O'Neill Play by Play: The Emperor Jones

The Emperor Jones

Abdo, Diya M. ‘The Emperor Jones: a struggle for individuality.’ Eugene O’Neill Review 24 2000 28-42

Abiteboul, Maurice. ‘Civilisation et régression dans L’Empereur Jones d’Eugene O’Neill et Vacances d’été de Francis Ebejer: le progrès est-il un mythe?’ Commonwealth Essays and Studies10 i 1987 49-56

Alsen, Eberhard. ‘Racism and the film version of Eugene O’Neill’s The Emperor Jones.’ CLA Journal 9 2006 406-22

Andrenacci Maldini, Silvana. ‘L’Imperatore Jones di Eugene O’Neill, ovvero il tallone di Achille.’ Silarus 40 #201 1999 34-46

Bechtel, Roger. Past performance: American theatre and the historical imagination. Lewisburg: Bucknell UP, 2007, 128-67: ‘Brutus Jones ’n the ’hood: the Provincetown Players, the Wooster Group, and theatrical history’; from ‘Brutus Jones ’n the ’hood: the Wooster Group, the Provincetown Players, and The Emperor Jones (1993).’ Pp 157-66 in John Callens, ed. The Wooster Group and its traditions. Brussels: Lang, 2004

Berlin, Normand. Eugene O’Neill. London: Macmillan, 1982, 56-61

-----. O’Neill’s Shakespeare. Ann Arbor: Univ. of Michigan Pr., 1993, 27-42

Bianchi, Ruggero. ‘Alla ricerca del testo perdito.’ Castello di Elsinore 1 iii 1988 52-57 (avant-garde roots in this play, Our Town, and The Glass Menagerie)

Bigsby, C. W. E. A critical introduction to twentieth-century American drama, I: 1900-1940. Cambridge: Cambridge UP, 1982, 53-58

Black, Cheryl. ‘After the Emperor: interracial collaborations between Provincetown alumni and black theatre artists c. 1924-1946.’ Journal of American Drama and Theatre 20 i 2008 5-26 (also treats All God’s Chillun Got Wings)

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 134-44

Bordewyk, Gordon, & Michael McGowan. ‘Another source of Eugene O’Neill’s The Emperor Jones.’ Notes on Modern American Literature 6 1982 item 2 (5 pp) [S12]

Breitinger, Eckhard. ‘Odysseus, Crusoe and the making of the Caribbean hero: Derek Walcott’s variations of great traditions.’ Pp 203-29 in Pascal Nicklas & Oliver Lindner, eds. Adaptation and cultural appropriation: literature, film, and the arts. Berlin: de Gruyter, 2012 (208-10, 228 on the play)

Breuer, Horst. ‘Atavismus bei Joseph Conrad, Bram Stoker und Eugene O’Neill.’ Anglia 117 1999 368-94 (385-92 on the play)

Brown, Carolyn T. ‘Creative imitation: Hung Shen’s cultural translation of Eugene O’Neill’s The Emperor Jones.’ Comparative Literature Studies 22 1985 147-55 [S13]

Callens, Johan. ‘“Black is white, I yells it out louder ’n deir loudest”: unraveling The Wooster Group’s The Emperor Jones.’ Eugene O’Neill Review 26 2004 43-69

Chun, Kook-Suh. ‘The analysis of Greek tragic elements in The Emperor Jones.’ Science and Technology (Korea) 4 2003 300-306

Ciancio, Ralph A. ‘Richard Wright, Eugene O’Neill and the beast in the skull.’ Modern Language Studies 23 iii 1993 45-59 [S15]

Cohn, Ruby. ‘Black power on stage: Emperor Jones and [Césaire’s] King Christophe.’ Yale French Studies 46 1971 41-47

Comarnescu, Petru. O’Neill Õi renaÕterea tragediei. Cluj: Dacia, 1986, 87-94: ‘Emperor Jones (Împ|ratul Jones)’

Colakis, Marianthe. ‘Eugene O’Neill’s The Emperor Jones as Senecan tragedy.’ Classical and Modern Literature 10 1990 153-60 [S16]

