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Early Plays

Abreu, Graça. ‘Marins, pêcheurs: l’envers du voyage dans le théâtre (O’Neill, Santareno).’ Pp 83-93 in Maria A. Seixo, ed. Travel writing and cultural memory / Écriture du voyage et mémoire culturelle. Amsterdam: Rodopi, 2000 (on the sea plays)

Bajma Griga, Stefano. La crisi dell’American dream: per una rilettura del teatro borghese di Eugene O’Neill. Turin: Tirrenia, 1987, 11-81 (studies of Ile, Before Breakfast, and The Rope)

Baker-White, Robert. ‘Blarsted dirt, bloomin’ farm, mysterious darkness: the presence and rhythm of rural nature in O’Neill’s early plays.’ Eugene O’Neill Review 32 2010 48-69

Barnhart, Phillip. ‘“God stiffen us . . .”: queering O’Neill’s sea plays.’ Pp 81-95 in Bennett

Beard, Deanna M. Toten. ‘American experimentalism, American expressionism, and early O’Neill.’ Pp 53-68 in David Krasner, ed. A companion to twentieth-century American drama. Malden, MA: Blackwell, 2005, especially 58-63

Berger, Jason. ‘Refiguring O’Neill’s early sea plays: maritime labor enters the age of modernity.’ Eugene O’Neill Review 28 2006 13-31 (revaluates the intended order of the four S. S. Glencairn plays in the light of Ile and Where the Cross Is Made)

Black, Stephen A. ‘Hints of the tragic in Fog and other early O’Neill plays.’ Eugene O’Neill Review 28 2006 7-12

Bloom, Steven F. ‘Waiting for O’Neill: the makings of an existentialist.’ Pp 163-73 in Bennett (the sea plays and Waiting for Godot)

Brooks, Van Wyck. The confident years. NY: Dutton, 1952, 539-53: ‘Eugene O’Neill: Harlem’ [M110]

Carpenter, Frederick I. Eugene O’Neill. Rev. ed. Boston: Twayne, 1979, 82-99: ‘The early plays: romance’ (incorporates most of ‘The enduring O’Neill: the early plays.’ Eugene O’Neill Newsletter 1 i 1977 1-3 [S14])

Cunningham, Frank R. ‘O’Neill’s beginnings and the birth of modernism  in American drama.’ Eugene O’Neill Review 17 1993 11-20 [S18]

-----. ‘Romantic elements in early O’Neill.’ Pp 65-72  in Martine [S86]

Eisen, Kurt. ‘Theatrical ethnography and modernist primitivism in Eugene O’Neill and Zora Neale Hurston.’ South Central Review 25 i 2008 56-73 (touches on several early plays)

Eisenhauer, Drew. ‘“A lot of crazy socialists and anarchists”: O’Neill and the artist social problem play.’ Pp 110-31 in Herrmann (treats early short plays)

Fink, Ernst O. ‘Audience aids for non-literary allusions? Observations on the transposition of essential technicalities in the sea plays of Eugene O’Neill.’ Pp 69-81 in Ortrun Zuber, ed. The languages of  theatre: problems in the translation and transposition of drama. Oxford: Pergamon Pr., 1980 [S91]

Griffin, Ernest G. ‘Ibsen e il giovane O’Neill.’ Pp 178-85 in Alla origine della dramaturgia moderna: Ibsen, Strindberg, Pirandello: atti de convegno internazionale, Torino . . . 1985. Genoa: Costa & Nolan, 1987

Hamilton, James W. ‘Early trauma, dreaming and creativity: the works of Eugene O’Neill.’ International Review of Psycho-Analysis 3 1976 341-64

-----. ‘Transitional phenomena and the early writings of Eugene O’Neill.’ International Review of Psycho-Analysis 6 1979 49-60

-----, & Charlotte Hamilton. ‘Eugene O’Neill and falling in love.’ Psychoanalytic Quarterly 41 i 1972 63-89

Hayes, Richard. ‘Towards a “new stagecraft”: Eugene O’Neill and some aspects of the early narrative cinema.’ Eugene O’Neill Review 31 2009 51-59

Hebel, Udo J. ‘“Superior in unity and economy”: Produktivität, Komplexität und Konventionalität einer gattungssüberschreitenden Wirkungsstruktur amerikanischer Einakter seit Eugene O’Neill und Susan Glaspell.’ Pp 285-314 in Winfried Herget & Brigitte Schultze, eds. Kurzformen des Dramas: gattungspoetische, epochenspezifische und funktionale Horizonte. Tübingen: Francke, 1996 (294-300 on O’Neill’s one-acts)

