Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-7drxs Total loading time: 0 Render date: 2024-07-19T23:30:52.473Z Has data issue: false hasContentIssue false

Works cited

Published online by Cambridge University Press:  01 June 2011

William Storm
Affiliation:
New Mexico State University
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adamantova, Vera, and Williamson, Rodney. “Chekhovian Irony and Satire and the Translator's Art: Visions and Versions of Personal Worlds.” In Clayton, , 211–224.
Alwes, Derek. “Oh, Phooey to Death!: Boethian Consolation in Tom Stoppard's Arcadia.” Papers on Language and Literature 36:4 (Fall 2000): 392–404.Google Scholar
Andreev, Leonid. “Letters on the Theatre.” In Senelick, , 223–272.
Archer, William, intro. The Works of Henrik Ibsen, Volume x. New York: Charles Scribner's Sons, 1912.Google Scholar
Attar, Samar. The Intruder in Modern Drama. Frankfurt: Peter D. Lang, 1981.Google Scholar
Balakian, Jan. “The Heidi Chronicles: The Big Chill of Feminism.” South Atlantic Review 60:2 (May 1995): 93–102.CrossRefGoogle Scholar
Balakian, Jan “Wendy Wasserstein: A Feminist from the Seventies to the Present.” In Murphy, , 213–231.
Barnett, Claudia, ed. Wendy Wasserstein: A Casebook. New York: Garland Publishing, 1999.
Barricelli, Jean-Pierre, ed. Chekhov's Great Plays: A Critical Anthology. New York: New York University Press, 1981.
Barthes, Roland. “Structure of the Fait-Divers.” Critical Essays (1964). Evanston, Ill.: Northwestern University Press, 1972.Google Scholar
Bassnett-McGuire, Susan. Luigi Pirandello. New York: Grove Press, 1983.CrossRefGoogle Scholar
Behler, Ernst. Irony and the Discourse of Modernity. Seattle: University of Washington Press, 1990.Google Scholar
Bely, Andrey. “The Cherry Orchard.” In Senelick, , 89–92.
Bentley, Eric. The Brecht Commentaries 1943–1980. New York: Grove Press, 1981.Google Scholar
Bentley, EricFather's Day.” The Drama Review. 1:13 (Fall 1968): 57–72.CrossRefGoogle Scholar
Bentley, EricThe Life of the Drama. New York: Atheneum, 1972.Google Scholar
Bentley, Eric “The Making of a Dramatist (1892–1903).” In Bogard, and Oliver, , 290–312.
Bentley, EricThe Playwright as Thinker: A Study of Drama in Modern Times. New York: Harcourt, Brace, and World, 1946.Google Scholar
Bentley, Eric, ed. Naked Masks: Five Plays. By Pirandello, Luigi. New York: Dutton, 1952.Google Scholar
Berst, Charles A.Bernard Shaw and the Art of Drama. Urbana: University of Illinois Press, 1973.Google Scholar
Bigsby, Christopher. Contemporary American Playwrights. Cambridge: Cambridge University Press, 1999.Google Scholar
Bigsby, ChristopherModern American Drama 1945–2000. Cambridge: Cambridge University Press, 2000.CrossRefGoogle Scholar
Bogard, Travis, and Oliver, William I., eds. Modern Drama: Essays in Criticism. Oxford: Oxford University Press, 1965.
Booth, Wayne C.A Rhetoric of Irony. Chicago: University of Chicago Press, 1974.Google Scholar
Brassell, Tim. Tom Stoppard: An Assessment. London: Macmillan Press, 1985.CrossRefGoogle Scholar
Brecht, Bertolt. Brecht on Theatre. Ed. and trans. Willett, John. New York: Hill and Wang, 1957.Google Scholar
Brecht, Bertolt “Couragemodell 1949.” In Jones, , 78–137.
Brecht, BertoltMother Courage and Her Children. Trans. Bentley, Eric. New York: Grove, 1955.Google Scholar
Brooks, Cleanth. “Irony as a Principle of Structure.” In Zabel, , 729–741.
