BIbLIOGRAPHY FEATURED DRAMATISTS MARINA CARR Plays One, Introduced by the Author (London: Faber and Faber, 1999). Contains Low in the Dark, The Mai, Portia Coughlan, By the Bog of Cats…. Woman and Scarecrow (Oldcastle, County Meath: The Gallery Press, 2006). BRIAN FRIEL Plays One, with an Introduction by Seamus Deane (London: Faber and Faber, 1996). Contains Philadelphia, Here I Come!; The Freedom of the City; Living Quarters; Aristocrats; Faith Healer and Translations. Plays Two, with an Introduction by Christopher Murray (London: Faber and Faber, 1999). Contains Dancing at Lughnasa, Fathers and Sons, Making History, Wonderful Tennessee, Molly Sweeney. THOMAS KILROY Double Cross (London: Faber and Faber, 1986; Oldcastle, County Meath: The Gallery Press, 1994). Tea and Sex and Shakespeare (Oldcastle, County Meath: The Gallery Press, 1998). © The Author(s) 2018 237 G. Price, Oscar Wilde and Contemporary Irish Drama, https://doi.org/10.1007/978-3-319-93345-0 238 BibliogRapHY The Death and Resurrection of Mr Roche (Oldcastle, County Meath: The Gallery Press, rev. edn 2002). The Secret Fall of Constance Wilde (Oldcastle, County Meath: The Gallery Press, 1997). FRANk McGUINNESS Plays One, Introduced by the Author (London: Faber and Faber, 1996). Contains The Factory Girls, Observe the Sons of Ulster Marching Towards the Somme, Innocence, Carthaginians, Baglady. Plays Two, Introduced by the Author (London: Faber and Faber, 2002). Contains Mary and Lizzie, Someone Who’ll Watch Over Me, Dolly West’s Kitchen, The Bird Sanctuary. TOM MURPHY Plays: 2, with an Introduction by Fintan O’Toole (London: Methuen, 1993). Contains Conversations on a Homecoming, Bailegangaire, A Thief of a Christmas. Plays: 3, with an Introduction by Fintan O’Toole (London: Methuen, 1994). Contains The Morning After Optimism, The Sanctuary Lamp, The Gigli Concert. Plays: 4, with an introduction by Fintan O’Toole (London: Methuen, 1997). Contains A Whistle in the Dark, A Crucial Week in the Life of a Grocer’s Assistant, On the Outside, On the Inside. Plays: 5, with an introduction by Nicholas Grene (London: Methuen, 2006). Contains Too Late for Logic, The Wake, The House and Alice Trilogy. OScAR WILDE The Complete Works, with an introduction by Merlin Holland (Glasgow: Harper Collins, 1948, rev. edn 2003). OTHER DRAMATISTS Beckett, Samuel. 1956. Waiting for Godot. London: Faber and Faber. ———. 1990. The Complete Dramatic Works. London: Faber and Faber. Eagleton, Terry. 1989. Saint Oscar. Derry: Field Day. McDonagh, Martin. 1997. The Cripple of Inishmaan. London: Methuen Press. ———. 2003. The Pillowman. London: Faber and Faber. O’Halloran, Mark. 2012. Trade. In This is Just This. It Isn’t Real. It’s Money: The Oberon Anthology of Contemporary Irish Plays, ed. Thomas Conway. London: Oberon Books. BibliogRapHY 239 Parker, Stewart. 2000. Plays: 2, Introduced by Stephen Rea with a Foreword by Lynne Parker. London: Methuen. Contains Northern Star, Heavenly Bodies, Pentecost. Radley, Lynda. 2011. Futureproof. London: Nick Hern Books. Stoppard, Tom. 1968. Rosencrantz and Guildenstern Are Dead. London: Faber and Faber. SEcONDARY MATERIAL Ahmed. 2006. Queer Phenomenology: Orientations, Objects, Others. Durham/ London: Duke University Press. Bashford. 2011. Oscar Wilde: The Critic as Dialectician. In Oscar Wilde, ed. Jarlath Killeen. Dublin: Irish Academic Press. Beckett, Samuel. 2009a. Three Novels: Molloy, Malone Dies, The Unnamable. New York: Grove Press. ———. 2009b. Worstward Ho. London/New York: Faber and Faber. Benjamin, Walter. 1969. The Work of Art in the Age of Mechanical Reproduction. In Illuminations. New York: Schocker. Bennett. 2011. A Wilde Performance: Bunburying and Bad Faith in The Importance of Being Earnest and Salome. In Refiguring Oscar Wilde’s Salome, ed. Michael Y. Bennet, 167–181. Amsterdam/New York: Rodopi Press. Bloom, Harold. 1973. Anxiety of Influence: A Theory of Poetry. Oxford: Oxford University Press. Boltwood, Scott. 2007. Brian Friel, Ireland and the North. Cambridge: Cambridge University Press. Bracken, Claire. 2015. Irish Feminist Futures. London: Routledge. Bronte, Emily. 2003. Wuthering Heights. New York: Norton Critical edition. Browne, Ivor. 1987. Thomas Murphy: The Madness of Genius. Irish University Review 17 (1): 135. Butler, Judith. 1988. