Mourning Becomes Electra

Aarseth, Inger. ‘A drama of life and death impulses: a thematical analysis of Mourning Becomes Electra.’ Pp 291-304 in Brita Seyerstad, ed. Norwegian contributions to American  studies dedicated to Sigmund Skard. Oslo: Universitetsforlaget, 1973 [S73]

Adler, Stella. Stella Adler on America’s master playwrights. . . . NY: Knopf, 2012, 36-60

Ahmed, Saleem. ‘Euripides’s Electra and Eugene O’Neill’s Mourning Becomes Electra: a study in sexual jealousy.’ Meerut Journal of Comparative Literature and Language 1 ii 1988 19-32

Ahuja, Chaman. Tragedy, modern temper and O’Neill. NY: Macmillan, 1984, 126-36

Alexander, Doris M. ‘Captain Brant and Captain Brassbound: the origin of an O’Neill character.’ Modern Language Notes 74 1959 306-10 [M419]

-----. Eugene O’Neill’s creative struggle: the decisive decade, 1924-1933. Univ. Park: Pennsylvania State UP, 1992, 149-69: ‘Mourning Becomes Electra’

-----. ‘Psychological fate in Mourning Becomes Electra.’ PMLA 68 1953 923-34 [M419]

Alvarez, Carmen G. ‘“Hybris and the Mammons”: a study of Eugene O’Neill’s trilogy Mourning Becomes Electra.’ Estudos Anglo-Americanos 17-18 1993-94 23-41 [S6]

Alvis, John. ‘On the American line: O’Neill’s Mourning Becomes Electra and the principles of the founding.’ Southern Review 22 1986 69-85 [S6]

Asselineau, Roger. ‘Mourning Becomes Electra as a tragedy.’ Modern Drama 1 1958 143-50 [M419]

Bajma Griga, Stefano. La crisi dell’American dream: per una rilettura del teatro borghese di Eugene O’Neill. Turin: Tirrenia, 1987, 113-60: ‘WASP col cuore di Atena’

Battenhouse, Roy W. ‘Mourning Becomes Electra.’ Christendom 7 1942 332-45 [M420]

Baužytė, Galina. ‘Eschilas ir Judžino O’Nylo dramaturgija.’ Literatūra (Vilnius) 20 iii 1978 36-39

Belli, Angela. Ancient Greek myths and modern drama: a study in continuity. NY: NY UP, 1969, 19-38

Benninghoff, Ludwig. ‘Zu O’Neills Trauer trage Elektra.’ Hamburger Akademische Rundschau 1 1946-47 498-503

Berlin, Normand. Eugene O’Neill. London: Macmillan, 1982, 108-18

-----. O’Neill’s Shakespeare. Ann Arbor: Univ. of Michigan Pr., 1993, 100-112

Bigsby, C. W. E. A  critical introduction  to twentieth-century American drama, I: 1900-1940. Cambridge: Cambridge UP, 1982, 77-87

Black, Stephen  A. Eugene O’Neill: beyond  mourning and tragedy. New Haven, CT: Yale UP, 2000, 367-72 and see index

-----. ‘Mourning Becomes Electra as a Greek tragedy.’ Eugene O’Neill Review 26 2004 166-88

-----. ‘Mourning Becomes Electra at 74.’ Eugene O’Neill Review 27 2005 115-25

Block, Anita. The changing world in plays and theatre. Boston: Little, Brown, 1939, 137-93 (178-88 on the play)

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 334-54

Borchers, Hans. ‘“Those profound hidden conflicts of the mind”: zur Rezeption psychanalytischer Konzepte in O’Neills Dramen Strange Interlude and Mourning Becomes Electra.’ Pp 87-108 in Halfmann

Bremer, J. M. ‘De weerklank van Electra’s schreeuw.’ Lampas: Tijdschrift voor Nederlandse-Classici 26 i 1993 49-72

Brietzke, Zander. The aesthetics of failure: dynamic structure in the plays of Eugene O’Neill. Jefferson, NC: McFarland, 2001, 189-96

Brooks, Cleanth, & Robert B. Heilman. Understanding drama. NY: Holt, 1948, 2-5 [M110] (the play compared to the Oresteia)

Buck, Philo. Directions in contemporary literature. NY: Oxford UP, 1942, 125-47: ‘The new tragedy: Eugene O’Neill’ (136-40 on the play)