Brooks, CleanthThe Well-Wrought Urn: Studies in the Structure of Poetry. New York: Harcourt, Brace, Jovanovich, 1947.Google Scholar
Brustein, Robert. “The Crack in the Chimney: Reflections on Contemporary American Playwriting.” In Edelstein, , 141–157.
Brustein, RobertThe Theatre of Revolt: An Approach to the Modern Drama. Boston: Little Brown, 1962.Google Scholar
Bryer, Jackson R.The Playwright's Art: Conversations with Contemporary American Dramatists. New Brunswick: Rutgers University Press, 1995.Google Scholar
Burke, Kenneth. A Grammar of Motives (1945). Berkeley: University of California Press, 1969.Google Scholar
Burke, Kenneth “Othello: An Essay to Illustrate a Method.” Perspectives by Incongruity. Ed. Hyman, Stanley Edgar. Bloomington: Indiana University Press, 1964. 152–195.Google Scholar
Burke, KennethThe Philosophy of Literary Form: Studies in Symbolic Action. Berkeley: University of California Press, 1941.Google Scholar
Cambon, Glauco, ed. Pirandello: A Collection of Critical Essays. Englewood Cliffs, N. J.: Prentice-Hall, 1967.
Caputi, Anthony, ed. and trans. Six Characters in Search of an Author. Eight Modern Plays. New York: W. W. Norton, 1991.
Chekhov, Anton. Best Plays by Chekhov. Trans. and intro. Young, Stark. New York: Modern Library, 1956.Google Scholar
Chekov, AntonChekhov: The Major Plays. Trans. Dunnigan, Ann. New York: Penguin/Signet, 1964.Google Scholar
Chekov, AntonThe Oxford Chekhov, Volume iii. Trans. and ed. Hingley, Ronald. London: Oxford University Press, 1964.Google Scholar
Clayton, J. Douglas, ed. Chekhov Then and Now: The Perception of Chekhov in World Culture. New York: Peter Lang, 1997.
Clurman, Harold. Ibsen. New York: Da Capo, 1977.CrossRefGoogle Scholar
Coe, Richard N.Eugene Ionesco. New York: Grove, 1961.Google Scholar
Colebrook, Claire. Irony. London: Routledge, 2004.Google Scholar
Corrigan, Robert. “The Drama of Anton Chekhov.” In Bogard, and Oliver, , 73–98.
Culler, Jonathan. Structuralist Poetics. Ithaca, N.Y.: Cornell University Press, 1975.Google Scholar
Demetz, Peter, ed. Brecht: A Collection of Critical Essays. Englewood Cliffs, N. J.: Prentice-Hall, 1962.
Denby, David. “The Moviegoer.” New Yorker (September 12, 2005): 90–97.
Derrida, Jacques. Writing and Difference. Trans. and intro. Bass, Alan. Chicago: University of Chicago Press, 1978.Google Scholar
Dukore, Bernard F.Bernard Shaw, Playwright: Aspects of Shavian Drama. Columbia: University of Missouri Press, 1973.Google Scholar
Edelstein, Arthur, ed. Images and Ideas in American Culture: Essays in Memory of Philip Rahv. Hanover, N. H.: Brandeis University Press, 1979.
Edwards, Paul. “Science in Hapgood and Arcadia.” In Kelly, , 171–184.
Eekman, Thomas A., ed. Critical Essays on Anton Chekhov. Boston: G. K. Hall and Company, 1989.
Egan, Michael, ed. Ibsen: The Critical Heritage. London: Routledge and Kegan Paul, 1972.CrossRef
Else, Gerald A.Aristotle's Poetics: The Argument. Cambridge, Mass.: Harvard University Press, 1957.CrossRefGoogle Scholar
Empson, William. Seven Types of Ambiguity. New York: New Directions, 1947.Google Scholar
Esslin, Martin. Brecht: The Man and His Work. New York: Doubleday, 1960.Google Scholar
Esslin, MartinThe Theatre of the Absurd. Garden City, N. Y.: Doubleday, 1961.Google Scholar
Ewbank, Inga-Stina. “The Last Plays.” In McFarlane, , 126–154.
Fergusson, Francis. “The Cherry Orchard: A Theater-Poem of the Suffering of Change.” In Jackson, , 147–160.
