Love and Revenge of Eben in Desire Under the Elms: a Psychoanalytic Reading A.K.M
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The Philosophy of Eugene O'neill
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1929 The Philosophy of Eugene O'Neill Judith Reynick Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Reynick, Judith, "The Philosophy of Eugene O'Neill" (1929). Master's Theses. 440. https://ecommons.luc.edu/luc_theses/440 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1929 Judith Reynick THE FrlILO~OPHY OF EUG~~B O'NEILL JUDITH Ri!."'YN 10K A thesis submitted in partial fulfillment of the requirements i'or the degree of Master of Arts in Loyola University 1929 Judi th Reyni ck University of Chicago, Ph.B., 1921 • . Teacher of English, Schurz High School. TABLE ·OF GON'r~ . I. INTRODUCTION . 1. ate. temen t of problem 2. Method of dealing with problem·: 3. Brief sketch of au thor GROUPING' Romantic or objective Xaturalistic and autobiographical 3. Symbolic and subjective OONOLUS,IONS IV. LIS T OF PLAYS RE.'V lEi/ED v. BIBLIOGRAPHY F'..;:;",.-o_-----------------:--------, Eugene O'Neill, the American playwrightl That these terms are almost synonymous is the conclusion one is tl forced to, if , to him, a study of contemporary dramatic criticism of the last fourteen years is any criterion. -
The Collective Unconscious in Eugene O`Neill`S Desire Under The
Aleppo University Faculty of Arts and Humanities Department of English The Collective Unconscious in Eugene O`Neill`s Desire Under the Elms and Mourning Becomes Electra and George Bernard Shaw`s Pygmalion and Man and Superman: A Comparative Study By Diana Dasouki Supervised by Prof. Dr. Iman Lababidi A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In English Literature 2018 i Dasouki Declaration I hereby certify that this work, "The Collective Unconscious in Eugene O`Neill`s Desire Under the Elms and Mourning Becomes Electra and George Bernard Shaw`s Pygmalion and Man and Superman: A Comparative Study", has neither been accepted for any degree, nor is it submitted to any other degrees. Date: / / 2018 Candidate Diana Dasouki ii Dasouki Testimony I testify that the described work in this dissertation is the result of a scientific research conducted by the candidate Diana Dasouki under the supervision of Prof. Dr. Iman Lababidi, professor doctor at the Department of English, Faculty of Arts and Humanities, Aleppo University. Any other references mentioned in this work are documented in the text of this dissertation. Date: / / 2018 Candidate Diana Dasouki iii Dasouki Abstract This dissertation explores the theory of the collective unconscious in Eugene O'Neill's Desire Under the Elms and Mourning Becomes Electra and George Bernard Shaw's Pygmalion and Man and Superman. The main objective is to study how the work of Jung has awakened interest in the unconscious and archetype psychology. The collective unconscious is a useful theory because studying literature, myth and religion through archetypes can reveal many deep and hidden meanings. -
MGM Studio News (January 14, 1939)
. STUDIO NEWS Eddie Cantor Signed by M-G-M Star in Big Musical Comedy 'PIP ID -J Sf g W To Eddie Cantor will return to the screen under the banner of Metro- Goldwyn-Mayer. A contract just signed assures exhibitors at least Published In the Interests of Metro-Goldwyn-Mayer Pictures Studios one big Cantor musical comedy during 1939 with the star of “Kid VOL. V—CULVER CITY, CALIFORNIA, SATURDAY, JANUARY 14, 1939— No. 13 Boots,” “Whoopee,” “The Kid from Spain” and “Roman Scandals.” Although Cantor has not made a picture since “Ali Baba Goes to Town,” devoting Title Is Changed for all his time to radio, his activity on the New Nelson Eddy Film air has kept him closely associated with the As this issue of Studio News goes screen. to press, announcement is made His personal appear- that a new title has been chosen ances have been terrific for “Song of the West,’’ the Metro- successes in the Goldwyn-Mayer production star- and ring Nelson Eddy, with Virginia course of his radio work Bruce and Victor McLaglen. The he has constantly kept picture will be released as “The his audiences picture- Dusty Road.” minded with his screen discoveries. The latest is Cantor Terry Kilburn, the English boy actor who Wallace Beery scored in “Lord Jeff” and “Christmas Carol.” Cantor also was responsible to a Starts Work On great degree for the careers of Deanna Durbin and Bobby Breen. °Sergt. Madden' Detailed plans for Cantor’s first picture under his contract with M-G-M will be With “Stand Up and Fight” on its announced shortly. -
The Influence of Psychoanalysis Theory on Eugene O'neill
