Skip to main content Accessibility help
×
Publisher:
Cambridge University Press
Online publication date:
February 2016
Print publication year:
2016
Online ISBN:
9781316536100

Book description

Dramatic character is among the most long-standing and familiar of artistic phenomena. From the theatre of Dionysus in ancient Greece to the modern stage, William Storm's book delivers a wide-ranging view of how characters have been conceived at pivotal moments in history. Storm reaffirms dramatic character as not only ancestrally prominent but as a continuing focus of interest. He looks closely at how stage figures compare to fictional characters in books, dramatic media, and other visual arts. Emphasis is sustained throughout on fundamental questions of how theatrical characterization relates to dramatic structure, style, and genre. Extensive attention is given to how characters think and to aspects of agency, selfhood, and consciousness. As the only book to offer a long view of theatrical characterization across this historical span, Storm's dramaturgical and theoretical investigation examines topics that remain vital and pertinent for practitioners, scholars, students of theatre and literature, and general audiences.

Reviews

'Storm moves from ancient Athens to contemporary London and North America, paying close attention to big conceptual sea changes from Renaissance to Neoclassical and from Modernist to Postmoderist … There is a great deal of research on display here, presented in erudite but generally accessible prose.'

Sally Barnden Source: The Times Literary Supplement

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

Works Cited

Abbott, H. Porter. Beckett Writing Beckett: The Author in the Autograph. Ithaca: Cornell University Press, 1996.
Abbott, H. Porter. The Cambridge Introduction to Narrative. New York: Cambridge University Press, 2002.
Abel, Lionel. Metatheatre: A New View of Dramatic Form. New York: Hill and Wang, 1968.
Aeschylus, . Oresteia. Aeschylus I. Trans., intro. Lattimore, Richmond. Chicago: University of Chicago Press, 1953.
Alpaugh, Daniel J.Negative Definition in Samuel Beckett’s Happy Days.” Twentieth Century Literature 11 (1966): 202210. Repr. Caputi, 585–597.
Andreev, Leonid. “Letters on the Theatre” (1912). Senelek, 223–272.
Aristotle, . Aristotle’s Poetics. Intro. Ferguson, Francis. Trans. Butcher, S. H.. New York: Hill and Wang, 1961.
Aristotle, . Aristotle’s Poetics: A Translation and Commentary for Students of Literature. Hardison, O. B., comm., and Golden, Leon, trans. Tallahassee: Florida State University Press, 1981.
Baitz, Jon Robin. Other Desert Cities. New York: Grove, 2011.
Barish, Jonas. The Anti-Theatrical Prejudice. Berkeley: University of California Press, 1985.
Barlow, Judith, ed. Plays by American Women 1900–1930 (1985). New York: Applause, 2000.
Barricelli, Jean-Pierre, ed., intro. Chekhov’s Great Plays: A Critical Anthology. New York: New York University Press, 1981.
Barthes, Roland. On Racine (1960). Trans. Howard, Richard. Berkeley: University of California Press, 1992.
Bate, Jonathan, ed. The Romantics on Shakespeare. New York: Penguin, 1992.
Beckett, Samuel. Happy Days. Caputi, 403426.
Bentley, Eric. The Life of the Drama. New York: Atheneum, 1972.
Bentley, Eric. Ed. Pirandello, Luigi, Naked Masks: Five Plays. New York: E.P. Dutton and Company, 1952.
Bentley, Eric. Ed. The Theory of the Modern Stage. New York: Penguin, 1968.
Bieber, Margarete. The History of the Greek and Roman Theatre. Princeton: Princeton University Press, 1939. 2nd ed., 1961.
Blau, Herbert. The Audience. Baltimore: The Johns Hopkins University Press, 1990.
Bloom, Harold. Genius: A Mosaic of One Hundred Exemplary Creative Minds. New York: Warner Books, 2002.
Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead/Penguin, 1998.
Blundell, Mary Whitlock. “Ethos and Dianoia Reconsidered.” Rorty, 155–175.
Booth, Wayne. “The Poetics for a Practical Critic.” Rorty, 387–408.
Bradby, David and Calder, Andrew. The Cambridge Companion to Molière. Cambridge: Cambridge University Press, 2006.
Bradley, A. C. Shakespearean Tragedy (1904). New York: Fawcett, 1965.
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed., trans. Willett, John. New York: Hill and Wang, 1964.
Brereton, Geoffrey. French Tragic Drama in the Sixteenth and Seventeenth Centuries. London: Methuen, 1973.