Fergusson, FrancisThe Idea of a Theatre. Princeton, N.J.: Princeton University Press, 1949.Google Scholar
Finney, Gail. Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century. Ithaca, N.Y.: Cornell University Press, 1989.Google Scholar
Fisher, James. The Theater of Tony Kushner: Living Past Hope. New York: Routledge, 2001.Google Scholar
Fjelde, Rolf, ed. Ibsen: A Collection of Critical Essays. Englewood Cliffs, N. J.: Prentice-Hall, 1965.
Fleming, John. Stoppard's Theatre: Finding Order Amid Chaos. Austin: University of Texas Press, 2001.Google Scholar
Frye, Northrop. Anatomy of Criticism. Princeton, N.J.: Princeton University Press, 1957.Google Scholar
Frye, NorthropFools of Time. Toronto: University of Toronto Press, 1967.Google Scholar
Gainor, J. Ellen. Shaw's Daughters: Dramatic and Narrative Constructions of Gender. Ann Arbor: University of Michigan Press, 1991.CrossRefGoogle Scholar
Gans, Eric. Signs of Paradox: Irony, Resentment, and Other Mimetic Structures. Stanford, Calif.: Stanford University Press, 1997.Google Scholar
Garner, Stanton B. “Angels in America: The Millennium and Postmodern Memory.” In Geis, and Kruger, , 173–184.
Geis, Deborah, and Kruger, Steven F.. Approaching the Millennium: Essays on “Angels in America.”Ann Arbor: University of Michigan Press, 1997.Google Scholar
Gelb, Arthur, and Gelb, Barbara. O'Neill. New York: Harper & Brothers, 1962.Google Scholar
Gilman, Richard. Chekhov's Plays: An Opening Into Eternity. New Haven, Conn.: Yale University Press, 1995.Google Scholar
Gilman, RichardThe Making of Modern Drama. New York: Farrar, Straus, and Giroux, 1972.Google Scholar
Gosse, Edmund. Henrik Ibsen. New York: Charles Scribner's Sons, 1908.Google Scholar
Grene, David. Reality and the Heroic Pattern: Last Plays of Ibsen, Shakespeare, and Sophocles. Chicago: University of Chicago Press, 1967.Google Scholar
Grossvogel, David I.Four Playwrights and a Postscript: Brecht, Ionesco, Beckett, Genet. Ithaca, N.Y.: Cornell University Press, 1962.Google Scholar
Gurewitch, Morton. The Ironic Temper and the Comic Imagination. Detroi, Mich.: Wayne State University Press, 1994.Google Scholar
Hardison, O. B., and Golden, Leon, trans. Aristotle's Poetics: A Translation and Commentary for Students of Literature. Tallahassee: Florida State University Press, 1981.
Hayman, Ronald. Eugene Ionesco. New York: Frederick Unger, 1976.Google Scholar
Hingley, Ronald. Chekhov: A Biographical and Critical Study. New York: Barnes and Noble, 1950.Google Scholar
Holroyd, Michael. Bernard Shaw: A Biography, Volume i: The Search for Love. New York: Random House, 1988.Google Scholar
Hunter, Jim. Tom Stoppard: “Rosencrantz and Guildenstern Are Dead,” “Jumpers,” “Travesties,” “Arcadia”. London: Faber and Faber, 2000.Google Scholar
Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. London: Routledge, 1988.CrossRefGoogle Scholar
Hynes, Joseph. “Tom Stoppard's Lighted March.” Virginia Quarterly Review: A National Journal of Literature and Discussion 71:4 (Autumn 1995): 642–55.Google Scholar
Ibsen, Henrik. Ibsen: The Complete Major Prose Plays. Trans. and intro. Fjelde, Rolf. New York: Penguin, 1965.Google Scholar
Ibsen, Henrik“When We Dead Awaken” and Three Other Plays. Trans. Meyer, Michael. Garden City: Doubleday, 1960.Google Scholar
Ionesco, Eugène. “The Bald Soprano” and Other Plays. Trans. Allen, Donald M.. New York: Grove Press, 1958.Google Scholar
Ionesco, EugèneNotes and Counter Notes: Writings on the Theatre. New York: Grove Press, 1964.Google Scholar
Ionesco, EugèneThe World of Ionesco.” International Theatre Annual 2 (1957). Qtd. in Weiss, , 480–481.Google Scholar
Ionesco, Eugène “Why Do I Write? A Summing Up.” In Lamont, and Friedman, , 5–19.