Cargill, Oscar. Intellectual America: ideas on the march. NY: Macmillan, 1941, 685-720: ‘The Freudians’ (711-18 on the play)

Carpenter, Frederick I. Eugene O’Neill. Rev. ed. Boston: Twayne, 1979, 124-30 and see index

Cesereanu, Ruxandra. ‘Orestes and Oedipus: differences, similarities, contaminations.’ Caietele Echinox 17 2009 323-33

Chabrowe, Leonard. Ritual and pathos: the theater of Eugene O’Neill. Lewisburg, PA: Bucknell UP, 1976, 104-08, 163-33, 177-86

Chioles, John. ‘Aeschylus and O’Neill: a phenomenological view.’ Comparative Drama 14 1980 159-87 [S15]; repr. on pp 53-81 in Stroupe

Chirico, Miriam  M. ‘Moving fate into the family: tragedy redefined in O’Neill’s Mourning Becomes Electra.’ Eugene O’Neill Review 24 2000 81-100

Chothia, Jean. Forging a language: a study of the plays of Eugene O’Neill. Cambridge: Cambridge UP, 1979, 101-10 and see index

Cipolloni, Marco. ‘Electra por dentro y por fuera: las orestíadas americanas de O’Neill y Piñera.’ Pp 292-310 in Jesús G. Maestro, ed. Theatralia, IV: Teatro hispánico y literatura europea: teatro y weltliteratur. Vigo: Area de Teoría de la Literatura, Facultad de Filología y Traducción, Universidad de Vigo, 2002

Comarnescu, Petru. O’Neill Õi renaÕterea tragediei. Cluj: Dacia, 1986, 214-45: ‘Introducere la trilogia Electrei’

Conradie, P. J. ‘Mourning Becomes Electra en O’Neill se Griekse droom.’ Standpunte 127 1977 17-36; see also his ‘Die Orestes-mite in die drama van die twintigste eeu.’ Standpunte 89 1970 44-55

Cotsell, Michael. The theater of trauma: American modernist drama and the psychological struggle for the American mind, 1900-1930. NY: Lang, 2005, 267-73

Cronin, Harry C. Eugene O’Neill, Irish and American: a study in  cultural context. NY: Arno, 1976, 48-54

Curran, Ronald T. ‘Insular Typees: Puritanism and primitivism  in Mourning Becomes Electra.’ Revue des Langues Vivantes 41 1975 371-77 [S18]

Dee, James H. ‘Orestes and Electra in the twentieth century.’ Classical Bulletin 55 vi 1979 81-87 [S18]

De Vendittis, Luigi. ‘La trilogia di O’Neill e l’Orestiade.’ Belfagor 9 1954 681-84

Dickinson, Hugh. Myth on the modern stage. Urbana: Univ. of Illinois Pr., 1969, 146-82: ‘Eugene O’Neill: the family as furies’ (revised from ‘Eugene O’Neill: anatomy of a trilogy.’ Drama Critique 10 1967 44-56 and ‘Eugene O’Neill: fate as form.’ Drama Critique 10 1967 78-85 [M420])

Doménech, Ricardo. ‘Eugene O’Neill y su Electra.’ Cuadernos Hispanoamericanos 65 1966 148-51

Eastman, Fred. Christ in the drama. NY: Macmillan, 1947, 92-103 [M118]

Egri, Péter. The birth of American tragedy. Budapest: Tankönyvkiadó, 1988, 85-99: ‘Alienation and dramatic form: the novel, the lyric and the short story in the drama, 2: . . . Mourning Becomes Electra’

-----. ‘The Electra complex of Puritan morality and the epic ambition of O’Neillian tragedy.’ Pp 43-60 in Bagchee [S89]

-----. ‘The social and psychological aspects of the conflict in Eugene O’Neill’s Mourning Becomes Electra.’ Studies in English and American (Budapest) 2 1975 171-214 [S88]

Engel, Edwin A. The haunted heroes of Eugene O’Neill. Cambridge, MA: Harvard UP, 1953, 239-59: ‘Everymannon’

Erben, Rudolf. ‘Mourning becomes Regina: Lillian Hellman’s unfinished trilogy.’ Maske und Kothurn 33 iii-iv 1987 125-52 [S23] (compared to O’Neill’s)

Feldman, Abraham. ‘The American Aeschylus?’ Poet Lore 52 1946 149-55 [M420] (‘No!’)