Brilliant, Richard. Portraiture. Cambridge, MA: Harvard University Press, 1991. Rep. London: Reaktion, 1997.
Brockmann, Stephan. “The Death of Tragedy Revisited.Journal of Dramatic Theory and Criticism 17:1 (Fall 2002): 2344.
Brustein, Robert. The Theatre of Revolt. Boston: Little Brown, 1962.
Burke, Kenneth. A Grammar of Motives (1945). Berkeley: University of California Press, 1969.
Burke, Kenneth. On Symbols and Society. Ed. Gusfield, Joseph R.. Chicago: University of Chicago Press, 1989.
Burke, Kenneth. “Othello: An Essay to Illustrate a Method.” Perspectives by Incongruity. Ed. Hyman, Stanley Edgar. Bloomington: Indiana University Press, 1964.
Burke, Kenneth. The Philosophy of Literary Form. 2nd ed. Baton Rouge: Louisiana State University Press, 1967.
Burkert, Walter. Greek Religion. Cambridge, MA: Harvard University Press/Blackwell, 1985 (English translation).
Butler, Isaac. “The Death and Life of the Living-Room Play.American Theatre 32:4 (April 2015): 3842.
Butler, James H. The Theatre and Drama of Greece and Rome. San Francisco: Chandler, 1972.
Calder, Andrew. “Laughter and Irony in Le Misanthrope.” Bradby and Calder, 95–106.
Calderwood, James L. To Be and Not to Be: Negation and Metadrama in “Hamlet.” New York: Columbia University Press, 1983.
Cambon, Glauco, ed. Pirandello: A Collection of Critical Essays. Englewood Cliffs, New Jersey: Prentice-Hall, 1967.
Caputi, Anthony, ed. Eight Modern Plays. New York: W. W. Norton, 1991.
Carlson, Marvin. Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the Present. Ithaca: Cornell University Press, 1984.
Carpenter, Thomas H. and Faraone, Christopher, eds. Masks of Dionysus. Ithaca: Cornell University Press, 1993.
Chalmers, David J. The Character of Consciousness. New York: Oxford University Press, 2010.
Chalmers, David J. The Conscious Mind: In Search of a Fundamental Theory. New York: Oxford University Press, 1996.
Chalmers, David J.Facing up to the Problem of Consciousness.” Journal of Consciousness Studies 2:3 (1995): 200219. See also Shear, 9–32.
Chapman, John, ed. Theatre '55: Reading Versions of the Golden Dozen Plays of the Year. New York: Random, 1955.
Charney, Maurice. Hamlet’s Fictions. New York: Routledge, 1988.
Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell University Press, 1978.
Chekhov, Anton. Chekhov: the Major Plays. Trans. Dunnigan, Ann. New York: Penguin/Signet, 1964.
Churchill, Caryl. Cloud 9 (1979). New York: Routledge, 1984 (rev.).
Clark, Barrett, ed. European Theories of the Drama. Rev. ed. New York: Crown, 1965.
Cohn, Ruby. Back to Beckett. Princeton: Princeton University Press, 1973.
Cohn, Ruby. Just Play: Beckett’s Theater. Princeton: Princeton University Press, 1980.
Cole, Toby and Chinoy, Helen Krich. Actors on Acting (1949). New York: Crown, 1970.
Collier, Jeremy. “A Short View of the Immorality and Profaneness of the English Stage.” Abridged, McMillin, 493–506.
Cook, Amy. Shakespearean Neuroplay. New York: Palgrave, 2010.
Corrigan, Robert W., ed. Tragedy: Vision and Form. Scranton, PA: Chandler Publishing, 1965.
Damasio, Antonio. The Feeling of What Happens: Body and Emotion in the Making of Consciousness. New York: Harcourt, 1999.
Damasio, Antonio. Self Comes to Mind: Constructing the Conscious Brain. New York: Vintage/Random, 2010.
Danan, Joseph. “Dramaturgy in ‘Postdramatic’ Times.” Trencsényi, 3–17.
Demastes, William W.Hamlet in His World: Shakespeare Anticipates/ Assaults Cartesian Dualism.” Journal of Dramatic Theory and Criticism 20:1 (Fall 2005): 2742.
Demastes, William W.Portrait of an Artist as Proto-Chaotician: Tom Stoppard Working His Way to Arcadia.” Narrative 19:2 (May 2011): 229240.
Demastes, William W. Staging Consciousness: Theatre and the Materialization of Mind. Ann Arbor: University of Michigan Press, 2002.