Conklin, Robert. ‘The expression of character in O’Neill’s The Emperor Jones and The Hairy Ape.’ West Virginia University Philological Papers 39 1993 101-07 [S16]

Cooley, John R. ‘In search of the primitive: black portraits by Eugene O’Neill and other Village Bohemians.’ Pp 51-64 in Victor A. Kramer, ed. The Harlem Renaissance re-examined. NY: AMS Pr., 1987 [S85]; see also ‘White writers and the Harlem Renaissance.’ Pp 13-22 in Amritjit Singh et al., eds. The Harlem Renaissance: revaluations. NY: Garland, 1989 [S85]

-----. Savages and naturals: black portraits by white writers in modern American literature. Newark: Univ. of Delaware Pr., 1982, 59-72 [S85] (from ‘The Emperor Jones and the Harlem renaissance.’ Studies in the Literary Imagination 7 ii 1974 73-83 [S16])

Corey, James. ‘O’Neill’s The Emperor Jones.’ American Notes and Queries 12 1974 156-57 [S17]

Cronin, Harry C. Eugene O’Neill, Irish and American: a study in cultural context. NY: Arno, 1976, 65-73

Cuenca, Carme M. ‘Searching for the ghost in the expressionist jungle: reversal of critical lobotomizing in Eugene O’Neill’s The Emperor Jones.’ Pp 25-50 in Juan V. Martínez Luciano et al., eds. Les avantguardes i la renovació teatral. Valencia: Universitat de València, 1999

Davis, Rocio G. ‘Two experiments in symbolic expressionism: Eugene O’Neill’s The Emperor Jones and The Hairy Ape.’ Pp 601-11 in Manuel Losada-Goya et al., eds. De Baudelaire a Lorca: acercamiento a la modernidad literaria, I-III. Kassel: Reichenberger, 1995

Depardieu, Benoît. ‘Louis Greenberg’s Emperor Jones: the long journey into the heart of the Other race / The Emperor Jones de Louis Greenberg: le long voyage au coeur/corps de l’Autre race.’ Revue LISA / LISA E-Journal 2 iii 2004 12-25 (in French)

Deshpande, Satish. ‘The sense of guilt in The Emperor Jones.’ Pp 129-32 in Prasad [S87]

Dorinson, Joseph. ‘O’Neill and Paul Robeson: climbing Jacob’s ladder.’ Pp 250-69 in Herrmann

Dossett, Kate. ‘Commemorating Haiti on the Harlem stage.’ Journal of American Drama and Theatre 22 i 2010 83-119

Duclos, Donald P. ‘A plank in Faulkner’s “lumber room”: The Emperor Jones and Light in August.’ Eugene O’Neill Newsletter 11 ii 1987 8-13 [S19]

Eben, Michael C. ‘Georg Kaiser’s Von Morgen bis Mitternachts and Eugene O’Neill’s Emperor Jones: affinities in flight.’ Pp 263-76 in Holger A. Pausch & Ernest Reinhold, eds. Georg Kaiser: Eine Aufsatzsammlung nach einem Symposium in Edmonton, Kanada. Berlin: Agora, 1980

Eilefson, Sarah. ‘Co-opting the tom-tom: mediating the primitive in Eugene O’Neill’s The Emperor Jones.’ Pp 98-109 in Graley Herren, ed. Text & Presentation. Jefferson, NC: McFarland, 2013

Einenkel, Robert. ‘The curse of the chameleon: a comparison between Brutus Jones and James Tyrone.’ Eugene O’Neill Review 33 2012 110-14

Eisen, Kurt. The inner strength of opposites: O’Neill’s novelistic drama and the melodramatic imagination. Athens: Univ. of Georgia Pr., 1994, 61-67

Engel, Edwin A. The haunted heroes of Eugene O’Neill. Cambridge, MA: Harvard UP, 1953, 48-53

Falk, Doris V. Eugene O’Neill and the tragic tension: an interpretive study of the plays. NY: Gordian Pr., 1958, 66-71