Feldman, Robert. ‘The longing for death in O’Neill’s Strange Interlude and Mourning Becomes Electra.’ Literature and Psychology 31 1981 39-48 [S23]

Filipowicz-Findlay, Halina. Eugene O’Neill. Warsaw: Wiedza Powszechna, 1975, 200-226: ‘òa»oba przystoi Elektrze’

Fischer-Lichte, Erika. ‘Postmoderne: Forsetzung oder Ende der Moderne? Literatur zwischen Kulturkrise und kulturellem Wandel.’ Neohelicon 16 i 1989 11-27 (15-18 on the play)

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 381-405

Frank, Glenda. ‘The tiger as daddy’s girl: a feminist reading of Lavinia Mannon.’ Eugene O’Neill Review 19 1995 55-65 [S25]

Frazer, Winifred L. The theme of loneliness in  modern American drama. Gainesville: Univ. of Florida Pr., 1960, 74-85

Frenz, Horst, & Martin Mueller. ‘More Shakespeare and less Aeschylus in Eugene O’Neill’s Mourning Becomes Electra.’ American Literature  39 1966  85-100 [M420]

Fuhrmann, Manfred. ‘Mythos als Wiederholung in der griechischen Tragödie und im Drama des 20. Jahrhunderts.’ Pp 121-43 in Fuhrmann, ed. Terror und Spiel: Probleme der Mythenrezeption. Munich: Fink, 1971; ‘Myth as a recurrent theme in Greek tragedy and twentieth-century drama.’ Pp 295-319 in Richard E. Amacher & Victor Lange, eds. New perspectives in German literary criticism. Princeton, NJ: Princeton UP, 1979 [S94]

Fukushima, Osamu. ‘The tragic tone of Mourning Becomes Electra.’ Kyushu American Literature 15 1974 1-9 [S26]

Gassner, John. The theatre in our times: a survey of the men, materials and movements in the modern theatre. NY: Crown, 1954, 257-66: ‘The Electras of Giraudoux and O’Neill’ [M123]

Gilabert Barberà, Pau. ‘Mourning Becomes Electra d’Eugene O’Neill: èsquil i Plató per a crear un drama fosc?’ Poetica, Retorica e Communicazione nella Tradizione Classica 29 2011 369-402

Gordenstein, Arnold. ‘A few thousand battered books: Eugene O’Neill’s use of myth in Desire Under the Elms and Mourning Becomes Electra.’ Ilha de Desterro 15-16 1986 136-46 [S29]

Goyal, Bhagwat S. The strategy of survival: human  significance of O’Neill’s plays. Ghaziabad: Vimal, 1975, 124-27, 190-94

Haas, Rudolf. Theorie und Praxis der Interpretation: Modellanalysen  englischer und amerikanischer Texte. Berlin: Schmidt, 1977, 198-204

Hall, Philip G. ‘Dramatic irony in Mourning Becomes Electra.’ Southern Speech Journal 30 1965 42-55 [M185]

Hamburger, Käte. From Sophocles to Sartre: figures from Greek tragedy, classical and modern. NY: Ungar, 1969, 62-68

Hanzeli, Victor E. ‘The progeny of Atreus.’ Modern Drama 3 1960 75-81 [M421]

Hays, Peter L. ‘O’Neill and Hellman.’ Eugene O’Neill Review 18 1994 189-92 [S32] (compares the play with The Little Foxes)

Hedderel, Vance P. ‘Sibling rivalry in Mourning Becomes Electra and The Little Foxes.’ Eugene O’Neill Review 17 1993 60-65 [S32]

Heilman, Robert B. The iceman, the arsonist, and the troubled agent: tragedy and melodrama on the modern stage. Seattle: Univ. of Washington Pr., 1973, 99-104

Herron, Ima H. The small town in American drama. Dallas, TX: Southern Methodist UP, 1968, 272-337: ‘O’Neill’s lost townsmen’ (304-15 on the play)

Hill, Philip G. ‘Dramatic irony in Mourning Becomes Electra.’ Southern Speech Journal 31 1966 42-55

Hoffmann, Gerhard. ‘Eugene O’Neill: Mourning Becomes Electra.’ Pp 50-85 in Paul Goetsch, ed. Das amerikanische Drama. Düsseldorf: Bagel, 1974

Hunter, Les. ‘Becoming romantic: women’s sexual encounters with the Other in Mourning Becomes Electra and [Sophie Treadwell’s] Machinal.’ Text & Presentation supplement #5 2008 55-66