Depew, Mary and Obbink, Dirk, eds. Matrices of Genre: Authors, Canons, and Society. Cambridge, MA: Harvard University Press, 2000.
De Ste. Croix, G. E. M. “Aristotle on History and Poetry.” Rorty, 23–32.
Diamond, Elin. “Identity Politics Then and Now.Theatre Research International 37:1 (March 2012): 6467.
Diamond, Elin. “Mimesis, Mimicry, and the ‘True-Real.’Modern Drama 32:1 (March 1989): 5872
Diamond, Elin. “Refusing the Romanticism of Identity.Theatre Journal 37:3 (October 1985): 273286.
Diamond, Elin. Unmaking Mimesis: Essays on Feminism and Theater. London: Routledge, 1997.
Dukore, Bernard F. Dramatic Theory and Criticism: Greeks to Grotowski. Orlando, Florida: Holt, Rinehart, Winston, 1974.
Dunn, Francis M. Tragedy’s End: Closure and Innovation in Euripidean Drama. New York: Oxford University Press, 1996.
Easterling, P. E., ed. The Cambridge Companion to Greek Tragedy. Cambridge: Cambridge University Press, 1997.
Easterling, P. E.Character in Sophocles.” E. Segal, 138–145. 1st pub. Greece and Rome 24 (1977): 121129.
Easterling, P. E. “A Show for Dionysus.” The Cambridge Companion to Greek Tragedy, 36–53.
Edwards, Paul. “Science in Hapgood and Arcadia.” Kelly, 171–184.
Eliot, T. S.Hamlet and His Problems.The Sacred Wood (1920). London: Methuen, 1972.
Else, Gerald F. Aristotle’s Poetics: The Argument. Cambridge, MA: Harvard University Press, 1963.
Else, Gerald F. The Origin and Early Form of Greek Tragedy. New York: W.W. Norton, 1965
Esslin, Martin. Brecht: The Man and His Work. Garden City, NY: Anchor/Doubleday, 1961.
Esslin, Martin. The Theatre of the Absurd. Garden City: Doubleday, 1961.
Etherege, George. The Man of Mode. Barnard, John, ed. New York: W.W. Norton (New Mermaid), 1979. Also McMillin, 87167.
Euripides, . The Bacchae. Euripides V. Grene, David and Lattimore, Richmond, eds. Trans., intro. Arrowsmith, William. Chicago: University of Chicago Press, 1959.
Euripides, . Hippolytus. Euripides I. Grene, David and Lattimore, Richmond, eds. Trans. Grene, David. Chicago: University of Chicago Press, 1955.
Euripides, . Medea. Euripides I. Grene, David and Lattimore, Richmond, eds., Trans. Warner, Rex. Chicago: University of Chicago Press, 1955.
Felheim, Marvin, ed. Comedy: Plays, Theory, and Criticism. New York: Harcourt, Brace, and World, 1962.
Fergusson, Francis. The Idea of a Theater (1949). Princeton: Princeton University Press, 1968.
Fisk, Deborah Payne. The Cambridge Companion to English Restoration Theatre. Cambridge: Cambridge University Press, 2000.
Flickinger, Roy C. The Greek Theater and Its Drama (1918). Chicago: University of Chicago Press, 1960 (Reprint Series).
Forster, E. M. Aspects of the Novel (1927). New York: Harcourt, Brace, and World, 1954.
Frayn, Michael. Copenhagen. New York: Anchor, 1998.
Freud, Sigmund. “Psychopathic Characters on the Stage.” Writings, 87–93.
Freud, Sigmund. “Some Character-Types Met with in Psycho-analytic Work.” Writings, 151–175.
Freud, Sigmund. Writings on Art and Literature. Forw. Hertz, Neil (from The Standard Edition of the Complete Psychological Works of Sigmund Freud, 24 vols. Ed. Strachey, James). Stanford: Stanford University Press, 1997.
Frye, Northrop. Anatomy of Criticism. Princeton: Princeton University Press, 1957.
Frye, Northrop. Northrop Frye on Shakespeare. New Haven: Yale University Press, 1986.
Fuchs, Elinor. The Death of Character: Perspectives on Theatre after Modernism. Bloomington: Indiana University Press, 1996.
Garner, Stanton B., Jr. “Zola, Medicine, and Naturalism.” Knowles, 67–79.
Gazzaniga, Michael S. Who’s in Charge?: Free Will and the Science of the Brain. New York: Harper Collins, 2011.
