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• catalog abstract "In an age dominated by the novel, Eugene O'Neill (1888-1953) emerged as America's first great modern playwright. His work has long been characterized as novelistic and melodramatic, but until now neither of these attributes has been adequately explored, much less linked together. In The Inner Strength of Opposites, Kurt Eisen departs from the primarily biographical and psychoanalytical scholarship on O'Neill to offer new theoretical insights on his transformation of the modern stage. Drawing on studies of the novel by Georg Lukacs, Rene Girard, M.M. Bakhtin, and on such theorists of melodrama as Eric Bentley, Robert B. Heilman, and Peter Brooks, Eisen shows how O'Neill evokes and then subverts the simple unified self of nineteenth-century melodrama. By dismantling the moralistic and psychologically crude oppositions on which melodrama depends, O'Neill achieved novelistic yet vitally theatrical characters and relationships whose dramatic tension is inherent - a natural development of the "inner strength of opposites." Tracing the course of melodrama from its origins in the French Revolution and the subsequent rise of the Napoleonic hero in the novel, Eisen also renders a persistent historical subtext within O'Neill's dramatic experiments. He then suggests that using marriage as a guiding theme, the dramatist united novelization and melodrama in an artistic and spiritual consummation, a wedding of word to life. In thorough and imaginative analyses of O'Neill's Long Day's Journey into Night and The Iceman Cometh, Eisen illustrates how techniques of the novel enabled O'Neill to explore the ideology of melodrama within his conception of family as destiny, his personal ambitions as an artist, and, finally, his critique of modern history. Playwrights from Arthur Miller and Tennessee Williams to Marsha Norman, Sam Shepard, and August Wilson would later use similar techniques to examine for themselves major historical and theatrical dilemmas. O'Neill's groundbreaking meditations on these same problems, Eisen points out, led him to affirm an essential dramatic paradigm: two voices, compelled into dialogue, working against time and trusting in the enabling rituals of theater to sustain life.".
• catalog contributor b5763041.
• catalog created "c1994.".
• catalog date "1994".
• catalog date "c1994.".
• catalog dateCopyrighted "c1994.".
• catalog description "By dismantling the moralistic and psychologically crude oppositions on which melodrama depends, O'Neill achieved novelistic yet vitally theatrical characters and relationships whose dramatic tension is inherent - a natural development of the "inner strength of opposites." Tracing the course of melodrama from its origins in the French Revolution and the subsequent rise of the Napoleonic hero in the novel, Eisen also renders a persistent historical subtext within O'Neill's dramatic experiments. He then suggests that using marriage as a guiding theme, the dramatist united novelization and melodrama in an artistic and spiritual consummation, a wedding of word to life. ".
• catalog description "In an age dominated by the novel, Eugene O'Neill (1888-1953) emerged as America's first great modern playwright. His work has long been characterized as novelistic and melodramatic, but until now neither of these attributes has been adequately explored, much less linked together. In The Inner Strength of Opposites, Kurt Eisen departs from the primarily biographical and psychoanalytical scholarship on O'Neill to offer new theoretical insights on his transformation of the modern stage. Drawing on studies of the novel by Georg Lukacs, Rene Girard, M.M. Bakhtin, and on such theorists of melodrama as Eric Bentley, Robert B. Heilman, and Peter Brooks, Eisen shows how O'Neill evokes and then subverts the simple unified self of nineteenth-century melodrama. ".
• catalog description "In thorough and imaginative analyses of O'Neill's Long Day's Journey into Night and The Iceman Cometh, Eisen illustrates how techniques of the novel enabled O'Neill to explore the ideology of melodrama within his conception of family as destiny, his personal ambitions as an artist, and, finally, his critique of modern history. Playwrights from Arthur Miller and Tennessee Williams to Marsha Norman, Sam Shepard, and August Wilson would later use similar techniques to examine for themselves major historical and theatrical dilemmas. O'Neill's groundbreaking meditations on these same problems, Eisen points out, led him to affirm an essential dramatic paradigm: two voices, compelled into dialogue, working against time and trusting in the enabling rituals of theater to sustain life.".
• catalog description "Includes bibliographical references and index.".
• catalog description "Introduction: Overreaching the Medium -- 1. Melodrama, Novelization, and the Modern Stage -- 2. Novelizing the Melodramatic Hero: The Example of Napoleon -- 3. Marrying the Word to Life -- 4. The Spare Room: Long Day's Journey into Night -- 5. Writing on the Wall: The Iceman Cometh and the Crisis of History.".
• catalog extent "xi, 241 p. ;".
• catalog identifier "0820315958 (alk. paper)".
• catalog issued "1994".
• catalog issued "c1994.".
• catalog language "eng".
• catalog publisher "Athens : University of Georgia Press,".
• catalog subject "812/.52 20".
• catalog subject "Drama Technique.".
• catalog subject "Melodrama.".
• catalog subject "O'Neill, Eugene, 1888-1953 Criticism and interpretation.".
• catalog subject "PS3529.N5 Z6297 1994".
• catalog subject "Polarity in literature.".
• catalog tableOfContents "Introduction: Overreaching the Medium -- 1. Melodrama, Novelization, and the Modern Stage -- 2. Novelizing the Melodramatic Hero: The Example of Napoleon -- 3. Marrying the Word to Life -- 4. The Spare Room: Long Day's Journey into Night -- 5. Writing on the Wall: The Iceman Cometh and the Crisis of History.".
• catalog title "The inner strength of opposites : O'Neill's novelistic drama and the melodramatic imagination / Kurt Eisen.".
• catalog type "Criticism, interpretation, etc. fast".
• catalog type "text".