Filipowicz-Findlay, Halina. Eugene O’Neill. Warsaw: Wiedza Powszechna, 1975, 101-11

Findlay, Robert R. ‘The Emperor Jones: O’Neill as scene designer.’ Players 45 1969 21-24 [M180]

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 202-10

Folino-White, Ann. ‘In the service of man: women and male racial mobility in The Emperor Jones.’ American Drama 13 2004 98-117

Frenz, Horst. ‘Eugene O’Neill and Georg Kaiser.’ Pp 172-85 in Floyd [S93] (the play and Von Morgens bis Mitternachts)

Gálik, Marián. ‘Chao—the King of Hell and The Emperor Jones: two plays by Hung Shen and O’Neill.’ Asian & African Studies 12 1976 123-31 [S26]

Garvey, Sheila H. ‘An interview with the new Emperor [John Douglas Thompson].’ Eugene O’Neill Review 32 2010 163-79

Gauss, Rebecca B. ‘O’Neill, Gruenberg and The Emperor Jones.’ Eugene O’Neill Review 18 1994 38-44 [S28]

Girdhari, V. T. ‘Eugene O’Neill’s Emperor Jones: dual character of minority in America.’ Pp 158-62 in Prasad [S96]

Goyal, Bhagwat S. The strategy of survival: human significance of O’Neill’s plays. Ghaziabad: Vimal, 1975, 176-80

Guha Majumdar, Rupendra. Central man: the paradox of heroism in modern American drama. Brussels: Lang, 2003, 147-58

Hamner, Robert. ‘Dramatizing the new world’s African king: O’Neill, Walcott and Césaire on Christophe.’ Journal of West Indian Literature 5 i-ii 1992 30-47 [S31]

Haney, William S. ‘The semiotics of self-revelation in Eugene O’Neill’s The Emperor Jones.’ Analecta Husserliana 18 1990 605-15

Hanson, Philip J. ‘The Emperor Jones: naturalistic tragedy in hemispheric perspective.’ Pp 131-45 in Norma Jenckes, ed. New readings in American drama: something’s happening here. NY: Lang, 2002 (from American Drama 5 ii 1996 23-43 [S31])

Hinden, Michael. ‘The Emperor Jones: O’Neill, Nietzsche, and the American past.’ Eugene O’Neill Newsletter 3 iii 1980 2-4 [S33]

Hooti, Noorbakhsh, & N. Maleki. ‘Terror and ambivalence of the human soul in Oneills The Emperor Jones and the hairy ape.’ [sic] Global Journal of Humanities 7, i-ii 2008 9-18

Kagan, Norman. ‘The return of The Emperor Jones.’ Negro History Bulletin 34 1971 160-62 [M305]

Krasner, David. ‘Whose role is it anyway? Charles Gilpin and the Harlem Renaissance.’ African American Review 29 1995 483-96 [S38]

Krimsky, John. ‘The Emperor Jones: Robeson and O’Neill on film.’ Connecticut Review 7 1974 94-99 [S38]

Larabee, Ann E. ‘“Meeting the outside face to face”: Susan Glaspell, Djuna Barnes, and O’Neill’s The Emperor Jones.’ Pp 77-85 in June Schlueter, ed. Modern American drama: the female canon. Rutherford, NJ: Fairleigh Dickinson UP, 1990 [S103]

Lau, Joseph S. M. Ts’ao Yü, the relectant disciple of Chekhov and O’Neill: a study in literary influence. Hong Kong: Hong Kong UP, 1970, 51-56: ‘The Wilderness and The Emperor Jones as studies of fear’

Lewis, Ward B. Eugene O’Neill: the German reception of America’s first dramatist. NY: Lang, 1984, 24-34

Lima, Robert. Stages of evil: occultism in Western theater and drama. Lexington: UP of Kentucky, 2005, 137-46: ‘The savaged mind: voodoo terror in Eugene O’Neill’s The Emperor Jones’

Llácer, Eusebio V. ‘O’Neill’s The Emperor Jones and The Hairy Ape: the alienation of the American anti-hero.’ Journal of American Studies of Turkey 18 2003 35-48 <http://ake.ege.edu.tr/en/jast/Number18/eusebio.pdf>

