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i. Trauma and Modernist Drama
ii. The Historical Context

Part 1: From Dissociation to Repression

Chapter 1: The Dissociationists

Chapter 2: After 1909

Part 2: From the Theater of Therapeutics to Dramatic Modernism

Chapter 3: The Theater of Therapeutics

Chapter 4: Trauma, Dissociation and Modernist Dramatic Form

Part 3: The Little Theaters and the Magazines

Chapter 5: Theodore Dreiser and the Comfort of Freud

Chapter 6: Dramatizing Incest

i. Gertrude Stein: IIIIIIII
ii. Djuna Barnes: the Erotics of Trauma

Chapter 7: The Theatre of War in Greenwich Village

i. Millay: Savage Beauty?
ii. O’Neill and Shell Shock

Part 4: Provincetown Careers

Chapter 8: Susan Glaspell: Dionysian

Chapter 9: “The Horror! The Horror!” O’Neill, Incest, and Black Face

Part 5: Strange and Stranger Fruits

Chapter 10: Lynching and Miscegenation in African American Drama

i. Du Bois, Locke, and Dissociation
ii. Angelina Grimke: White Crow
iii. Jean Toomer: “How Many Lives?”
iv. Marita Bonner: Where the Skin is Tenderest

Part 6: On Broadway

Chapter 11: The Matriarchal Offense

Chapter 12: Mimetic and Traumatic Doubling in O’Neill

Part 7: Trauma and the Left

Chapter 13: The Father Machine

Chapter 14: The Machine of Consciousness

Chapter 15: John Howard Lawson: Psychology and Revolution

Part 8: Towards the Freudian Hegemony

Chapter 16: O’Neill as a Freudian

Chapter 17: Sophie Treadwell and the Death of the Female Hysteric

Conclusion: The End of Modernism




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