Irvine, William. The Universe of G.B.S. New York: McGraw-Hill, 1949.Google Scholar
Jackson, Robert Louis, ed. Chekhov: A Collection of Critical Essays. Englewood Cliffs, N. J.: Prentice-Hall, 1967.
James, Henry. “Ibsen's New Play.” Pall Mall Gazette (February 17, 1893). In Egan, , 266–269.
Jernigan, Daniel. “Tom Stoppard and ‘Postmodern Science’: Normalizing Radical Epistemologies in Hapgood and Arcadia.” Comparative Drama 37:1 (Spring 2003): 3–35.CrossRefGoogle Scholar
Johnston, Brian. The Ibsen Cycle: The Design of the Plays from “Pillars of Society” to “When We Dead Awaken.”University Park: Pennsylvania State University Press, 1992.Google Scholar
Jones, David Richard. Great Directors at Work. Berkeley: University of California Press, 1986.Google Scholar
Kaufmann, R. J., ed. G. B. Shaw: A Collection of Critical Essays. Englewood Cliffs, N. J.: Prentice-Hall, 1965.
Kelly, Katherine E., ed. The Cambridge Companion to Tom Stoppard. Cambridge: Cambridge University Press, 2001.CrossRef
Kennedy, Andrew K. “Six Characters: Pirandello's Last Tape.” In Marker, and Innes, , 181–190.
Kern, Stephen. A Cultural History of Causality. Princeton, N.J.: Princeton University Press, 2004.Google Scholar
Keyssar, Helene. “When Wendy Isn't Trendy: Wendy Wasserstein's The Heidi Chronicles and An American Daughter.” In Barnett, , 133–160.
Kierkegaard, Søren. The Concept of Irony. Trans. and intro. Capel, Lee M.. Bloomington: Indiana University Press, 1965.Google Scholar
Koht, Halvdan. Life of Ibsen. Trans. and ed. Haugen, Einar and Santaniello, A. E.. New York: Benjamin Blom, 1971.Google Scholar
Kramer, Jeffrey, and Kramer, Prapassaree. “Stoppard's Arcadia: Research, Time, Loss.” Modern Drama 40:1 (Spring 1997): 1–10.CrossRefGoogle Scholar
Krutch, Joseph Wood. Modernism in Modern Drama: A Definition, and an Estimate. Ithaca, N. Y.: Cornell University Press, 1953.Google Scholar
Kushner, Tony. Angels in America Part I: Millennium Approaches. New York: Theatre Communications Group, 1995.Google Scholar
Lahr, John. “Stalkers and Talkers” (Review of Jumpers). New Yorker (May 3, 2004): 101.
Lahr, John“Talking Terror” (Review of The Coast of Utopia). New Yorker (September 23, 2002): 95.
Lamont, Rosette C. Ionesco's Imperatives. Ann Arbor: University of Michigan Press, 1993.CrossRefGoogle Scholar
Lamont, Rosette C., ed., Ionesco: A Collection of Critical Essays. Englewood Cliffs, N. J.: Prentice-Hall, 1973.
Lamont, Rosette C., and Friedman, Melvin J., eds. The Two Faces of Ionesco. Troy: Whitson Publishing Company, 1978.
Lane, Nancy. Understanding Ionesco. Columbia: University of South Carolina Press, 1994.Google Scholar
Langer, Susanne. Feeling and Form: A Theory of Art. New York: Charles Scribner's Sons, 1953.Google Scholar
Leach, Robert. “Mother Courage and Her Children.” In Thomson, , 128–138.
Lewis, Allan. The Contemporary Theatre: The Significant Playwrights of Our Time. New York: Crown, 1971.Google Scholar
Lewis, AllanIonesco. New York: Twayne, 1972.Google Scholar
Lyons, Charles R. Bertolt Brecht: The Despair and the Polemic. Carbondale: Southern Illinois University Press, 1968.Google Scholar
McFarlane, James, ed. The Cambridge Companion to Ibsen. Cambridge: Cambridge University Press, 1994.CrossRef
Magarshack, David. Chekhov the Dramatist. New York: Hill and Wang, 1960.Google Scholar
Magarshack, DavidThe Real Chekhov: An Introduction to Chekhov's Last Plays. New York: Barnes and Noble, 1972.Google Scholar
Marker, Frederick J., and Innes, Christopher, eds. Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckett; Essays from “Modern Drama.” Toronto: University of Toronto Press, 1998.
