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More Stately Mansions

(See also “A Tale of Possessors Self-Dispossessed”)

Adler, Thomas P. ‘A cabin in the woods, a summerhouse in a garden: closure and enclosure in O’Neill’s More Stately Mansions.’ Eugene O’Neill Newsletter 9 ii 1985 23-27 [S5]

Ahrends, Günter. Traumwelt und Wirklichkeit im Spätwerk Eugene O’Neills. Heidelberg: Winter, 1978, 220-64

Bentley, Eric. What is theatre? Incorporating The dramatic event and other reviews, 1944-1967. NY: Atheneum, 1968, 394-404: ‘A touch of the adolescent’ (from 1964 essay-review in New Republic)

Berlin, Normand. O’Neill’s Shakespeare. Ann Arbor: Univ. of Michigan Pr., 1993, 152-61

Black, Stephen  A. Eugene O’Neill: beyond  mourning and tragedy. New Haven, CT: Yale UP, 2000, 405-13 and see index

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 407-13

Bower, Martha G. Eugene O’Neill’s unfinished threnody and process of invention in four cycle plays. NY: Edwin Mellen Pr., 1992, 43-86

-----. ‘Introduction.’ Pp 3-17 in O’Neill. More Stately Mansions: the unexpurgated edition. Ed. Bower. NY: Oxford UP, 1988

-----. ‘More Stately Mansions redux: straightening out the “twisted path.”’ Eugene O’Neill Review 26 2004 239-47

Egri, Péter. The birth of American  tragedy. Budapest: Tankönyvkiadó, 1988, 122-40: ‘Alienation and dramatic form: the novel, the lyric and the short story in the drama, 5: . . . More Stately Mansions

-----. ‘Regény a drámában: Eugene O’Neill: Méltóbb palotát.’ Filológiai Közlöny 29 1983 364-89

Eisen, Kurt. The inner strength of opposites: O’Neill’s novelistic drama and  the melodramatic imagination. Athens: Univ. of Georgia Pr., 1994, 78-85

Fitzsimmons, Lorna. ‘Capitalist dispossession in O’Neill’s More Stately Mansions.’ Notes on Contemporary Literature 31 ii 2001 8-10

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 437-40, 457-79

Gómez Brown, J. C. Teatro americano. Montevideo: Barreiro y Ramos, 1981, 31-56: ‘Mansiones más majestuosas: drama póstumo de Eugenio O’Neill’

Goyal, Bhagwat S. The strategy of survival: human  significance of O’Neill’s plays. Ghaziabad: Vimal, 1975, 155-67

Hartman, Murray. ‘The skeletons in O’Neill’s Mansions.’ Drama Survey 5 1966-67 276-79 [M407]

Holtan, Orley I. ‘Eugene O’Neill and the death of the “convenant.”’ Quarterly Journal of Speech 56 1970 256-63 [M188]

Jackson, Esther M. ‘Eugene O’Neill’s More Stately Mansions: studies in dramatic form  at the University of Wisconsin—Madison.’ Eugene O’Neill Newsletter 5 ii 1981 21-26 [S35]

Köhler, Klaus. Eugene O’Neill’s antiheroes and their major precursors from late nineteenth to early twentieth century European drama. Dresden: Progressmedia, 2003, 93-97

Larner, Daniel. ‘O’Neill’s endings: the tragicomedy of distant echoes.’ Eugene O’Neill Review 31 2009 8-16 (exemplified by the play, Moon for the Misbegotten, and Long Day’s Journey)

Manheim, Michael. ‘At home with the Harfords.’ Eugene O’Neill Review 20 1996 102-09 [S42]         

-----. Eugene O’Neill’s new language of  kinship. Syracuse, NY: Syracuse UP, 1982, 116-25

-----. Vital contradictions: characterization in the plays of Ibsen, Strindberg, Chekhov and O’Neill. Brussels: Lang, 2002, 159-66

McDonough, Edwin J. Quintero directs O’Neill: an examination of eleven plays of Eugene O’Neill staged by José Quintero in New York City, 1956-1981. Chicago: A Capella Books, 1991, 141-57: ‘More Stately Mansions [1967]’

Miliora, Maria T. Narcissism, the family, and  madness: a self-psychological study of Eugene O’Neill and his plays. NY: Lang, 2000, 112-16

Miller, Ronald R. ‘From  scenario to script: O’Neill’s use of history in A Touch of the Poet and More Stately Mansions.’ Pp 65-71 in Karelisa V. Hartigan, ed. Text and presentation: the University of Florida Department of Classics Comparative Drama Conference papers, volume IX. Lanham, MD: UP of America, 1990 [S110]

-----. ‘History as image: approaches to the staging of Eugene O’Neill’s More Stately Mansions.’ Eugene O’Neill Newsletter 5 ii 1981 26-32 [S45]

Mullaly, Edward. ‘O’Neill and the perfect pattern.’ Dalhousie Review 52 1972-73 603-10 [S46]

Nethercot, Arthur H. ‘O’Neill’s More Stately Mansions.’ Educational Theatre Journal 27 1975 161-69 [S48]

Petite, Joseph. ‘The paradox of power in More Stately Mansions.’ Eugene O’Neill Newsletter 5 iii 1981 2-5 [S51]

Porter, Laurin R. ‘Bakhtin’s chronotope: time and space in A Touch of the Poet and More Stately Mansions.’ Modern Drama 34 1991 369-82 [S51]

-----. The banished prince: time, memory, and ritual in the late plays of Eugene O’Neill. Ann Arbor, MI: UMI Research Pr., 1988, 27-47: ‘More Stately Mansions: paradise lost’; ‘The banished prince revisited: a feminist rereading of More Stately Mansions.’ Eugene O’Neill Review 19 1995 7-27 [S51]

Raghavacharyulu, Dhupaty V. K. ‘O’Neill’s More Stately Mansions: the cycle of American history.’ Pp 76-99 in Prasad [S116]

Raleigh, John H. ‘Strindberg in Andrew Jackson’s America: O’Neill’s More Stately Mansions.’ Clio 13 i 1983 1-15 [S53]

Real, Jere. ‘The brothel in O’Neill’s Mansions.’ Modern Drama 12 1970 383-89 [M409]; repr. on pp 256-61 in Houchin

Riegl, Kurt. ‘Zum Thoreau-Echo im Spätwerk O’Neills.’ Germanisch-Romanische Monatsschrift 18 1968 191-99

Selmon, Malcolm. ‘Past, present, and future converged: the place of More Stately Mansions in the Eugene O’Neill canon.’ Modern Drama 28 1985 553-62 [S58]

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, 170-79

Singh, Tejpal. Eugene O’Neill: quest for reality in his plays. New Delhi: National Book, 1987, 136-43

Tiusanen, Timo. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968, 249-63: ‘One of the missing links: More Stately Mansions

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 Mourning Becomes Electra)

Winther, Sophus K. ‘Eugene O’Neill: the dreamer confronts his dream.’ Arizona Quarterly 21 1965 221-33 [M217] (in the play and A Touch of the Poet)

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