Gerrig, Richard J. and Allbritton, David W.. “The Construction of Literary Character: A View from Cognitive Psychology.Style 24:3 (Fall 1990): 380391.
Gill, Pat. “Gender, Sexuality, and Marriage.” Fisk, 181–208.
Gilman, Richard. Chekhov’s Plays: An Opening into Eternity. New Haven: Yale University Press, 1995.
Gilman, Richard. The Making of Modern Drama. New York: Farrar, Straus, and Giroux, 1972.
Goldhill, Simon. Reading Greek Tragedy. Cambridge: Cambridge University Press, 1986.
Goldstein, Rebecca Newberger. Plato at the Googleplex: Why Philosophy Won’t Go Away. New York: Pantheon, 2014.
Gorra, Michael S. The Portrait of a Novel. London: Liveright, 2012.
Gowing, Lawrence. Intro. Laclotte, Michel. Paintings in the Louvre. New York: Stewart, Tabori and Chang, 1987.
Green, J. R. Theatre in Ancient Greek Society. New York: Routledge, 1994.
Gruber, William E. Missing Persons: Character and Characterization in Modern Drama. Athens: University of Georgia Press, 1994.
Guare, John. The House of Blue Leaves. New York: Viking, 1972.
Haigh, A. E. The Tragic Drama of the Greeks (Oxford, 1896). New York: Dover, 1968.
Hartman, Geoffrey H., ed. Psychoanalysis and the Question of the Text. Baltimore: The Johns Hopkins University Press, 1978.
Hazlitt, William. Hazlitt on Theatre (1895). Ed. Archer, William and Lowe, Robert. New York: Hill and Wang Dramabook, 1958.
Henrichs, Albert. “Loss of Self, Suffering, Violence: The Modern View of Dionysus from Nietzsche to Girard.Harvard Studies in Classical Philology 88 (1984): 205240.
Herman, David, ed. The Cambridge Companion to Narrative. New York: Cambridge University Press, 2007.
Hernadi, Paul. Beyond Genre: New Directions in Literary Classification. Ithaca: Cornell University Press, 1972.
Hewitt, Barnard. Theatre U.S.A. 1665 to 1957. New York: McGraw-Hill, 1959.
Huerta, Jorge. Chicano Theatre: Themes and Forms. Ypsilanti: Bilingual Press, 1982. Qtd. by Worthen.
Ibsen, Henrik. The Complete Major Prose Plays. Trans., intro., Fjelde, Rolf. New York: Penguin, 1965.
Ionesco, Eugène. The Bald Soprano and Other Plays. Trans. Allen, Donald M.. New York: Grove Press, 1958.
Ionesco, Eugène. Notes and Counter Notes: Writings on the Theatre. New York: Grove Press, 1964.
Ionesco, Eugène. “The World of Ionesco.” International Theatre Annual. No. 2 (1957). Qtd. in Weiss, Samuel A., ed. Drama in the Modern World: Plays and Essays. Boston: D.C. Heath, 1964.
James, Henry. “The Art of Fiction.” Longman’s Magazine 4 (September 1884), repr. Partial Portraits (1888). Westport, CT: Greenwood Press, 1970.
James, Henry. The Portrait of a Lady (one volume, 1882). Ed., intro., notes, Horne, Philip. New York: Penguin, 2011.
James, Henry. “Preface” to The Tragic Muse (1890). Ed. Horne, Philip. London: Penguin, 1995.
Johnson, Barbara. “The Frame of Reference: Poe, Lacan, Derrida.” Hartman, 149–171.
Johnson, Gary. “Consciousness as Content. Neuronarratives and the Redemption of Fiction.Mosaic 41:1 (March 2008): 169184.
Johnson, Samuel. Samuel Johnson on Shakespeare. Ed., intro., Wimsatt, W. K., Jr. New York: Hill and Wang Dramabook, 1960.
Johnston, Brian. The Ibsen Cycle: The Design of the Plays from ‘The Pillars of Society’ to ‘When We Dead Awaken’. University Park, PA: Pennsylvania State University Press, 1992.
Jones, John. On Aristotle and Greek Tragedy. New York: Oxford University Press, 1962.
Kachur, B. A. Etherege and Wycherley. New York: Palgrave, 2004.
Karlinsky, Simon, intro., comm., and Heim, Michael Henry, trans. Anton Chekhov’s Life and Thought: Selected Letters and Commentary. Berkeley: University of California Press, 1973.