McDermott, John V. “Ionesco's The Bald Soprano.” The Explicator 55:1 (Fall 1996): 40–41.CrossRefGoogle Scholar
McDonald, David. “Derrida and Pirandello's Six Characters.” Modern Drama 20:4 (December 1977): 421–436.CrossRefGoogle Scholar
Meisel, Martin. Shaw and the Nineteenth-Century Theater. Princeton, N.J.: Princeton University Press, 1963.Google Scholar
Meisner, Natalie. “Messing with the Idyllic: The Performance of Femininity in Kushner's Angels in America.” The Yale Journal of Criticism 16:1 (2003): 177–189.CrossRefGoogle Scholar
Melbourne, Lucy. “Plotting the Apple of Knowledge: Tom Stoppard's Arcadia as Iterated Theatrical Algorithm.” Modern Drama 41:4 (Winter 1998): 557–572.CrossRefGoogle Scholar
Mennemeier, Franz Norbert. “Mother Courage and Her Children.” In Demetz, , 138–150.
Meyer, Michael. Ibsen: A Biography. Garden City, N.Y.: Doubleday, 1971.Google Scholar
Meyer, Michael“Introduction” to The Master Builder. In “When We Dead Awaken” and Three Other Plays. Garden City, N.Y.: Doubleday, 1960. 111–128. Reprint, “Ibsen and Emilie Bardach.” In Weiss, 46–55.Google Scholar
Miller, Arthur. A View from the Bridge (1955). New York: Penguin, 1977.Google Scholar
Muecke, D. C. The Compass of Irony. London: Methuen, 1969.Google Scholar
Muecke, D. C. Irony. The Critical Idiom 13. London: Methuen, 1970.Google Scholar
Muecke, D. C. Irony and the Ironic. The Critical Idiom 13. London: Methuen, 1982.Google Scholar
Murphy, Brenda, ed. The Cambridge Companion to American Women Playwrights. Cambridge: Cambridge University Press, 1999.CrossRef
Nethercot, Arthur H. Men and Supermen: The Shavian Portrait Gallery. Cambridge, Mass.: Harvard University Press, 1954.Google Scholar
Ohmann, Richard M. “Born to Set it Right: The Roots of Shaw's Style.” In Kaufmann, , 26–41.
Oliver, Roger W. Dreams of Passion: The Theater of Luigi Pirandello. New York: New York University Press, 1979.Google Scholar
O'Neill, Eugene. Beyond the Horizon (1920). Four Plays by Eugene O'Neill. New York: Penguin/Signet, 1998.Google Scholar
Paolucci, Anne. “Comedy and Paradox in Pirandello's Plays (An Hegelian Perspective).” Modern Drama 20:4 (December 1977): 321–340.CrossRefGoogle Scholar
Paolucci, AnnePirandello's Theater: The Recovery of the Modern Stage for Dramatic Art. Carbondale: Southern Illinois University Press, 1974.Google Scholar
Peace, Richard. Chekhov: A Study of the Four Major Plays. New Haven, Conn.: Yale University Press, 1983.Google Scholar
Pirandello, Luigi. “Preface” to Six Characters in Search of an Author (1925). In Bentley, , ed., Naked Masks, 363–375.
Pirandello, LuigiShort Stories. Trans. and intro. May, Frederick. London: Oxford University Press, 1965.Google Scholar
Pirandello, LuigiSix Characters in Search of an Author. Trans. and intro. Bentley, Eric. New York: Signet, 1970 (rep. 1998).Google Scholar
Poniewozik, James. “Irony is Dead, Long Live Irony.” Time (July 17, 2000): 74.