Jacquot, Jean. ‘Les tragiques grecs au goût du jour: l’Orestie.’ Pp 89-105 in Jacquot, ed. Le théätre moderne: hommes et tendances. 3^rd ed. Paris: Centre National de la Recherche Scientifique, 1968

Jaidev. ‘Realities from  the margins: a deconstruction of Mourning Becomes Electra.’ Panjab University Research Bulletin (Arts) 20 i 1989 25-32 [S35]

Käppel, Lutz. ‘Der Fluch im Haus des Atreus: von Aischylos zu Eugene O’Neill.’ Pp 221-41 in Heinz Hofmann, ed. Antike Mythen in der europäischen Tradition. Tübingen: Attempto, 1999

Karim, Asim. ‘Trauma of subjective memory in Strange Interlude and Long Day’s Journey Into Night.’ Asian Social Science 6 ix 2010 156-67

-----, & Nasim Riaz Butt. ‘Religion and human behavior in Eugene O’Neill’s plays.’ Studies in Literature and Language 3 i 2011 68-76 (on Mourning Becomes Electra and the play)

Kennedy, Joyce D. ‘O’Neill’s Lavinia Mannon and the [Emily] Dickinson legend.’ American Literature  49 1977 108-13 [S37]

-----. ‘Pierre’s progeny: O’Neill and the Melville revival.’ English Studies in Canada 3 1977 103-17 [S37]

Khan, A. G. ‘The changing roles of Electra and Clytemnestra.’ Pp 121-28 in Prasad [S102]

Khan, Fahran E. Y. ‘Mourning Becomes Electra: myth recreated.’ Pismo: Journal for Linguistics and Literary Studies 4 i 2006 254-66

Köhler, Klaus. Eugene O’Neill’s antiheroes and their major precursors from late nineteenth to early twentieth century European drama. Dresden: Progressmedia, 2003, 79-87

Krutch, Joseph W. The American drama since 1918: an informal history. NY: Random House, 1939, 73-133: ‘Tragedy: Eugene O’Neill’ (106-13 on the play)

Kurokawa, Yoshiteru. ‘Directing Mourning Becomes Electra in Japan.’ Pp 265-68 in Liu [S103]

Lecky, Eleazer. ‘Ghosts and Mourning Becomes Electra: two versions of fate.’ Arizona Quarterly 13 1957 320-38 [M421]

Leech, Clifford. Eugene O’Neill. NY: Grove Pr., 1963, 82-89

Lewis, Ward B. Eugene O’Neill: the German reception of America’s first dramatist. NY: Lang, 1984, 84-95

Link, Franz H. Eugene O’Neill und die Wiedergeburt der Tragödie aus dem Unbewussten. Frankfurt: Athenäum, 1967, 36-50

Long, Chester C. The role of nemesis in the structure of selected plays by Eugene O’Neill. The Hague: Mouton, 1968, 117-74

Lozano Mantecón, María. ‘Orestiada en O’Neill.’ Cuadernos de Investigación Filológica  2 i 1976 109-19

Manheim, Michael. Eugene O’Neill’s new language of  kinship. Syracuse, NY: Syracuse UP, 1982, 76-88

Masterson, Mark. ‘“It’s queer, it’s like fate”: tracking queer in O’Neill’s Mourning Becomes Electra.’ Helios 38 ii 2011 131-47

Maufort, Marc. ‘The legacy of Melville’s Pierre: family relationships in Mourning Becomes Electra.’ Eugene O’Neill Newsletter 11 ii 1987 23-28 [S42]

-----. Songs of American  experience: the vision of O’Neill and Melville. NY: Lang, 1990, see index (incorporates parts of the two articles)

-----. ‘Typee revisited: O’Neill’s Mourning Becomes Electra and Melville.’ Pp 85-96 in Maufort [S109]

Mazzocchi Doglio, Mariangela. ‘Gli eroi che ritornano: dall’Oreste di Eschilo a quello di Sartre.’ Dioniso 45 1971 112-41

McDonough, Carole, & Brian McDonough. ‘Mourning Becomes Electra: a study of the conflict between Puritanism  and paganism.’ English Review (Salem State College) 3 1975 6-19 [S44]

McQueen, Joan. ‘O’Neill as Seth in Mourning Becomes Electra.’ Eugene O’Neill Newsletter 9 iii 1985 32-34 [S44]

