...Jeffrey R. Wilson This essay theorizes a tradition in William Shakespeare’s drama involving some of his greatest and most captivating characters, including, among others, Richard III, Aaron the Moor, Shylock the Jew, Edmund the Bastard, Falstaff, Thersites, and Caliban. While they have been called...

...David Tuaillon Antonio Negri's theatrical collaborators Barbara Nicolier and David Tuaillon situate Negri's recent turn to stage drama, which has so far produced the Trilogy of Resistance ( Swarm, The Bent Man , and Cithaeron ) and the Trilogy of Critique ( The Laughing Man, Renzo the Partisan...

... reveal a peripatetic ethics that serves as a formal alternative to both the values of cynical self-interest and of a generic tradition of beatus ille poetic images associated with narratives of ethical retirement. The two novels produce a drama in which genres vie with genres; modes of storytelling...

... contributes to the articulation of a theory of comedy in The Ethics of Psychoanalysis , a seminar best known for its treatment of Antigone and tragic drama. It then locates this theory of comedy and reading of Never on Sunday in relation to key concepts of the Ethics such as jouissance and the moral good(s...

... the supervision that he desired in television. Thus while “Of This Time, of That Place” was an antimiddlebrow polemic, Channing drew on the conventions of golden age drama anthologies and was the very embodiment of middlebrow culture. As a script consultant, Trilling resisted these changes, but his advice...

...Ben Robbins This article analyzes William Faulkner’s 1951 prose drama hybrid narrative Requiem for a Nun as an adaptation of two “women’s films” that he worked on as a Hollywood screenwriter in the 1940s, The Damned Don’t Cry (completed in 1941, released in 1950) and Mildred Pierce (completed...

... of utopianism, his writings on Fourier engage only with his “content.” It argues instead that Fourier's project is best understood in the serialized form of his writing, which, as in Playboy , coordinates two different temporal scales: a larger scale on which the drama of world transformation plays out...

... and develops in his dramaturgy. By assigning formally generative movement across genres to vampire characters that perform the functions of narrators, Strindberg depicts dramatic character as a parasitic performance—and a locus of formal change in modern drama. © 2013 by University of Oklahoma 2013...

... a vitalist drama of political embodiment. Considered by Lawrence to be his best novel, The Plumed Serpent enables a retrospective reading of Lawrence's formal method, including the value of readerly affect in his attempts to counter the habituating forces of mass modernity. © 2013 by University of Oklahoma...

... the archive. Certainly, some of the critics of Spoon River have followed the book from first page to last, arriving at various and interesting narratives in this trajectory. For instance, Hallwas detects a quest of poetic self-­realization, while James Hurt works out a psychological drama of self...

.... COPYRIGHT © 2007 BY THE UNIVERSITY OF OKLAHOMA 2007 WORKS CITED Bai Ronnie . “ Dances with Mei Lanfang: Brecht and the Alienation Effect .” Comparative Drama 32.3 ( Fall 1998 ): 389 - 433 . Clifford James . “ Diasporas ” in Routes: Travel and Translation in the Late...

...Julia Jarcho Sarah Balkin , Spectral Characters: Genre and Materiality on the Modern Stage , Ann Arbor : University of Michigan Press , 2019 . Copyright © 2021 by University of Oklahoma 2021 What if the true protagonist of modern European drama wasn't Henrik Ibsen...

... universal resonance. Alysia Kolentsis is assistant professor of English at St. Jerome's University in the University of Waterloo. Her work focuses on early modern drama and poetry with a particular focus on Shakespeare and language. She has published articles in The Oxford Handbook of Shakespeare's...

... exis- tence."6 The need to provide etiological accounts or explanations—myths—for their lyric interventions in ritual was a major factor in the symbolists' turn to narrative in a range of forms, from the drama to the narrative poem and novels. Often these myths were autobiographical...

... experiments in "reformed" drama. An overlap of the spaces and concerns of natural philosophy, natural magic, masque production, and drama is notable. Although the theaters were officially closed by Parliament in the fall of 1642, plays continued to be more or less surreptitiously performed until 1660...

... York : Columbia UP , 1943 . Arden of Faversham. Plays on Women . Ed. McLuskie Kathleen E. Bevington David . Manchester : Manchester UP , 1999 . Belsey Catherine . The Subject of Tragedy: Identity and Difference in Renaissance Drama . New York : Methuen , 1985...

... capital as they have proven to be to cultural capital and might indeed be to a capitalist economy at large that is in some important respects neither “modern” nor “rational” even now. More inclined to the representation of deadly games of thrones than to the dramas of ordinary existence, epic fantasy...

... was, of course, well-established in English literature by 1688, and Richard McCabe has illustrated its prevalence in English Renaissance drama. J. G. A. Pocock's monumental studies of English government and political theory in the seven- teenth and eighteenth centuries illuminate the reasons why incest...

... the contested nature of national identity that is mapped onto international cities as they change, a case for unilineal progress that promises to leave behind the struggles of a transient people that port city dramas vivify. In this article, we refer to the port city more broadly as a “geographic imaginary...

..." of modern drama from Ibsen to Beckett. The nature and force of this evolution is overlooked in favor of a variety of theoretical concepts by which Barr describes the community structures displayed by modern plays and dramatic the- ory. As a result, much of Barr's discussion emerges as theoretically...