Kelly, Katherine E. The Cambridge Companion to Tom Stoppard. New York: Cambridge University Press, 2001.
Kennedy, Andrew. Samuel Beckett. Cambridge: Cambridge University Press, 1989.
Kenner, Hugh. “Happy Days.Samuel Beckett (Reader’s Guides). London: Thames and Hudson Ltd., 1973. Pgs 147–192. Excerpt repr., Caputi, 597–601.
Kerényi, Carl. Dionysos: Archetypal Image of Indestructible Life. Trans. Manheim, Ralph. Princeton: Princeton University Press, 1976.
Kitto, H. D. F. Form and Meaning in Drama: A Study of Six Greek Plays and of “Hamlet.” London: Robert Cunningham and Sons, 1956.
Knight, G. Wilson. The Wheel of Fire: Interpretations of Shakespearian Tragedy (1930, 1949). New York: Routledge, 1989.
Knowles, Ric, Tompkins, Joanne, and Worthen, W. B.. Modern Drama: Defining the Field. Toronto: University of Toronto Press, 2003.
Konnikova, Maria. Mastermind: How to Think Like Sherlock Holmes. New York: Penguin Viking, 2013.
Krutch, Joseph Wood. “The Tragic Fallacy.The Modern Temper (1929). Corrigan, 271283.
Kushner, Tony. Angels in America: Millennium Approaches. New York: TCG, 1993.
Lacan, Jacques. “Desire and the Interpretation of Desire in Hamlet.” Yale French Studies 55–56 (1977): 1152.
Lahr, John, ed. A Casebook on Harold Pinter’s “The Homecoming.” New York: Grove, 1971.
Lodge, David. “Demolition Man.” The New Yorker. December 24 and 31, 2007: 54–69.
Lamm, Martin. August Strindberg. Ed., trans. Carlson, Harry G.. New York: Benjamin Blom, 1971.
Lamont, Rosette C. Ionesco’s Imperatives. Ann Arbor: University of Michigan Press, 1993.
Lawley, Paul. “Stages of Identity: From Krapp’s Last Tape to Play.” Pilling, 88–105.
Lehmann, Hans-Thies. Postdramatic Theatre. Trans. Jürs-Munby, Karen. New York: Routledge, 2006.
Levin, Harry. Playboys and Killjoys: An Essay on the Theory and Practice of Comedy. New York: Oxford University Press, 1987.
Lifton, Robert J. The Protean Self: Human Resilience in an Age of Fragmentation. New York: Basic Books, 1993.
Lightman, Alan. The Discoveries: Great Breakthroughs in 20th-Century Science. New York: Pantheon, 2005.
Lillo, George. “Dedication” to The London Merchant. Ed. McBurney, William H.. Lincoln: University of Nebraska Press, 1965.
Lloyd-Jones, Hugh. “The Guilt of Agamemnon.” E. Segal, 56–72.
Lodge, David. The Art of Fiction. London: Penguin, 1992.
Lodge, David. Consciousness and the Novel. Cambridge, MA: Harvard University Press, 2002.
Lodge, David. Thinks.... New York: Penguin, 2002.
Lonsdale, Steven H. Dance and Ritual Play in Greek Religion. Baltimore: The Johns Hopkins University Press, 1993.
Lowe, E. J. “There Are No Easy Problems of Consciousness.” Shear, 117–123.
MacFarquhar, Larissa. “Two Heads: A Marriage Devoted to the Mind-Body Problem.The New Yorker. February 12, 2007: 5769.
Macksey, Richard and Donato, Eugene, eds. The Structuralist Controversy: The Languages of Criticism and the Sciences of Man. Baltimore: The Johns Hopkins University Press, 1970.
Margolin, Uri. “Character.” Herman, 66–79.
Martin, Jay. Who Am I This Time?: Uncovering the Fictive Personality. New York: W.W. Norton, 1988.
McConachie, Bruce. Engaging Audiences: A Cognitive Approach to Spectating in the Theatre. New York: Palgrave, 2008.
McConachie, Bruce and Hart, F. Elizabeth, eds. Performance and Cognition: Theatre Studies and the Cognitive Turn. New York: Routledge, 2006.
Lodge, David. Theatre and Mind. New York: Palgrave, 2013.
McGann, Jerome. The Poet Edgar Allan Poe: Alien Angel. Cambridge, MA: Harvard University Press, 2014.
McMillin, Scott, ed. Restoration and Eighteenth Century Comedy. Norton Critical Edition. 2nd ed. New York: W.W. Norton, 1997.
