{"title":"Race, Politics, and Irish America: A Gothic History","authors":"C. Kinealy","doi":"10.5325/eugeoneirevi.44.2.0209","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0209","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88115872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Welded","authors":"Katie N. Johnson","doi":"10.5325/eugeoneirevi.44.2.0222","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0222","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77691563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The New York Tenderloin of John Sloan in Eugene O'Neill's Last Plays","authors":"Zander Brietzke","doi":"10.5325/eugeoneirevi.44.2.0149","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0149","url":null,"abstract":"ABSTRACT:Artist John Sloan (1871–1951) lived on the southern border of the Tenderloin in New York City from 1904 until 1912 and walked the neighborhood daily for subject matter to draw and paint. His canvases seem like stage composition in which the figures within a scene look at one another while inviting the viewer's participation. The dynamics between who is watching and who is being watched create stories in his pictures and, the author argues, inspire charitable feelings for characters in O'Neill's last plays: compassion for their situations; empathy for what they must endure; forgiveness for their transgressions; and redemption for their lives. To conclude the connections between the painter and the playwright, Sloan's painting of a sunset in the Tenderloin is interpreted as a visual benediction for Jamie Tyrone in A Moon for the Misbegotten.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45724118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editor’s Foreword","authors":"Alexander Pettit","doi":"10.5325/eugeoneirevi.44.2.vi","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.vi","url":null,"abstract":"Shouhua Qi’s 2019 essay on Chinese adaptations of Desire Under the Elms (EOR 40.1) reminded readers that Eugene O’Neill is popular in China—notwithstanding, I add, the playwright’s poor behavior there during his boozy junket of 1928. O’Neill’s eastern ascent began in the late 1970s, when “a climate materialized in China favorable for the reception of O’Neill and other modern Western writers,” Liu Haiping writes in his and Lowell Swortzell’s Eugene O’Neill in China: An International Centenary Celebration (Greenwood, 1992, xxx‒xxxi). In this issue’s Used Books entry, Shiyan Xu presents Haiping and Swortzell’s collection as a catalyst, noting that “over ten monographs on O’Neill by Chinese scholars” have appeared since its publication. Translations of monographs by Virginia Floyd and James A. Robinson and of biographies by Louis Sheaffer and Robert M. Dowling also followed the breakout collection into print. The work continues: a new monograph on Chinese translations on O’Neill plays has just been published by Zhejiang University Press, and a complete Chinese edition of O’Neill’s plays will appear in 2024 or 2025.The Eugene O’Neill Review is popular in China, too, now more than ever. According to JSTOR, the EOR’s primary online platform until 2023, China was responsible for more online hits in 2022 than any country except the United States. While JSTOR/EOR hits overall dropped by 16 percent from 2021 to 2022, due principally to the pandemic’s early ebb, hits from China increased by 36 percent. Xi’an Jiaotong–Liverpool University, Beihang University, and Guangdong University of Foreign Studies claimed spots 3 through 5 on JSTOR’s 2022 “Institutional Usage Report” for the EOR. Other Chinese universities placed prominently as well.Now, I’m no statistician and I admit that this whole “hits” thing registers fuzzily with me. But surely these numbers suggest that we ought to be paying more attention to China. Our decision to publish Xu’s contribution both in Chinese and in the author’s English translation attempts to honor and celebrate an intellectual bond among O’Neillians worldwide, and I’ll hope that this modest gesture signals a new commitment to learning from and sharing with our Chinese colleagues. I’m optimistic. Indeed, I’m pleased to announce that EOR 45.1 will include a debut essay about Chinese adaptations of Beyond the Horizon during the Second World War. And keep your eyes on our review sections… .Essays by three high-profile members of the Eugene O’Neill Society anchor the present issue. Bess Rowen argues that O’Neill’s stage directions serve throughout his corpus as indicators of “longing and belonging,” possessed of a unique generic functionality. It’s like encountering O’Neill liminally on stage and liminally in print, at the same time—disorienting and fascinating. In a bravado display of interdisciplinarity, Zander Brietzke draws out formal and perspectival correspondences between O’Neill’s late plays and the graphic art of his friend an","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Pandemic Pivot: The Birth of Tao House Films","authors":"E. Hayes","doi":"10.5325/eugeoneirevi.44.2.0169","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0169","url":null,"abstract":"ABSTRACT:Prior to the pandemic, the magic of live performance at Tao House had been discovered. There has been a growing appreciation for the unique experience of producing O'Neill's plays where he created them. The pandemic demanded a dramatic reimaging of what the combination of play and place meant. As with many innovations, necessity demanded new thinking. Problems arose and solutions were needed to meet the moment. A new approach to celebrating the plays of Eugene O'Neill and their connection to Tao House was discovered. Filming the plays not only gave us a way to remain creative and productive, thus keeping the spirit of O'Neill alive, but it also established a new breadth of audience. As much as we hope for and look toward a COVID-free future, the Eugene O'Neill Foundation now looks toward a future of hybrid programming—a combination of live and filmed productions.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43367872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Staging America: The Artistic Legacy of the Provincetown Players by Jeffery Kennedy (review)","authors":"Drew Eisenhauer","doi":"10.5325/eugeoneirevi.44.2.0203","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0203","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70832254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The First Man","authors":"Titian Lish","doi":"10.5325/eugeoneirevi.44.2.0237","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0237","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89899466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Moon for the Misbegotten","authors":"Danica McGovern","doi":"10.5325/eugeoneirevi.44.2.0232","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0232","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72489494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"And, Perhaps, O'Neill at Last Belongs: O'Neill's Dramaturgically Innovative Stage Directions","authors":"B. Rowen","doi":"10.5325/eugeoneirevi.44.2.0132","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0132","url":null,"abstract":"ABSTRACT:Eugene O'Neill was constantly experimenting with theatrical styles and genres. From naturalism to expressionism, his plays both follow the tenets of each of these forms while containing a throughline that is, for lack of a better word, O'Neillian. This article argues that O'Neill's stage directions contain pertinent information with regard to what aspects of these dramatic styles O'Neill is adhering to and what parts of his own style he has not relinquished. By looking at Bound East for Cardiff, The Hairy Ape, and Hughie in contrast to other plays written around the same time period in those specific genres, it becomes clear that O'Neill uses stage directions for the purpose of transmitting dramatic style. Like the Hairy Ape himself, O'Neill both belongs and does not belong to each of the dramatic styles he used for his plays, and this \"failure\" is perhaps his greatest achievement.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46388490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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