Melchinger, Siegfried. ‘Die Yankee-Electra: O’Neill und Aischylos: vergleichende Bemerkungen.’ Pp 254-62 in Edgar Lohner & Rudolf Haas, eds. Theater und Drama in Amerika: Aspekte und Interpretationen. Berlin: Schmidt, 1978

Miliora, Maria T. Narcissism, the family, and  madness: a self-psychological study of Eugene O’Neill and his plays. NY: Lang, 2000, 96-101

Miller, Jordan Y., & Winifred Frazer. American drama between  the wars: a critical history. NY: G. K. Hall, 1991, 88-93

Miller, Lisa. ‘Iphigenia: an overlooked influence in Mourning Becomes Electra.’ Eugene O’Neill Review 24 2000 101-12

Mirlas, León. O’Neill y el teatro contemporáneo. Buenos Aires: Sudamericana, 1950, 173-96: ‘Electra’

Mitchell, Francis M. ‘O’Neill’s Mourning Becomes Electra.’ Folio (Indiana) 8 Dec 1942 21-26

Montgomery, H. C. ‘Some later uses of the Greek tragic chorus.’ Classical Journal 38 1942 148-60 (159-60 on the play)

Moorton, Richard F. ‘The author as Oedipus in Mourning Becomes Electra and Long Day’s Journey Into Night.’ Papers on Language and Literature 25 1989 304-25 [S46]; repr. on pp 171-88 in Moorton

-----. ‘Eugene O’Neill’s American Eumenides.’ Classical and Modern Literature 10 1990 359-72 [S46]; repr. on pp 105-18 in Moorton

-----. ‘What’s in a name? The significance of “Mannon” in Mourning Becomes Electra.’ Eugene O’Neill Newsletter 12 iii 1988 42-44 [S46]

Nagarajan, S. ‘Eugene O’Neill’s Mourning Becomes Electra: the classical aspect.’ Literary Criterion 5 iii 1962 148-54

Nugel, Bernfried. ‘Von Elektra zu Lavinia: Eugene O’Neills Konzeption der Titelfigur in Mourning Becomes Electra.’ Pp 295-318 in Therese Fischer-Seidel, ed. Frauen und Frauendarstellung in der englischen und amerikanischen Literatur. Tübingen: Narr, 1991

Nugent, S. Georgia. ‘Masking becomes Electra: O’Neill, Freud, and the feminine.’ Pp 254-72 in Clifford Davidson et al., eds. Drama and the classical heritage. NY: AMS Press, 1993 (from Comparative Drama 22 1988 37-55 [S48]); repr. on pp 55-71 in Moorton and on pp 134-48 in Houchin

Nuñez, Carlinda F. P. ‘Electra nos Trópicos: um mergulho no mar mítico de Nelson Rodriguez.’ Estudos de Literatura Brasileira Contemporânea 25 Jan-June 2005 67-84 (Senora dos Alfogados and the play)

Olson, Elder. Tragedy and the theory of drama. Detroit, MI: Wayne State UP, 1961, 237-43 [M142]; repr. on pp 87-91 in Griffin

O’Neill, Joseph P. ‘The tragic theory of Eugene O’Neill.’ Texas Studies in Language and Literature 4 1963 481-98 [M421]

Orlandello, John. O’Neill on film. Rutherford, NJ: Fairleigh Dickinson UP, 1982, 103-15: ‘Mourning Becomes Electra (1947)’

Paduano, Guido. ‘Manierismo e struttura psicologica nell’esperienza greca di Eugene O’Neill.’ Annali della Scuola Normale Superiore di Pisa: Classe di Lettere e Filosofia 2 1972 761-816

Pasquier, Marie C. ‘Le deuil d’Électre en terre américaine.’ Revue Française d’Études Américaines 82 [1979 88-100]

Pavlov, Grigor. ‘Structure and meaning in Eugene O’Neill’s Mourning Becomes Electra.’ Annuaire de l’Université de Sofia: Faculté des Lettres 68 i 1974 213-85 [S50]

Peters, John G. ‘Ghosts and guilt: Mourning Becomes Electra and its mythic tradition.’ Midwest Quarterly 32 1991 474-83 [S50]

Peterson, William  M. ‘A portrait of O’Neill’s Electra.’ Eugene O’Neill Review 17 1993 66-75 [S50]