IRWLE Vol. 9 No. II July 2013 1 The Influence of Psychoanalysis Theory on Eugene O’Neill Sabareen Fathima "Eugene O’Neill is one - and the most important one - of the dramatists who have made present - day tragedy possible. Without him contemporary tragedy would be virtually abandoned, deprived of force and impetus, of polemic discussions and models of realities"(Alfonso 98). In the shadow of O’Neill, tragedy had a stronghold despite the repressive presence of apathetic and phlegmatic society. Sastre Alphonso iterates that"iIn the shadow of Eugene O’Neill, it is possible to write a tragedy in today's world (98). Though born into an Irish Catholic family, O’Neill (1888-1953) grew up in a world of unsolicited free will, courtesy his parents who extensively travelled, emanating a sense of solitude within the child, who every time craved for his mother's affection. He was then sent to an ascetic world, where children were rigorously governed by nuns and priests. The sense of intimacy towards his family, lead to cultivate a tendency within O’Neill, that was ought to be subjective and idiosyncratic. Black is very frank about the fact that though "Unconformity seemed to hold Eugene back, nevertheless, it was always tolerated. Long before he could have known in any disciplined way what knowledge is, he had the cast of mind that might suit a future psychoanalyst or a philosophical skeptic or a poet." (60) The larger themes of O'Neill's work, their intensity and robustness, find magnificent reflection in the architectonic and well-pitched anatomy of his dramas. -
O'neill's Queer Interlude: Epicene Excess and Camp Pleasures
Fall 1997 3 O'Neill's Queer Interlude: Epicene Excess and Camp Pleasures Robert F. Gross I JUDITH: I think I shall revive "Love's Whirlwind." SOREL: (collapsing on to the sofa): Oh, Mother! (She gurgles with laughter.) I • •] JUDITH: You mustn't say too much against it, Sorel. I'm willing to laugh at it a little myself, but, after all, it was one of my greatest successes. SOREL: Oh, it's appalling—but I love it. It makes me laugh. JUDITH: The public love it too, and it doesn't make them laugh—much.1 Over the decades, Strange Interlude has become the scandal of the O'Neill canon. The 1963 Actors Studio revival left critic Robert Brustein "shaking with suppressed rage, four days after the event," at what "may be the worst play ever written by a major dramatist."2 Richard Gilman heaped scorn upon its "quarter-baked Strindberg, tenth-rate Freud"3 and denounced it as: the most atrociously ill-written and ill-conceived play of our time, the falsest 'masterpiece' in the theatre, as very likely the worst play that has ever been written by a dramatist with a reputation.4 Such extreme vituperation is not common, but there is more than enough of it to make one wonder how Strange Interlude has come to draw such ire, when other plays by O'Neill which are at least as weak in intellectual argument, dramatic structure and style—77z^ Fountain, Lazarus Laughed, Marco Millions or Dynamo, to name only a few—have failed to draw similar rage from critics. -
A Rhetorical Analysis of Eugene O'neill's Strange Interlude
This dissertation has been 61-4507 microfilmed exactly as received WINCHESTER, Otis William, 1933- A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE. The University of Oklahoma, Ph.D., 1961 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE A DISSERTATION SUBMITTED TO THE ŒADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY OTIS WILLIAM WINCHESTER Tulsa, Oklahoma 1961 A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE APPROVEDB^ DISSERTATION COMMITTEE PREFACE Rhetoric, a philosophy of discourse and a body of theory for the management of special types of discourse, has been variously defined. Basic to any valid definition is the concept of persuasion. The descrip tion of persuasive techniques and evaluation of their effectiveness is the province of rhetorical criticism. Drama is, in part at least, a rhe torical enterprise. Chapter I of this study establishes a theoretical basis for the rhetorical analysis of drama. The central chapters con sider Eugene O'Neill's Strange Interlude in light of the rhetorical im plications of intent, content, and form. Chapter II deals principally with O'Neill's status as a rhetor. It asks, what are the evidences of a rhetorical purpose in his life and plays? Why is Strange Interlude an especially significant example of O'Neill's rhetoric? The intellectual content of Strange Interlude is the matter of Chapter III. What ideas does the play contain? To what extent is the play a transcript of con temporary thought? Could it have potentially influenced the times? Chapter IV is concerned with the specific manner in which Strange Interlude was used as a vehicle for the ideas. -