Londré, Felicia H. ‘Dramatic tension between expressionistic design and naturalistic acting in The Emperor Jones.’ Pp 183-97 in Liu [S105]

Lowe, John. ‘Creating the circum-Caribbean imagery: DuBose Heyward’s and Paul Robeson’s revision of The Emperor Jones.’ Philological Quarterly 90 2011 311-33

Lueger, Michael. ‘Women in three film adaptations of O’Neill.’ Eugene O’Neill Review 32 2010 134-47 (138-40 on the film of the play)

MacQueen, Scott. ‘Rise and fall of The Emperor Jones, 1933.’ American Cinematographer 71 Feb 1990 34-40 [S40]

Manuel, Carmen. ‘A ghost in the expressionist jungle of O’Neill’s The Emperor Jones.’ African American Review 39 i-ii 2005 67-85

Manuel, M. ‘Emperor Jones.’ Pp 103-12 in C. D. Narasimhaiah, ed. Indian response to American literature. New Delhi: U. S. Educational Foundation in India, 1967

Martín Gutiérrez, Félix. ‘O’Neill, Genet, Baraka, Hansberry: escenas de una pantomima colonialista.’ Pp 423-47 in Antonio Ballesteros González & Cécile Vilvandre de Sousa, eds. La estética de la transgresión: revisiones críticas del teatro del vanguardia. Cuenca: Ediciones de la Universidad de Castilla-La Mancha, 2000 (426-34: ‘The Emperor Jones: danza de estereotipos’)

Marx, Leslie. ‘“Souls under skins”: Robeson, O’Neill and Everyman.’ Pp 67-76 in Marx & Loes Nas, eds. Juxtapositions: the Harlem Renaissance and the lost generation. Cape Town: Univ. of Cape Town, 2000

Masal, N. B. ‘Eugene O’Neill’s The Emperor Jones as an expressionist play and as a dramatic monologue.’ Indian Streams Research Journal 2 vii 2012 1-4 (special section)

Mendelssohn, Michèle. ‘Reconsidering race, language and identity in The Emperor Jones.’ Eugene O’Neill Review 23 1999 19-30

Michaelides-Nouaros, A. ‘Philosophy in art: the idea of God in Eugene O’Neill’s play The Emperor Jones.’ Diotima 6 1978 71-82

Miliora, Maria T. Narcissism, the family, and madness: a self-psychological study of Eugene O’Neill and his plays. NY: Lang, 2000, 75-78 (from ‘A self-psychological study of narcissistic fantasies in O’Neill’s The Emperor Jones.’ Pp 35-41 in Frederico Pereira, ed. Literature and psychoanalysis: proceedings of the thirteenth International Conference on Literature and Psychology. Lisbon: Instituto Superior de Psicologia Aplicada, 1997)

Miller, Jordan Y., & Winifred Frazer. American drama between the wars: a critical history. NY: G. K. Hall, 1991, 53-58

Morrison, Michael A. ‘Emperors before Gilpin: Opal Cooper and Paul Robeson,’ Eugene O’Neill Review 33 2012 159-73 (treats all three in detail)

Müller, Kurt. Konventionen und Tendenzen der Gesellschaftskritik im expressionistischen amerikanischen Drama der zwanziger Jahre. Frankfurt: Lang, 1977, 97-127: ‘Die Behandlung der Rassen- und Klassenproblematik in den expressionistischen Stücken O’Neills’ (100-103 on the play)

-----. ‘Vorurteils- und Stereotypenkritik in The Emperor Jones and The Hairy Ape: Aspekte der Wirkungsstruktur in den expressionistische Dramen Eugene O’Neills.’ Pp 48-65 in Halfmann

Murphy, Brenda. ‘McTeague’s dream and The Emperor Jones: O’Neill’s move from naturalism to modernism.’ Eugene O’Neill Review 17 1993 21-29 [S47]