Miller, Arthur. After the Fall. New York: Penguin, 1964.
Miller, J. Hillis. Ariadne’s Thread: Story Lines. New Haven: Yale University Press, 1992.
Miner, Earl, ed. Restoration Dramatists: A Collection of Critical Essays. Englewood Cliffs, NJ: Prentice Hall, 1966.
Molière, . Tartuffe and The Misanthrope. Trans., intro. Wilbur, Richard. New York: Harcourt Brace (Harvest), 1965.
Nagler, A. M. Sources of Theatrical History. New York: Theatre Annual, 1952.
Nietzsche, Friedrich. The Birth of Tragedy and The Geneology of Morals. Trans. Golffing, Francis. New York: Doubleday, 1956.
O’Neill, Eugene. Long Day’s Journey Into Night (1956). New Haven: Yale University Press, 2002.
Otto, Walter F. Dionysus: Myth and Cult. Bloomington: Indiana University Press, 1995.
Padel, Ruth. Whom Gods Destroy: Elements of Greek and Tragic Madness. Princeton: Princeton University Press, 1995.
Paolucci, Anne. “Comedy and Paradox in Pirandello’s Plays.Modern Drama 20:4 (December 1977): 321330.
Parnell, Peter. Q.E.D. New York: Applause, 2002.
Phelan, James. Reading People, Reading Plots: Character, Progression, and the Interpretation of Narrative. Chicago: University of Chicago Press, 1989.
Pickard-Cambridge, Arthur. Dithyramb Tragedy and Comedy (1927). Rev. 2nd ed. Webster, T. B. L.. Oxford: Clarendon Press, 1962.
Pilling, John, ed. The Cambridge Companion to Beckett. Cambridge: Cambridge University Press, 1994.
Pinter, Harold. The Homecoming. New York: Grove, 1965.
Pirandello, Luigi. “Preface” to Six Characters in Search of an Author (1925). In Bentley, ed. Naked Masks, 363–375.
Pirandello, Luigi. Six Characters in Search of an Author. Trans. Caputi, Anthony. Caputi, 210256.
Pirandello, Luigi. “The Tragedy of Character.Short Stories. Trans., intro. May, Frederick. London: Oxford University Press, 1965.
Poe, Edgar Allan. The Fall of the House of Usher and Other Writings. London: Penguin, 1986.
Poulet, Georges. “Criticism and the Experience of Interiority.” Macksey and Donato, 56–72.
Powell, Jocelyn. “George Etherege and the Form of a Comedy.” Miner, 63–85.
Powers, Richard. The Echo Maker. New York: Macmillan/Picador, 2007.
Prideaux, Sue. Strindberg: A Life. New Haven: Yale University Press, 2012.
Racine, Jean. Phaedra. Trans. Wilbur, Richard. New York: Harcourt Brace, 1986.
Ramachandran, V. S. A Brief Tour of Human Consciousness. New York: Pi Press, 2004.
Ratcliff, Carter. John Singer Sargent. New York: Artabras, 1982.
Richards, I. A. Principles of Literary Criticism (1925). New York: Harvest HBJ, 1985.
Richardson, Brian. “Beyond Poststructuralism: Theory of Character, the Personae of Modern Drama, and the Antimonies of Critical Theory.Modern Drama 40 (1997): 8699.
Richardson, Brian. “Drama and Narrative.” Herman, 142–155.
Rokotnitz, Naomi. “‘It is required/You do awake your faith’: Learning to trust the body through performing The Winter’s Tale.” McConachie and Hart, 123–146.
Rorty, Amélie Oksenberg, ed. Essays on Aristotle’s Poetics. Princeton: Princeton University Press, 1992.
Searle, John R. “The Psychology of Aristotelian Tragedy.” Rorty, 1–22.
Roth, Marco. “Rise of the Neuronovel.” n + 1 Magazine (8): September 2009. Online: http://nplusonemag.com/rise-neuronovel.
Rousseau, Jean-Jacques. Politics and the Arts: Letter to M. D’Alembert on the Theatre. Trans., intro. Bloom, Allan. Ithaca: Cornell University Press, 1968.
Schlink, Bernhard. The Reader. Trans. Janeway, Carol Brown. New York: Vintage, 1995.
Scholes, Robert, Phelan, James, and Kellogg, Robert. The Nature of Narrative. Rev. ed. New York: Oxford University Press, 2006.
Searle, John R. Mind: A Brief Introduction. New York: Oxford University Press, 2004.
