Lazarus Laughed

Alexander, Doris M. Eugene O’Neill’s creative struggle: the decisive decade, 1924-1933. Univ. Park: Pennsylvania State UP, 1992, 81-101: ‘Lazarus Laughed’

-----. ‘Lazarus Laughed and Buddha.’ Modern Language Quarterly 17 1956 357-65 [M365]

Anniah Gowda, Hennur H. Dramatic poetry from  mediaeval to modern times: a philosophic inquiry into the nature of poetic drama in England, Ireland and the United States of America. Rev. ed. Madras: Macmillan, 1979, 358-62 [S74]

Berlin, Normand. Eugene O’Neill. London: Macmillan, 1982, 93-96

Block, Anita. The changing world in plays and theatre. Boston: Little, Brown, 1939, 137-93 (151-58 on the play)

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 278-90

Cargill, Oscar. Intellectual America: ideas on the march. NY: Macmillan, 1941, 685-720: ‘The Freudians’ (699-702 on the play)

Chabrowe, Leonard. Ritual and pathos: the theater of Eugene O’Neill. Lewisburg, PA: Bucknell UP, 1976, 38-58

Chothia, Jean. Forging a language: a study of the plays of Eugene O’Neill. Cambridge: Cambridge UP, 1979, 85-89 and see index

Civetta, Peter. ‘(Well, at least) Lazarus laughed—O’Neill, religious drama, and stageability.’ Journal of American Drama and Theatre 20 i 2008 27-52

Comarnescu, Petru. O’Neill Ői renaŐterea tragediei. Cluj: Dacia, 1986, 108-15: ‘Lazarus Laughed (Rîsul lui Laz|r)’

Cunningham, Frank R. ‘Lazarus Laughed: a study in O’Neill’s romanticism.’ Studies in the Twentieth Century 15 1975 51-75 [S17]

-----. ‘A newly discovered fourth production of Lazarus Laughed.’ Eugene O’Neill Review 22 1998 114-22 [S18]

Dahlström, Carl E. W. L. ‘Dynamo and Lazarus Laughed: some limitations.’ Modern Drama 3 1960 224-30 [M300]

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

Engel, Edwin A. The haunted heroes of Eugene O’Neill. Cambridge, MA: Harvard UP, 1953, 175-96: ‘Dionysus or death’

Falk, Doris V. Eugene O’Neill and the tragic tension: an interpretive study of the plays. NY: Gordian Pr., 1958, 108-14

Filipowicz-Findlay, Halina. Eugene O’Neill. Warsaw: Wiedza Powszechna, 1975, 186-99

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 319-33

Furey, Frank. ‘Performing the past: text, subtext & meta-drama in O’Neill’s Long Day’s Journey Into Night.’ Theatron Spring 2004 39-47

Gey, Guy. ‘Unité et dualité du mythe Dionysos dans Lazarus Laughed de Eugene O’Neill.’ Caliban (Toulouse) 6 1969 69-72

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

Harap, Louis. Dramatic encounters: the Jewish presence in twentieth-century drama, poetry, and humor and the Black-Jewish literary relationship. NY: Greenwood Pr., 1987, 81-84

King, W. D. ‘“It brought the world to this coast”: the world premiere of Eugene O’Neill’s Lazarus Laughed at the Pasadena Community Playhouse.’ Theatre Survey 29 1988 1-36 [S37]

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

Lopez, Michael B. ‘Issues of community in O’Neill’s Long Day’s Journey Into Night and Kierkegaard’s Works of love.’ Eugene O’Neill Review 31 2009 67-78

Manheim, Michael. Eugene O’Neill’s new language of  kinship. Syracuse, NY: Syracuse UP, 1982, 53-59

Mirlas, León. O’Neill y el teatro contemporáneo. Buenos Aires: Sudamericana, 1950, 153-62: ‘Un mito dionisíaco: Lázaro reía (1925-1926)’

Moss, Leonard. The evolutionary sequence in tragedy and the Bible. Aurora, CO: Davies Group, 2008, 141-58: ‘Darwin’s paradox and O’Neill’s Long Day’s Journey Into Night’

Philomčne de los Reyes, Marie. The biblical theme in modern drama. Quezon City: Philippines UP, 1978, 104-13: ‘Lazarus Laughed: the rhythm of enchantment’

Pommer, Henry F. ‘The mysticism of Lazarus Laughed.’ Crane Review 8 1966 83-91 [M366]

Raghavacharyulu, Dhupaty V. K. Eugene O’Neill: a study. Bombay: Popular Prakashan, 1965, 67-75

Raleigh, John H. The plays of Eugene O’Neill. Carbondale: Southern Illinois UP, 1965, 41-47

Robinson, James A. Eugene O’Neill and Oriental thought: a divided vision. Carbondale: Southern Illinois UP, 1982, 132-47: ‘“There is no death”: the mystical monism of Lazarus Laughed’

Rollyson, Carl E. ‘Eugene O’Neill: the drama of self-transcendence.’ Pp 123-37 in Martine [S119]

Sarlós. Robert K. ‘“Write a dance”: Lazarus Laughed as O’Neill’s dithyramb of the western hemisphere.’ Theatre Survey 29 1988 37-49 [S57]

Seidel, Margot. Bibel und Christentum im dramatischen Werk Eugene O’Neills. Frankfurt: Lang, 1984, 82-85, 211-16 and see index

Shurr, William  H. ‘American drama and the Bible: the case of Eugene O’Neill’s Lazarus Laughed.’ Pp 83-103 in Giles Gunn, ed. The Bible and American arts and letters. Philadelphia, PA: Fortress Pr., 1983 [S122]

Singh, Avadhesh K. The plays of Eugene O’Neill: a study in myths and symbols. New Delhi: Creative Publishers, 1991, 109-13

Solomonson, Mike. ‘The influence of George Cram Cook’s Delphic spirit on Eugene O’Neill.’ Pp 145-56 in Paul Lorenz & David Roessel. eds. Americans and the experience of Delphi. Boston: Somerset Hall, 2013 (stresses the play)

Szamosmenti, Marianne. ‘Gender perspective, identity crisis, culture, and communication.’ Pp 237-51 in Judith Muráth & Ágnes Oláh-Hubai, eds. Interdisziplinäre Aspekte des Übersetzens und Dolmetschens / Interdisciplinary aspects of translation and interpreting. Vienna: Praesens, 2007

Thompson, Leslie M. ‘The multiple uses of the Lazarus motif in modern literature.’ Christian Scholar’s Review 7 1977 306-29 [S64] (312-14 on the play)

Tiusanen, Timo. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968, 141-50

Törnqvist, Egil. A drama of souls: studies in O’Neill’s super-naturalistic technique. New Haven, CT: Yale UP, 1969, 128-30, 167-72, and see index

-----. ‘O’Neill’s Lazarus: Dionysus and Christ.’ American Literature 41 1970 543-54 [M366]

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