Murray, Edward. The cinematic imagination: writers and the motion pictures. NY: Ungar, 1972, 16-35: ‘Eugene O’Neill, expressionism, and film’ (17-24 on the play and film)

Musser, Charles. ‘To redream the dreams of white playwrights: reappropriation and resistance in Oscar Micheaux’s body and soul.’ Yale Journal of Criticism 12 1999 321-56; ‘Troubled relations: Robeson, Eugene O’Neill, and Oscar Micheaux.’ Pp 81-104 in Jeffrey C. Stewart, ed. Paul Robeson: artist and citizen. New Brunswick, NJ: Rutgers UP & Paul Robeson Cultural Center, 1998 [S112]

Nabipour, Pooyan. ‘The ghost of the unconscious past: a comparative study of O’Neill’s The Emperor Jones and Dante’s Inferno.’ Teaching American Literature: A Journal of Theory and Practice 6 ii 2013 83-101

Nolan, Patrick J. ‘The Emperor Jones: a Jungian view of the origin of fear in the black race.’ Eugene O’Neill Newsletter 4 i-ii 1980 6-9 [S48]

Orlandello, John. O’Neill on film. Rutherford, NJ: Fairleigh Dickinson UP, 1982, 51-65: ‘The Emperor Jones (1933)’

Orr, John. Tragic drama and modern society: a sociology of dramatic form from 1880 to the present. 2^nd ed. Basingstoke: Macmillan, 1989, 171-74

Patki, Y. K. ‘Macbeth and The Emperor Jones: a comparative study.’ Pp 141-50 in Prasad [S113]

Pavlović, Mirjana. ‘Na tragu O’Nilovog Cara Džons: cao jueva divijina.’ Philologia [Professional Journal for Language, Literature and Cultural Studies] 10 2012 119-25

Pettit, Alexander, James Baird, & Jacqueline Vanhoutte. ‘Bob Dylan and The Emperor Jones revisited.’ Eugene O’Neill Review 33 2012 273-74

Poole, Gabriele. ‘“Blarsted niggers!”: The Emperor Jones and modernism’s encounter with Africa.’ Eugene O’Neill Review 18 1994 21-37 [S51]

Raleigh, John H. The plays of Eugene O’Neill. Carbondale: Southern Illinois UP, 1965, 107-10

Rogalus, Paul W. ‘Shepard’s Tooth of Crime, O’Neill’s Emperor Jones, and the contemporary American tragic hero.’ Notes on Contemporary Literature 22 ii 1992 2-3 [S56]

Roy, Emil. ‘Eugene O’Neill’s The Emperor Jones and The Hairy Ape as mirror plays.’ Comparative Drama 2 1968 21-31 [M305]

Rutenberg, Michael E. ‘Bob Smith ain’t so dumb.’ Eugene O’Neill Newsletter 3 iii 1980 11-15 [S56]

Saiz, Peter R. ‘The colonial story in The Emperor Jones.’ Eugene O’Neill Review 17 1993 31-38 [S57]

Schwerdt, Lisa M. ‘Blueprint for the future: The Emperor Jones.’ Pp 72-77 in Martine [S120]

Shaughnessy, Edward L. ‘Brutus Jones in the heartland: The Emperor Jones in Indianapolis, 1921.’ Eugene O’Neill Review 20 1996 36-42 [S60]

Sheaffer, Louis. O’Neill, son and artist. Boston: Little, Brown, 1973, 30-37 and see index

Sichert, Margit. ‘Due Moderne, das Unbewusste und der Traum: O’Neills The Emperor Jones.’ Amerikastudien 34 1989 403-12

Singh, Tejpal. Eugene O’Neill: quest for reality in his plays. New Delhi: National Book, 1987, 41-45

Singh, Veena. ‘O’Neill’s Yank and Jones—the dislocated characters.’ Panjab University Research Bulletin: Arts 18 i 1987 45-54 [S61]

Siomopoulos, Anna. ‘“The ’eighth o’ style”: black nationalism, the New Deal, and The Emperor Jones.’ Arizona Quarterly 58 iii 2002 57-81