Searle, John R. “The Mystery of Consciousness Continues.” New York Review of Books (Review of Antonio Damasio, Self Comes to Mind: Constructing the Conscious Brain). June 9, 2011: 50–52.
Segal, Charles. Dionysiac Poetics in Euripides’ “Bacchae.” Princeton: Princeton University Press, 1982. Exp. ed., 1997.
Segal, Charles. Interpreting Greek Tragedy: Myth, Poetry, Text. Ithaca: Cornell University Press, 1986.
Segal, Erich, ed. Greek Tragedy: Modern Essays in Criticism. New York: Harper and Row, 1983.
Senelek, Laurence, trans., ed. Russian Dramatic Theory from Pushkin to the Symbolists. Austin: University of Texas Press, 1981.
Sewall, Richard B.The Tragic Form.Essays in Criticism 4 (1954): 345358. Also Tragedy: Modern Essays in Criticism. Eds. Michel, Laurence and Sewall, Richard B.. Englewood Cliffs, NJ: Prentice-Hall, 1963.
Shaffer, Peter. Equus. New York: Scribner’s, 1973.
Shakespeare, William. Hamlet. Eds. Mowat, Barbara and Werstine, Paul. Folger Shakespeare ed. New York: Simon and Schuster, 1992.
Shapin, Steven. The Scientific Life: A Moral History of a Late Modern Vocation. Chicago: University of Chicago Press, 2008.
Shaw, George Bernard. “The Master Builder” (1892). The Quintessence of Ibsenism (1913). London: Hill and Wang Dramabook, 1957.
Shear, Jonathan, ed. Explaining Consciousness – The “Hard Problem.” Cambridge, MA: MIT Press, 1995.
Shepherd-Barr, Kirstin. Science on Stage: From Doctor Faustus to Copenhagen. Princeton: Princeton University Press, 2006.
Sophocles, . Oedipus at Colonus. Greek Tragedies III. Trans. Grene, David. Lattimore, Richmond and Grene, David, eds. Chicago: University of Chicago Press, 1992.
States, Bert O.The Anatomy of Dramatic Character.Theatre Journal 37:1 (March 1985): 87101.
States, Bert O. Hamlet and the Concept of Character. Baltimore: The Johns Hopkins University Press, 1992.
States, Bert O.The Mirror and the Labyrinth: The Further Ordeals of Character and Mimesis.Style 27:3 (Fall 1993): 452471.
States, Bert O. The Pleasure of the Play. Ithaca: Cornell University Press, 1994.
States, Bert O.Tragedy and Tragic Vision: A Darwinian Supplement to Van Laan.Journal of Dramatic Theory and Criticism 6:2 (Spring 1992): 522.
Steele, Richard. The Conscious Lovers. McMillan 325383.
Steele, Richard. “Preface” to The Conscious Lovers. McMillan 322–324.
Steiner, George. The Death of Tragedy. New York: Alfred A. Knopf, 1961.
Steiner, George. No Passion Spent: Essays 1978–1995. New Haven: Yale University Press, 1996.
Steiner, George. “A Note on Absolute Tragedy.Journal of Literature and Theology 4:2 (July 1990).
Steiner, Wendy. The Real Real Thing: The Model in the Mirror of Art. Chicago: University of Chicago Press, 2010.
Stoppard, Tom. Arcadia. London: Faber and Faber, 1993.
Stoppard, Tom. Travesties. New York: Grove, 1975.
Storm, William. After Dionysus: A Theory of the Tragic. Ithaca: Cornell University Press, 1998.
Storm, William. “Impression Henry Irving: The Performance in the Portrait by Jules Bastien-Lepage.Victorian Studies 46:3 (Spring 2004): 399424.
Storm, William. Irony and the Modern Theatre. Cambridge: Cambridge University Press, 2011.
Storm, William. “Lukács/Ibsen: Tragedy, Selfhood, and ‘Real Life’ in The Master Builder and When We Dead Awaken.Comparative Drama 46:1 (Spring 2012): 1739
Storm, William. “On the Science of Dramatic Character.Narrative 19:2 (May 2011): 241252.
Strindberg, August. Miss Julie. Six Plays of Strindberg. Trans. Sprigge, Elizabeth. Garden City: Doubleday, 1955.
Strindberg, August. “Preface” to Miss Julie. Five Plays of Strindberg. Trans., intro. Carlson, Harry G.. Berkeley: University of California Press, 1981.