Two Tendencies Beyond Realism in Arthur Miller's Dramatic Works
Inês Evangelista Marques 2º Ciclo de Estudos em Estudos Anglo-Americanos, variante de Literaturas e Culturas The Intimate and the Epic: Two Tendencies beyond Realism in Arthur Miller’s Dramatic Works A critical study of Death of a Salesman, A View from the Bridge, After the Fall and The American Clock 2013 Orientador: Professor Doutor Rui Carvalho Homem Coorientador: Professor Doutor Carlos Azevedo Classificação: Ciclo de estudos: Dissertação/relatório/Projeto/IPP: Versão definitiva 2 Abstract Almost 65 years after the successful Broadway run of Death of a Salesman, Arthur Miller is still deemed one of the most consistent and influential playwrights of the American dramatic canon. Even if his later plays proved less popular than the early classics, Miller’s dramatic output has received regular critical attention, while his long and eventful life keeps arousing the biographers’ curiosity. However, most of the academic works on Miller’s dramatic texts are much too anchored on a thematic perspective: they study the plays as deconstructions of the American Dream, as a rebuke of McCarthyism or any kind of political persecution, as reflections on the concepts of collective guilt and denial in relation to traumatizing events, such as the Great Depression or the Holocaust. Especially within the Anglo-American critical tradition, Miller’s plays are rarely studied as dramatic objects whose performative nature implies a certain range of formal specificities. Neither are they seen as part of the 20th century dramatic and theatrical attempts to overcome the canons of Realism. In this dissertation, I intend, first of all, to frame Miller’s dramatic output within the American dramatic tradition. -
On Eugene O'neill Inheritance to Greek Tragedy in Desire
Journal of Literature and Art Studies, November 2015, Vol. 5, No. 11, 1042-1046 doi: 10.17265/2159-5836/2015.11.010 D DAVID PUBLISHING On Eugene O’Neill Inheritance to Greek Tragedy in Desire Under the Elms JING Jing HUO Feng-chun Changchun University, Changchun, China NO.20 Junior Middle School of Siping, Siping, China In Desire Under the Elms, Eugene O’Neill not only adopts some elements from Greek tragedies, but brings more different ideas for readers, such as supernaturalism, and the degeneration of the tragic heroes or the peasant like language and sets more comic elements. Under his powerful pen, a marvelous drama is displayed before the audience, which combines the traditional elements and modern creations perfectly. This paper aims to explore the important elements in the play and compare those with what are used in Desire Under the Elms so as to draw the conclusion that Eugene O’Neill not only uses the traditional written skills but also improves the development and inheritance of Greek tragedies. Keywords: Greek tragedy, development, inheritance Introduction Eugene O’Neill is unquestionably American greatest playwright who won Noble Prize for literature in 1936. He wanted contemporary American drama to achieve the power of ancient Greek tragedies. Before O’Neill’s time, Americans saw only imported plays from Europe, melodrama’s farces and sentimental comedies. O’Neill wrote 45 plays which were highly experimental in form and style, combining literary theories of symbolism, naturalism, and expressionism. He had a great influence on later American playwrights, and on those of other countries. With Desire Under the Elms, Eugene O’Neill establishes himself a playwright of genius. -
Historical Theater Programs Collection MS-87 Wright State
Historical Theater Programs Collection (MS-87) Guide This finding aid was produced using ArchivesSpace on September 21, 2021. Description is written in: English. Describing Archives: A Content Standard Wright State University Libraries, Special Collections and Archives Special Collections and Archives 3640 Colonel Glenn Hwy Dayton, OH 45435-0001 [email protected] URL: http://www.libraries.wright.edu/special Historical Theater Programs Collection (MS-87) Guide Table of Contents Summary Information .................................................................................................................. 3 Scope and Contents ...................................................................................................................... 3 Arrangement ............................................................... .................................................................. 3 Administrative Information .......................................................................................................... 4 Collection Inventory ............................................................... ...................................................... 4 Series 1: Plays and Musicals ............................................................... ....................................... 4 Series 2: Animal Shows & Races ............................................................................................. 29 Series 3: Concerts ............................................................... ..................................................... -