Pine, Fred. ‘On the origin and evolution of a species of hate: a clinical-literary excursion.’ Pp 105-32 in Salman Akhtar et al., eds. The birth of hatred: developmental, clinical, and technical aspects of intense aggression. Northvale, NJ: Jason Aronson, 1995 (113-16 on the play; see also 141-42)

Porter, Thomas E. Myth and modern American drama. Detroit: Wayne State UP, 1969, 26-52: ‘Puritan ego and Freudian unconscious: Mourning Becomes Electra’

Pratt, Norman T. ‘Aeschylus and O’Neill: two worlds.’ Classical Journal 51 1956 163-67

Raghavacharyulu, Dhupaty V. K. Eugene O’Neill: a study. Bombay: Popular Prakashan, 1965, 104-13

Raleigh, John H. The plays of Eugene O’Neill. Carbondale: Southern Illinois UP, 1965, 55-59 and see index

Ramsey, Warren. ‘The Oresteia since Hofmannsthal: images and emphases.’ Revue de Littérature Comparée 38 1964 359-75

Rao, C. R. Vivweswara. ‘Mourning Becomes Electra: the play’s design.’ Indian Journal of American Studies 26 ii 1996 59-63 [S53]

Reiss, Walter. ‘Die weltliterarische Leistung Gor’kijs bei der Schaffung einer Dramenepopöe: M. Gorkijs ... i drugie-Zyklus im Vergleich zu M. Krleñas Glembajevi und O’Neills Mourning Becomes Electra.’ Wissenschaftliche Zeitschrift der Humboldt-Universität zu Berlin: Gesellschafts- und Sprachwissenschaftliche Reihe 28 1979 347-51

Rice, Joseph. ‘The blinding of Mannon House: O’Neill, Electra, and Oedipus.’ Text and Presentation: The Journal of the Comparative Drama Conference 13 1992 45-51 [S54]

Roberts, Patrick. The psychology of tragic drama. London: Routledge & Kegan Paul, 1975, 170-82: ‘Orestes in modern drama: Mourning Becomes Electra’ [S118]

Ross, Werner. ‘Was heisst einen antiken Stogg gestalten?’ Deutschunterricht 20 iii 1968 85-103 (major stress on the play)

Scanlan, Tom. Family, drama, and American dreams. Westport, CT: Greenwood Pr., 1978, 101-05

Schlam, Tanya. ‘Eugene O’Neill and the creative process: the drafts of “Homecoming.”’ Eugene O’Neill Review 23 1999 78-97

Schmitt-von Mühlenfels, Astrid. ‘O’Neills Mourning Becomes Electra: vom Drama zur Literaturoper.’ Pp 109-18 in Halfmann

Seidel, Margot. Bibel und Christentum im dramatischen Werk Eugene O’Neills. Frankfurt: Lang, 1984, see index

Shafer, Yvonne. Performing O’Neill: conversations with actors and directors. NY: St. Martin’s Pr., 2001, 41-50, 91-100, 110-13

Shaughnessy, Edward L. Down  the nights and down the days: Eugene O’Neill’s Catholic sensibility. Notre Dame, IN: Univ. of Notre Dame Pr., 1996, 101-16

Sheaffer, Louis. O’Neill, son  and artist. Boston: Little, Brown, 1973, 336-39, 354-57, 387-91 and see index

Sievers, W. David. Freud on Broadway: a history of psychoanalysis and the American  drama. NY: Hermitage House, 1955, 97-133: ‘Freud, Jung, and O’Neill’ (121-24 on the play)

Silvestru, Valentin. Prezenţa teatrului: studii critice. Bucharest: Meridiane, 1968, 209-17: ‘Dimensiuni clasice în tragedia modernă a lui O’Neill’

Singh, Avadhesh K. The plays of Eugene O’Neill: a study in myths and symbols. New Delhi: Creative Publishers, 1991, 129-38

Singh, Tejpal. Eugene O’Neill: quest for reality in his plays. New Delhi: National Book, 1987, 99-109

Sinha, Prashant K. ‘Versions of the Orestes figure in Mourning Becomes Electra, The Family Reunion and The Flies.’ Pp 100-114 in Prasad [S123]

Smith, Susan H. ‘Inscribing the body: Lavinia Mannon as the site of struggle.’ Eugene O’Neill Review 19 1995 45-54 [S63]

