’ Claudel Studies 9 1982 43-51 [S29]

Goyal, Bhagwat S. The strategy of survival: human  significance of O’Neill’s plays. Ghaziabad: Vimal, 1975, 181-85

Han, Kim. ‘Lazarus Laughed: Dionysus and [Nietzsche’s] The Birth of Tragedy.’ English Language and Literature 37 1991 993-1005 [S31] (also treats The Great God Brown)

Heilman, Robert B. The iceman, the arsonist, and the troubled agent: tragedy and melodrama on the modern stage. Seattle: Univ. of Washington Pr., 1973, 84-88

Herron, Ima H. The small town in American drama. Dallas, TX: Southern Methodist UP, 1968, 272-337: ‘O’Neill’s lost townsmen’ (292-96 on the play)

Hinden, Michael. ‘[Nietzsche’s] The Birth of Tragedy and The Great God Brown.’ MD 16 1973 129-40 [S32]

Köhler, Klaus. Eugene O’Neill’s antiheroes and their major precursors from late nineteenth to early twentieth century European drama. Dresden: Progressmedia, 2003, 59-64

Lewis, Ward B. Eugene O’Neill: the German reception of America’s first dramatist. NY: Lang, 1984, 62-69

Link, Franz H. Eugene O’Neill und die Wiedergeburt der Tragödie aus dem Unbewussten. Frankfurt: Athenäum, 1967, 8-19

LoCicero, Donald. ‘Schnitzler, O’Neill, and reality.’ Journal of the International Arthur Schnitzler Research Association 4 iii 1965 4-26 (Der Schleier der Beatrice and the play)

Manheim, Michael. Eugene O’Neill’s new language of  kinship. Syracuse, NY: Syracuse UP, 1982, 47-53

-----. ‘The Great God Brown in the light of O’Neill’s last plays.’ Eugene O’Neill Review 14 1990 5-15 [S42]

McCown, Cynthia. ‘The Great God Brown: a diagnostic of commercialism’s ills.’ Eugene O’Neill Review 17 1993 53-59 [S43]

Metzger, Deena P. ‘Variations on a theme: a study of Exiles by James Joyce and The Great God Brown by Eugene O’Neill.’ Modern Drama 8 1965 174-84 [M327]

Miliora, Maria T. Narcissism, the family, and  madness: a self-psychological study of Eugene O’Neill and his plays. NY: Lang, 2000, 104-10

Miller, Jordan Y., & Winifred Frazer. American drama between  the wars: a critical history. NY: G. K. Hall, 1991, 71-75

Raghavacharyulu, Dhupaty V. K. Eugene O’Neill: a study. Bombay: Popular Prakashan, 1965, 60-67

Richardson, Brian. ‘The Great God Brown and the theory of character.’ Eugene O’Neill Review 14 1990 17-24 [S55]

Robinson, James A. Eugene O’Neill and Oriental thought: a divided vision. Carbondale: Southern Illinois UP, 1982, 124-32: ‘“Conflicting tides”: The Great God Brown’

Rosen, Kenneth M. ‘O’Neill’s Brown and Wilde’s Gray.’ Modern Drama 13 1971 347-55 [M327]

Rutenberg, Michael E. ‘Eugene O’Neill,  fidei defensor: an eschatological study of The Great God Brown.’ Eugene O’Neill Newsletter 8 ii 1984 12-16 [S56]

Seidel, Margot. Bibel und Christentum im dramatischen Werk Eugene O’Neills. Frankfurt: Lang, 1984, 121-25, 146-49 and see index

Sheaffer, Louis. O’Neill, son  and artist. Boston: Little, Brown, 1973, 166-72 and see index

Sichert, Margit. ‘O’Neills The Great God Brown und die unausweichliche Ambiguität des Psychodramas.’ Pp 66-86 in Halfmann

Sievers, W. David. Freud on Broadway: a history of psychoanalysis and the American  drama. NY: Hermitage House, 1955, 97-133: ‘Freud, Jung, and O’Neill’ (108-12 on the play)

Singh, Avadhesh K. The plays of Eugene O’Neill: a study in myths and symbols. New Delhi: Creative Publishers, 1991, 104-13

Singh, Tejpal. Eugene O’Neill: quest for reality in his plays. New Delhi: National Book, 1987, 62-70

Skene, Reg. ‘The Bacchae of Euripides and The Great God Brown.’ Manitoba Arts Review 10 1956 55-65

Smith, Susan H. Masks in modern drama. Berkeley: Univ. of California Pr., 1984, 131-35

Sogliuzzo, A. Richard. ‘The uses of the mask in The Great God Brown and Six Characters in Search of an Author.’ Educational Theatre Journal 18 1966 224-29 [M327]

Stephens, Judith L. ‘Subverting the demon-angel dichotomy: innovation and feminist intervention in twentieth-century drama.’ Text and Performance Quarterly 9 1989 53-64 [S63]

Tedesco, Joseph S. ‘Dion Brown and his problems.’ Pp 114-23 in Martine [S126]

Tiusanen, Timo. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968, 184-97

Toczyski, Suzanne C. ‘The memory of naked ages: Charles Baudelaire, Eugene O’Neill and The Great God Brown.’ Eugene O’Neill Review 23 1999 60-77

Törnqvist, Egil. A drama of souls: studies in O’Neill’s super-naturalistic technique. New Haven, CT: Yale UP, 1969, 122-28, 165-67, and see index

Valgemae, Mardi. Accelerated grimace: expressionism  in the American drama of the 1920s. Carbondale: Southern Illinois UP, 1972, 27-40: ‘Eugene O’Neill’ (35-39 on the play)

-----. ‘Eugene O’Neill’s preface to The Great God Brown.’ Yale University Library Gazette 43 1968 24-29 [M213]

Wang, Xiaoping. ‘Eileen Chang’s cross-cultural writing and rewriting in Love in a Fallen City.’ Comparative Literature Studies 99 2012 565-84 (debt to the play)

Winkelmann, Sabine. Intermedialität in Eugene O’Neills Dramen: The Emperor Jones, The Hairy Ape und The Great God Brown. Würzberg: Königshausen & Neumann, 2004. 187 pp (publ. diss.)

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