Uniformity of Theme in Eugene O'neill: Nature, a Sentient Factor in Man's Destiny
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1932 Uniformity of Theme in Eugene O'Neill: Nature, a Sentient Factor in Man's Destiny Annye Brittingham Burbank College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons, and the Theatre and Performance Studies Commons Recommended Citation Burbank, Annye Brittingham, "Uniformity of Theme in Eugene O'Neill: Nature, a Sentient Factor in Man's Destiny" (1932). Dissertations, Theses, and Masters Projects. Paper 1539624427. https://dx.doi.org/doi:10.21220/s2-p94p-k619 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. UNIFORMITY OF THEME I' in EUGENE O'NEIIt NATURE, A SENTIENT FACTOR IN MAN'S DESTINY by ANNYE BRITSINSHAM BURBANK S0BMITTB3) li PARTIAL F0IF1LLMENT OF THE HFQUIEMEHTS OF THE COLLEGE OF WILLIAM AND MARY for the degree of MASTER OF ARTS CONTENTS Chapter Page I ■purpose of Thesis 7 II Resume of the Life of Eugene Gladstone O'Neill: His Personality and Its Reflection 8 III O*Neill#s Dramatic Technique: 14 Revival of Old and Invention of New Dramatic Devices Expressionism or Symbolism 16 "The Emperor-lOnes" 16 "The Hairy Ape** 17 "Dynamo" 18 Mashs and Chorus 19 "The Great God Brown** -
Hughie Page 3
A publication of the Shakespeare Theatre Company ASIDES 2012|2013 SEASON • Issue 3 Richard Schiff and Doug Hughes talk Hughie page 3 Eugene O’Neill’s creative process SHAKESPEARE THEATRE COMPANY page 7 A publication of the Shakespeare Theatre Company ASIDES Dear Friend, Hughie is a deceptively simple play. With 3 A Shared Fascination two characters and a single setting, the play is intimate. In a short period of 6 Hughie—Stripping the Soul Naked time, Eugene O’Neill manages to turn by Dr. Yvonne Shafer two nobodies in a late-night hotel lobby into sympathetic characters. As in all of his plays, O’Neill 10 Eugene O’Neill’s New York by Theresa J. Beckhusen makes us question how our own lives are shaped by the people we meet. 12 The Real American Gangster: Arnold Rothstein by Laura Henry Buda When undertaking O’Neill, the devil is in the details. The playwright conveys one layer of the story, the private 14 Play in Process and worlds of the Night Clerk and Erie Smith, solely through Hughie Cast and stage directions. Director Doug Hughes has taken on the Artistic Team formidable task of making these secret worlds just as 15 Coming, Going and palpable as the stage the two men share. Standing Still by Hannah J. Hessel In this issue of Asides, we have included an interview with 17 Drew’s Desk two of our talented artists, Broadway veteran Hughes by Drew Lichtenberg and star of stage and screen Richard Schiff. Also within this issue, Yvonne Shafer, a member of the Eugene O’Neill 19 Hero/Traitor Repertory Society, discusses O’Neill’s creative process, as well as 20 Performance Calendar and Hughie’s unique place within his body of work. -
Eugene O'neill
STUDY GUIDE EUGENE O’NEILL’S AH, WILDERNESS! DIRECTED BY STEVEN ROBMAN MAR.5 – MAY 20, 2017 Study Guides from A Noise Within A rich resource for teachers of English, reading arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. More information? It would be our pleasure. We’re here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Alicia Green Pictured: Donnla Hughes, Romeo and Juliet, 2016. PHOTO BY CRAIG SCHWARTZ. DIRECTOR OF EDUCATION TABLE OF CONTENTS Ah, Wilderness! Character List ........................................4 Synopsis .........................................................5 Playwright Biography: Eugene O’Neill ..................................6 Eugene O’Neill Timeline ....................................7 Eugene O’Neill on Ah, Wilderness! . 8 Ah, Wilderness! Themes ..................................10 America in 1906 ........................................11 Music of Ah, Wilderness! . 12 “Those Awful Books”. 13 “Love Poetry” and Socialism (with a Dash of Anarchy) ........14 Glossary ............................................15 Essay Questions .....................................17 Activities ........................................