Soulier, Anne M. ‘Drame et mélodrame dans le théâtre américain: l’exemple de Le deuil sied à Electre d’Eugene O’Neill.’ Pp 81-90 in Maciej Serwa½ski, ed. Théâtre et société de la Renaissance à nos jours. Poznan: Uniwersytet im.Adama Mickiewicza w Poznaniu, 1992     

Stafford, John. ‘Mourning becomes America.’ Texas Studies in Language and Literature 3 1962 549-56 [M421]

Stamm, Rudolf. The shaping powers at work: fifteen essays on poetic transmutation. Heidelberg: Winter, 1967, 220-35: ‘The Orestes theme in three plays by Eugene O’Neill, T. S. Eliot and Jean-Paul Sartre’ (from English Studies 30 1949 244-55 [M209])

Tiusanen, Timo. ‘O’Neill and Wuolijoki: a counter-sketch to Electra (1980).’ Pp 174-81 in Frenz

-----. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968, 225-40: ‘Electra enters the house: Mourning Becomes Electra’

Törnqvist, Egil. A drama of souls: studies in O’Neill’s super-naturalistic technique. New Haven, CT: Yale UP, 1969, 62-66, 101-06, 110-14, 120-22, 132-34, 178-81, 190-92 and see index

-----. ‘Fröken Julie och O’Neill.’ Meddelanden från Strindbergssällskapet 42-43 1969 5-16; ‘Miss Julie and O’Neill.’ Modern Drama 19 1976 351-64 [S65]

Tündern, Franz. ‘O’Neills Atriden-Tragödie.’ Dramaturgische Blätter 1 v 1947 33-37

Valente, Pier L. ‘Il lutto s’addice ad Elettra di E. G. O’Neill e la tragedia greca.’ Convivium 28 1960 318-29

Vincent, W. Ernest. ‘Five Electras—Aeschylus to Sartre.’ Southern Speech Journal 24 1959 225-35

Vogel, Dan. The three masks of American tragedy. Baton Rouge: Louisiana State UP, 1974, 41-54 [S128] (the play and Desire Under the Elms)

Voglino, Barbara. Perverse mind: Eugene O’Neill’s struggle with closure. Madison, NJ: Fairleigh Dickinson UP, 1999, 66-75: ‘Success at last: closure in Mourning Becomes Electra’

Wainscott, Ronald H. Staging O’Neill: the experimental years, 1920-1934. New Haven, CT: Yale UP, 1988, 255-68 (from ‘Exploring the religion of the dead: Philip Moeller directs Mourning Becomes Electra.’ Theatre History Studies 7 1987 28-39 [S68])

Walters, Scott. ‘“I forgive myself!”: escaping the ever-present past in Eugene O’Neill’s Mourning Becomes Electra.’ Pp 133-42 in Harold Bloom & Blake Hobby, eds. The taboo. NY: Bloom’s Literary Criticism, 2010

Watt, Stephen M. ‘O’Neill and Otto Rank: doubles, “death instinct,” and the trauma of birth.’ Comparative Drama 20 1986 211-30 [S68]; repr. on pp 17-36 in Stroupe (in the play and More Stately Mansions)

Weckerman, Hans J. ‘Das Haus Pyncheon und das Haus Mannon: der amerikanische Einfluss in O’Neills Mourning Becomes Electra.’ Literatur in Wissenschaft und Unterricht 21 1988 202-15

Weiner, Jessie. ‘O’Neill’s Aeneid: Virgilian allusion in Mourning Becomes Electra.’ International Journal of the Classical Tradition 20 i-ii 2013 41-60

Weissman, Philip. Creativity in the theatre: a psychoanalytical study. NY: Basic Books, 1965, 204-09: ‘Electra: the psychology of mourning’

-----. ‘Mourning Becomes Electra and [Richardson’s] The Prodigal: Electra and Orestes.’ Modern Drama 3 1960 257-59 [M422]

Werner, Bette C. ‘Eugene O’Neill’s Paradise Lost: the theme of the islands in Mourning Becomes Electra.’ Ball State University Forum 27 i 1986 46-52 [S69]

Williams, Raymond. Drama from Ibsen to Brecht. 2^nd ed. Harmondsworth: Penguin, 1973 (c. 1968), 250-52

Young, William. ‘Mother and daughter in Mourning Becomes Electra.’ Eugene O’Neill Newsletter 6 ii 1982 15-17 [S71]

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