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Theatre Journal 40 (4): 519–531. ———. 1999. Subjects of Desire: Hegelian Reflections in Twentieth Century France. New York: Columbia University Press. ———. 2004. Undoing Gender. New York/London: Routledge. Carr, Marina. 1998. Dealing with the Dead. Irish University Review 28 (1): 190–196. Cavell, Stanley. 1976. Must We Mean What We Say? Cambridge: Cambridge University Press. Chambers, Lilian, and Eamonn Jordan, eds. 2006. The Theatre of Martin McDonagh: A World of Savage Stories. Dublin: Carysfort Press. Cohen, Jeffrey, and Todd Ramlow. 2005/2006. Pink Vector’s of Deleuze: Queer Theory and Inhumanism. Rhizomes 11 (12): (Fall/Spring). Craft, Christopher. 1990. Alias Bunbury: Desire and Termination in The Importance of Being Earnest. Representations 31: 19–46. 240 BibliogRapHY Critchley, Simon. 2012. Faith of the Faithless, Experiments in Political Theology. London: Verso. Danson, Lawrence. 1997. Wilde as Critics and Theorist. In The Cambridge Companion to Oscar Wilde, 80–95. Cambridge: Cambridge University Press. Dantanus, Ulf. 1988. Brian Friel: A Study. London: Faber and Faber. Davies, Helen. 2011. The Trouble with Gender. In Refiguring Oscar Wilde’s Salome, ed. Michael Y. Bennet. Amsterdam/New York: Rodopi Press. Dawe, Gerald. 2002. Thomas Kilroy. Irish University Review 32 (1): 33–38. (Spring/Summer). Special Issue on Kilroy. Deane. 1996. Introduction. 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New Hibernia Review/Iris Éireannach Nua 3 (1): 97–110. Foucault, Michel. 1972. The Archaeology of Knowledge and the Discourse on Language. Trans. Robert Hurley, Mark Seem and Helen R. Lane. New York: Pantheon. Friel, Brian. 1999. In Essays, Diaries, Interviews: 1964—1999, ed. Christopher Murray. London: Faber and Faber. Gleitman, Claire. 1994. “Isn’t It Just like Real Life?”: Frank McGuinness and the (Re) writing of Stage Space. The Canadian Journal of Irish Studies 20 (1): 60–73. Grene, Nicholas. 1999. The Politics of Irish Drama: Plays in Context from Boucicault to Friel. Cambridge: Cambridge University Press. ———. 2002. Staging the Self: Person and Persona in Kilroy’s Plays. Irish University Review 32 (1 (Spring/Summer)): 70–82. Hegel, George Wilhelm. 1977. The Phenomenology of the Spirit. Trans. A.V. Miller. (Oxford: Oxford University Press. Herron. 2004. Dead Men Talking: Frank McGuinness’s Observe the Sons of Ulster Marching Towards the Somme. Éire-Ireland 39 (1 and 2): 136–162. Earrach/ Samhradh/Spring/Summer. Hirsch, Edward. 1991. The Imaginary Irish Peasant. PMLA 106 (5): 1116–1133. BibliogRapHY 241 Jordan, Eamonn. 2010. Dissident Dramaturgies: Contemporary Irish Drama. Dublin/Portland: Carysfort Press. ———. 1997. The Feast of Famine: The Plays of Frank McGuinness. Bern: Peter Lang. Joyce, James. 2000. A Portrait of the Artist as a Young Man. Oxford: Oxford University Press. Kearney, Richard. 1997. Language Play: Brian Friel and Ireland’s Verbal Theatre. In Brian Friel: A Casebook, ed. William Kerwin. New York/London: Garland. ———. 1983. Theatre: Tom Murphy’s Long Night’s Journey into Night. Studies: An Irish Quarterly Review 288: 327–335. Keats, John. 1899. Ode to a Nightingale. In The Complete Poetical Works and Letters of John Keats. Cambridge: Riverside Press. Kenny, Mary. 2003. Germany Calling: A Personal Biography of William Joyce, ‘Lord Haw-Haw’. Dublin: New Island. Kiberd, Declan. 1996. Inventing Ireland: The Literature of the Modern Nation. London: Vintage. ———. 1997a. Brian Friel’s Faith Healer. In Brian Friel: A Casebook, ed. William Kerwin. New York/London: Garland. ———. 1997b. Oscar Wilde: The Resurgence of Lying’. In The Cambridge Companion to Oscar Wilde, 276–294. Cambridge: Cambridge University Press. Kilroy, Thomas. 1992. A Generation of Playwrights. Irish University Review 22 (1): 135–141 (Spring/Summer). Lane, Mark. 1991. Theatrical Space and National Place in Four Plays by Thomas Murphy. Irish University Review 21 (2): 219–228. Lanters, Jose. 1992. Gender and Identity in Brian Friel’s Faith Healer and Thomas Murphy’s The Gigli Concert. Irish University Review 22 (2): 278–290 (Autumn/Winter). Leeney, Cathy, and Anna McMullan, eds. 2003. The Theatre of Marina Carr: ‘Before Rules Was Made’. Dublin: Carysfort Press. Leonard. 1998. A Nothing Place: Secrets and Sexual Orientation