Pronko, Leonard. Eugene Ionesco. New York: Columbia University Press, 1965.Google Scholar
Purdy, Jedediah. For Common Things: Irony, Trust, and Commitment in America Today. New York: Knopf, 1999.Google Scholar
Reid, John. “Matter and Spirit in The Seagull.” Modern Drama 41:4 (Winter 1998): 607–622.CrossRefGoogle Scholar
Richards, I. A.Principles of Literary Criticism. New York: Harcourt, Brace, Jovanovich, 1925.Google Scholar
Risso, Richard D. “Chekhov: A View of the Basic Ironic Structures.” In Barricelli, , 181–188.
Rorty, Richard. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989.CrossRefGoogle Scholar
Rosenberg, Marvin. “Pirandello's Mirror.” In Marker, and Innes, , 127–141.
Rosenblatt, Roger. “The Age of Irony Comes to an End.” Time (September 24, 2001): 79.Google Scholar
Saussure, Ferdinand. Course in General Linguistics (1915). Ed. Bally, Charles and Sechehaye, Albert, trans. and intro. Baskin, Wade. New York: McGraw-Hill, 1966.Google Scholar
Savran, David. “Ambivalence, Utopia, and a Queer Sort of Materialism: How Angels in America Reconstructs the Nation.” Theatre Journal 47:2 (May 1995): 207–227.CrossRefGoogle Scholar
Schechner, Richard. “The Bald Soprano and The Lesson: An Inquiry into Play Structure.” In Lamont, , ed., Collection, 21–37.
Schechner, Richard. “The Unexpected Visitor in Ibsen's Late Plays.” In Fjelde, , 158–168.
Schiff, Stephen. “Full Stoppard.” Vanity Fair (May 1989): 153–156, 214–215.
Schoeps, Karl H.Bertolt Brecht. New York: Frederick Unger Publishing Co., 1977.Google Scholar
Senelick, Laurence, ed. and trans. Russian Dramatic Theory from Pushkin to the Symbolists: An Anthology. Austin: University of Texas Press, 1981.
Shaeffer, Louis. O'Neill: Son and Playwright. Boston: Little, Brown, and Company, 1968.Google Scholar
Shaw, Bernard. Mrs. Warren's Profession. London: Constable, 1905.Google Scholar
Shaw, BernardPlays by George Bernard Shaw. Foreword by Eric Bentley. New York: Penguin/Signet, 1960.Google Scholar
Shaw, BernardThe Quintessence of Ibsenism. London: Hill and Wang, 1913.Google Scholar
Shaw, BernardSelected Plays. New York: Dodd, Mead, and Company, 1981.Google Scholar
Shaw, BernardShaw on Theatre. Ed. West, E. J.. New York: Hill and Wang, 1958.Google Scholar
Sinicropi, Giovanni. “The Metaphysical Dimension and Pirandello's Theatre.” Modern Drama 20:4 (December 1977): 353–380.CrossRefGoogle Scholar
Skaftymov, A. “Principles of Structure in Chekhov's Plays.” In Jackson, , 69–87.
Slonim, Marc. From Chekhov to the Revolution: Russian Literature 1900–1917. New York: Oxford University Press, 1953.Google Scholar
Speirs, Ronald. Bertolt Brecht. London: Macmillan, 1987.CrossRefGoogle Scholar
Starkie, Walter. Luigi Pirandello, 1867–1936. Berkeley: University of California Press, 1965.Google Scholar
States, Bert O.Great Reckonings in Little Rooms: On the Phenomenology of Theatre. Berkeley: University of California Press, 1985.Google Scholar
States, Bert O.Irony and Drama. Ithaca, N.Y.: Cornell University Press, 1971.Google Scholar
States, Bert O.The Pleasure of the Play. Ithaca, N.Y.: Cornell University Press, 1994.Google Scholar
Stein, Joel. “In Defense of Irony.” Time (October 4, 1999): 42.Google Scholar
Sternlieb, Lisa, and Selleck, Nancy. “‘What Is Carnal Embrace?’: Learning to Converse in Stoppard's Arcadia.” Modern Drama 46:3 (Fall 2003): 482–502.CrossRefGoogle Scholar
Stoppard, Tom. Arcadia. London: Faber and Faber, 1993.CrossRefGoogle Scholar
Storm, William. After Dionysus: A Theory of the Tragic. Ithaca, N.Y.: Cornell University Press, 1998.Google Scholar
Stringfellow, Frank. The Meaning of Irony: A Psychoanalytic Investigation. Albany, N.Y.: State University of New York Press, 1994.Google Scholar
Styan, John L. “The Cherry Orchard.” In Eekman, , 192–200.