Stynan, J. L. Modern Drama in Theory and Practice. Volume I: Realism and Naturalism. Cambridge: Cambridge University Press, 1981.
Sypher, Wylie. “Cubist Drama.” Cambon, 67–71. Rococo to Cubism in Art and Literature. New York: Random House, 1960.
Tillyard, E. M. W. The Elizabethan World Picture. New York: Vintage, 1957.
Todorov, Tristan. Genres in Discourse (1978). Cambridge: Cambridge University Press, 1990.
Toibin, Colm. “Happy Birthday, Sam!New York Review of Books. April 27, 2006: 2425.
Toibin, Colm. New Ways to Kill Your Mother: Writers and Their Families. New York: Scribner, 2012.
Trencsényi, Katalin and Cochrane, Bernadette, eds. New Dramaturgy: International Perspectives on Theory and Practice. London: Bloomsbury Methuen, 2014.
Treadwell, Sophie. Machinal. Barlow, 171–255.
Troyat, Henri. Chekhov. Trans. Heim, Michael Henry. New York: Fawcett, 1986.
Turnell, Martin. The Classical Moment: Studies of Corneille, Molière, Racine (New Directions, 1948). Westport, CN: Greenwood Press, 1971.
Turnell, Martin. Jean Racine: Dramatist. New York: New Directions, 1972.
Turnell, Martin. “Le Misanthrope.” Felheim, 268–280.
Turner, Cathy and Behrndt, Synne K.. Dramaturgy and Performance. New York: Palgrave, 2008.
Valdez, Luis. Zoot Suit (1978). Houston: Arte Publico, 1992.
Valency, Maurice. The End of the World: An Introduction to Contemporary Drama. New York: Oxford University Press, 1980.
Valency, Maurice. “Vershinin.” Barricelli, 218–232.
Vanden Heuvel, Michael. Performing Drama/Dramatizing Performance: Alternative Theatre and the Dramatic Text. Ann Arbor: University of Michigan Press, 1991.
Van Laan, Thomas. “The Death of Tragedy Myth.Journal of Dramatic Theory and Criticism 5:2 (Spring 1991): 531.
Vernant, Jean-Pierre. “Greek Tragedy: Problems of Interpretation.” Macksey, 271–289.
Vernant, Jean-Pierre and Vidal-Naquet, Pierre. Myth and Tragedy in Ancient Greece. Trans. Lloyd, Janet. New York: Zone, 1988.
Wasserstein, Wendy. The Heidi Chronicles and Other Plays. New York: Vintage, 1991.
Weinberg, Bernard. The Art of Jean Racine. Chicago: University of Chicago Press, 1963.
Welsh, Alexander. Hamlet in His Modern Guises. Princeton: Princeton University Press, 2001.
Wilde, Oscar. The Plays of Oscar Wilde. Intro. Lahr, John. New York: Vintage, 1988.
Williams, Tennessee. Cat on a Hot Tin Roof (1955). New York: Signet, 1985.
Williams, Tennessee. The Glass Menagerie (1945). New York: New Directions, 1999.
Williams, Tennessee. “Portrait of a Girl in Glass.Collected Stories. Intro. Vidal, Gore. New York: New Directions, 1985.
Williams, Tennessee. Where I Live: Selected Essays. New York: New Directions, 1978.
Wilshire, Bruce. Role Playing and Identity: The Limits of Theatre as Metaphor. Bloomington: Indiana University Press, 1982.
Wilson, August. Fences. New York: Samuel French, 1986.
Winkler, John J. and Zeitlin, Froma I., eds. Nothing to Do with Dionysos?: Athenian Drama in Its Social Context. Princeton: Princeton University Press, 1990.
Worthen, W. B.Staging America: The Subject of History in Chicano/a Theatre.Theatre Journal 49:2 (May 1997): 101120.
Wycherley, William. The Country Wife. McMillan, 385.
Young, Kay. Imagining Minds: The Neuro-Aesthetics of Austen, Eliot, and Hardy. Columbus: Ohio State University Press, 2010.
Zeitlin, Froma. Playing the Other: Gender and Society in Classical Greek Literature. Chicago: University of Chicago Press, 1995.
Zeitlin, Froma. “Playing the Other: Theatre, Theatricality, and the Feminine in Greek Drama.” Winkler and Zeitlin, 63–96.
Zola, Emile. “Naturalism in the Theatre.” Bentley, Theory, 351–372.
Zola, Emile. “Preface to Thérèse Raquin.” Clark, 376–379.

Metrics

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.