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Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliot's dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in the Cathedral through such symbolic drawing-room plays as The Family Reunion, The Cocktail Party, and The Confidential Clerk, to Eliot’s latest study of human and divine love in The Elder Statesman. Carol H. Smith explores Eliot’s interest in the jazz rhythms of the English music hall, in the mythical method of Yeats and Joyce, and in the work of the Cambridge School of Classical Anthropology. Originally published in 1963. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Listing and commenting on almost 2700 items, the work provides the only annotated bibliography of a major contemporary author that is virtually complete. Includes three indexes.
Jarry - Garcia Lorca - Satre - Camus - Beckett - Ritual theatre and Jean Genet - Fringe theatre in Britain__
In this brilliant study, Marc Robinson explores more than two hundred years of plays, styles, and stagings of American theater. Mapping the changing cultural landscape from the late eighteenth century to the start of the twenty-first, he explores how theater has--and has not--changed and offers close readings of plays by O'Neill, Stein, Wilder, Miller, and Albee, as well as by important but perhaps lesser known dramatists such as Wallace Stevens, Jean Toomer, Djuna Barnes, and many others. Robinson reads each work in an ambitiously interdisciplinary context, linking advances in theater to developments in American literature, dance, and visual art. The author is particularly attentive to the continuities in American drama, and expertly teases out recurring themes, such as the significance of visuality. He avoids neatly categorizing nineteenth- and twentieth-century plays and depicts a theater more restive and mercurial than has been recognized before. Robinson proves both a fascinating and thought-provoking critic and a spirited guide to the history of American drama.
Volume 3 features a special forum on “Eliot and Green Modernism,” edited by Julia E. Daniel, as well as a special forum titled “First Readings of the Eliot–Hale Archive,” edited by John Whittier-Ferguson.
Drawing on the latest scholarship and criticism, this volume provides an authoritative, accessible introduction to T. S. Eliot's complete oeuvre. It extends the focus of the original 1994 Companion, addressing issues such as gender and sexuality and challenging received accounts of his at times controversial critical reception.
This edited volume rethinks Masculinity Studies by breaking away from the notion of the perpetual crisis of masculinity. It argues that not enough has been done to distinguish patriarchy from masculinity and proposes to detox masculinity by offering a collection of positive representations of men in fictional and non-fictional texts. The editors show how ideas of hegemonic and toxic masculinity have been too fixed on the exploration of dominance and subservience, and too little on the men (and the male characters in fiction) who behave following other ethical, personal and socially accepted patterns. Bringing together research from different periods and genres, this collection provides broad, multidisciplinary insights into alternative representations of masculinity.
Essential for students of theatre studies, Methuen Drama's Decades of Modern British Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1950s to 2009 in six volumes. Each volume features a critical analysis and reevaluation of the work of four key playwrights from that decade authored by a team of experts, together with an extensive commentary on the period . Modern British Playwriting: The 1950s provides an authoritative and stimulating reassessment of the theatre of the decade together with a detailed study of the work of T.S Eliot (by Sarah Bay-Cheng) , Terence Rattigan (David Pattie), John Osborne (Luc Gilleman) and Arnold Wesker (John Bull). The volume sets the context by providing a chronological survey of the 1950s, a period when Britain was changing rapidly and the very fabric of an apparently stable society seemed to be under threat. It explores the crisis in the theatrical climate and activity in the first part of the decade and the shift as the theatre began to document the unease in society, before documenting the early life of the four principal playwrights studied in the volume. Four scholars provide detailed examinations of the playwrights' work during the decade, combining an analysis of their plays with a study of other material such as early play drafts, interviews and the critical receptions of the time. An Afterword reviews what the writers went on to do and provides a summary evaluation of their contribution to British theatre from the perspective of the twenty-first century.
T. S. Eliot's mind encompasses just about every important avant-garde intellectual movement of his time. His thought, as well as his poetry, represents an essential and original achievement within Modernism. This study presents Eliot's unique synthesis of contemporary philosophy, psychology, anthropology, and studies in mysticism, and demonstrates how it is responsible for the nature of his religious belief, the basic tenets of his literary theory, and the figurative, structural, and dramatic aspects of his verse, pervading virtually everything he wrote throughout his life. The chapters are Skepticism, Mysticism, The Unconscious, Primitive Experience, Mythic Consciousness, and A Surrealist Poetic.