Styan, John L. “Pirandellian Theatre Games.” In Marker, and Innes, , 142–150.
Sypher, Wylie. “Cubist Drama.” In Cambon, , 67–71.
Templeton, Joan. Ibsen's Women. Cambridge: Cambridge University Press, 1997.Google Scholar
Thomson, Peter, ed. The Cambridge Companion to Brecht. Cambridge: Cambridge University Press, 1994.CrossRef
Thompson, Alan Reynolds. The Dry Mock: A Study of Irony in Drama. Berkeley: University of California Press, 1948.Google Scholar
Troyat, Henri. Chekhov. Trans. Heim, Michael. New York: Ballantine, 1988.Google Scholar
Tynan, Kenneth. “Withdrawing With Style from the Chaos” (Profiles). New Yorker (December 19, 1977): 41–111.
Valency, Maurice. The Breaking String. Oxford: Oxford University Press, 1966.Google Scholar
Valency, MauriceThe End of the World: An Introduction to Contemporary Drama. New York: Oxford University Press, 1980.Google Scholar
Vanden Heuvel, Michael. “‘Is Postmodernism?’ Stoppard Among/Against the Postmoderns.” In Kelly, , 213–228.
Vees-Gulani, Susanne. “Hidden Order in the ‘Stoppard Set’: Chaos Theory in the Content and Structure of Tom Stoppard's Arcadia.” Modern Drama 42:3 (Fall 1999): 411–426.CrossRefGoogle Scholar
Vernant, Jean-Pierre. “Greek Tragedy: Problems of Interpretation.” In Macksey, Richard and Donato, Eugenio, eds., The Structuralist Controversy: The Languages of Criticism and the Sciences of Man. Baltimore, Md.: Johns Hopkins University Press, 1972. 273–295.Google Scholar
Vittorini, Domenico. The Drama of Luigi Pirandello. New York: Dover, 1957.Google Scholar
Wasserstein, Wendy. “The Heidi Chronicles” and Other Plays. New York: Random House, 1991.Google Scholar
Weiss, Samuel A., ed. Drama in the Modern World: Plays and Essays (Alternate Edition). Lexington, Mass.: D. C. Heath and Company, 1974.
Wheatley, Alison. “Aesthetic Consolation and the Genius of the Place in Stoppard's Arcadia.” Mosaic: A Journal for the Interdisciplinary Study of Literature 37:3 (2004): 171–184.Google Scholar
White, Hayden. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore, Md.: Johns Hopkins University Press, 1973.Google Scholar
Wilde, Alan. Horizons of Assent: Modernism, Postmodernism, and the Ironic Imagination. Baltimore, Md.: Johns Hopkins University Press, 1981.Google Scholar
Wilde, Oscar. “The Importance of Being Earnest” and Other Plays. New York: Penguin/Signet, 1985.Google Scholar
Williams, Raymond. Modern Tragedy (1966). Toronto: Broadview, 2006.Google Scholar
Zabel, Morton Dauwen, ed. Literary Opinion in America: Essays Illustrating the Status, Methods, and Problems of Criticism in the United States in the Twentieth Century. New York: Harper and Brothers, 1937, rev. edn. 1951.

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Works cited
  • William Storm, New Mexico State University
  • Book: Irony and the Modern Theatre
  • Online publication: 01 June 2011
  • Chapter DOI: https://doi.org/10.1017/CBO9780511974830.011
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Works cited
  • William Storm, New Mexico State University
  • Book: Irony and the Modern Theatre
  • Online publication: 01 June 2011
  • Chapter DOI: https://doi.org/10.1017/CBO9780511974830.011
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Works cited
  • William Storm, New Mexico State University
  • Book: Irony and the Modern Theatre
  • Online publication: 01 June 2011
  • Chapter DOI: https://doi.org/10.1017/CBO9780511974830.011
Available formats
×