Sittler, Loring. ‘The Emperor Jones: ein Individuationprozess im Sinne C. G. Jungs?’ Amerikastudien 23 i 1978 118-30

Smith, Madeline C. ‘The Emperor Jones and confession.’ Bulletin of the West Virginia Association of College English Teachers 8 1983 17-22 [S61]

Smith, Susan H. ‘The Emperor Jones and national trauma.’ Modern Drama 52 2009 57-72

Song, Dong-Ho. ‘The Emperor Jones: cinematic imagination and modern spatiality.’ English Language and Literature (Seoul) 41 1995 1083-98 [S63]

Steen, Shannon. ‘Melancholy bodies: racial subjectivity and whiteness in O’Neill’s The Emperor Jones.’ Theatre Journal 52 2000 339-59

Streufert, Paul D. ‘“Ain’t nothin’ dere but de trees!”: ghosts and the forest in The Emperor Jones.’ Pp 129-44 in Bennett

Swortzell, Lowell. ‘The Emperor Jones as a source of theatrical experimentation, 1920s-1980s.’ Pp 199-209 in Liu [S126]

Tiusanen, Timo. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968, 97-112: ‘Fusion of the means: The Emperor Jones’

Törnqvist, Egil. A drama of souls: studies in O’Neill’s super-naturalistic technique. New Haven, CT: Yale UP, 1969, 54-56, 156-58, 233-38, and see index

Viswanathan, R. ‘The Jungle Books and O’Neill.’ Eugene O’Neill Newsletter 11 ii 1987 3-7 [S66]

-----. ‘The ship scene in The Emperor Jones.’ Eugene O’Neill Newsletter 4 iii 1980 3-5 [S66]

Voboóil, Róóa. ‘The role of musical and sound effects in The Emperor Jones by E. O’Neill.’ Acta Universitatis ºódziensis: Folia Litteraria 3 1981 51-61

Wainscott, Ronald H. Staging O’Neill: the experimental years, 1920-1934. New Haven, CT: Yale UP, 1988, 38-58: ‘First flames: The Emperor Jones’

Walker, Julia A. Expressionism and modernism in the American theatre: bodies, voices, words. Cambridge: Cambridge UP, 2005, 123-54: ‘The “unconscious autobiography” of Eugene O’Neill’ (how the play and The Hairy Ape ‘encode’ the ‘psychodynamics’ of the autobiographical plays; 125-37 on the play)

Watt, Stephen M. ‘The “formless fear” of O’Neill’s emperor and Tennyson’s king.’ Eugene O’Neill Newsletter 6 iii 1982 14-15 [S68]

Wells, Arvin R. ‘Eugene O’Neill.’ Pp 239-50 in Hermann J. Weiand, ed. Insight IV: analyses of modern British and American drama. Frankfurt: Hirschgraben, 1975 [S130]

Winkelmann, Sabine. Intermedialität in Eugene O’Neills Dramen: The Emperor Jones, The Hairy Ape und The Great God Brown. Würzberg: Königshausen & Neumann, 2004. 187 pp (publ. diss.)

Wishnia, Kenneth. ‘Myth, non-linear time and self-negation: Demetrio Aguilera Malta’s El tigre and Eugene O’Neill’s The Emperor Jones.’ Hispanic Journal 15 1994 257-69 [S71]

Yao, Xiaojuan. ‘O’Neill’s unconscious Shakespearean orientation: the comparative study of The Emperor Jones and Macbeth.’ Studies in Literature and Language 2 i 2011 42-50

Yarrison, Betsy G. ‘The future in the instant.’ Pp 137-60 in Karelisa V. Hartigan, ed. To hold a mirror up to nature: dramatic images and reflections. Washington, DC: UP of America, 1982 [S131]

Zeller, Marlis. ‘Das Symbol und seine Funktionen in O’Neills The Emperor Jones: Arbeitsproben aus deutschen Seminaren und Instituten.’ Pp 95-113 in Hans Galinsky & Hans J. Lang, eds. Kleine Beiträge zur amerikanischen Literaturgeschichte Heidelberg: Winter, 1961

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