Hinden, Michael. ‘Paradise lost: O’Neill and American history.’ Eugene O’Neill Newsletter 12 i 1988 39-48 [S33] (plays of  the 1920s)

Hoover, Marjorie L. ‘Three O’Neill plays in the 1920’s productions by Tairov’s Kamerny Theater.’ Theatre History Studies 11 1991 123-27 [S34]

Jiji, Vera. ‘Reviewers’ responses to the early plays of Eugene O’Neill: a study in influence.’ Theatre Survey 29 1988 69-86 [S35]

Kaes, Anton. Expressionismus in Amerika: Rezeption und Innovation. Tübingen: Niemeyer, 1975, 74-87: ‘Expressionismus und der frühe O’Neill’

Lee, Dal Y. ‘The sea as a symbol in the early plays of Eugene O’Neill.’ Pegasus 6 1983 131-50

Lichtenberg, Joseph D. ‘The adolescence of the creative writer: lessons from Eugene O’Neill.’ Psychoanalytic Inquiry 9 1989 450-65

Londré, Felicia H. ‘Twitting O’Neill: his plays of  the 1920s subjected to la critique créatice.’ Eugene O’Neill Review 26 2004 118-43

Manheim, Michael ‘O’Neill’s early debt to David Belasco.’ Theatre History Studies 6 1986 124-31 [S41]

McCown, Cynthia. ‘1912.’ Pp 50-77 in Herrmann

Müller, Kurt. ‘Aspekte des Modernen in den frühen See-Einaktern Eugene O’Neills.’ Amerikastudien 34 1989 391-402 (on Moon of  the Caribbees and Where the Cross Is Made)

Murphy, Brenda. American realism and American drama, 1880-1940. Cambridge: Cambridge UP, 1987, 112-31: ‘The cutting edge: Eugene O’Neill’s realism, 1913-1933’ (see also 187-94) [M112]

Postlewait, Thomas. ‘From  melodrama to realism: the suspect history of American drama.’ Pp 39-60 in Anastasia Nikolopoulou, ed. Melodrama: the cultural emergence of a genre. NY: St. Martin’s Pr., 1996

Raleigh, John H. ‘Eugene O’Neill and the escape from  the Château d’If.’ Pp 7-22 in Gassner [M144] (plays up to Days Without End)

Ranald, Margaret L. ‘From  trial to triumph (1913-1924): the early plays.’ Pp 51-68 in Manheim [S117]

Remshardt, Ralf E. ‘Masks and permutations: the construction of character in O’Neill’s earliest plays.’ Essays in Theatre 8 1990 127-36 [S54]

Richter, Robert A. Eugene O’Neill and dat ole davil sea: maritime influences in the life and works of Eugene O’Neill. Mystic, CT: Mystic Seaport, 2004. 214 pp

Triesch, Gisela. Die Motive in Thirst and Other One-Act Plays und ihre Verarbeitung in den späteren Werken O’Neills. Munich: Hueber, 1969. 170 pp

Viswanathan, R. O’Neill and the sea. Calicut: Poorna, 2000. 208 pp (incorporates ‘Eugene O’Neill’s one act plays of  the sea.’ Pp 20-27 in M. Manuel, ed. Six studies in American literature. Trivandrum: U. S. Educational Foundation in India, 1967)

Voelker, Paul D. ‘O’Neill’s first families: Warnings through The Personal Equation.’ Eugene O’Neill Newsletter 11 ii 1987 13-18 [S67]

-----. ‘Politics, but literature: the example of Eugene O’Neill’s apprenticeship.’ Eugene O’Neill Newsletter 8 ii 1984 3-8 [S67]

Walton, Ivan H. ‘Eugene O’Neill and the folklore and folkways of  the sea.’ Western Folklore 14 1955 153-69

Wilkins, Frederick C. ‘“Arriving with a bang”: O’Neill’s literary debut.’ Pp 5-13 in Maufort [S130] (on the 1914 volume Thirst and other one-act plays)

Wolter, Jürgen C. ‘“Throw everything overboard”: O’Neills frühest Stücke 1913-1914.’ Pp 13-33 in Halfmann

Wynstra, Beth. ‘A rhetorical approach to O'Neill's early wife characters.’ Pp 63-80 in Bloom 3


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