bluuebunny/crossref_metadata_2025 huggingface dataset:
Effect of Insulin Glargine and n-3FA on Carotid Intima-Media Thickness in People With Dysglycemia at High Risk for Cardiovascular Events
Authors: Lonn Eva M. , Bosch Jackie , Diaz Rafael , Lopez-Jaramillo Patricio , Ramachandran Ambady , Hâncu Nicolae , Hanefeld Markolf , Krum Henry , Ryden Lars , Smith Sandra , McQueen Matthew J. , Dyal Leanne , Yusuf Salim , Gerstein Hertzel C. ,   for the GRACE and ORIGIN Investigators
Published: April 2013

OBJECTIVE

To evaluate the effects of insulin glargine and n-3 polyunsaturated fatty acid (n-3FA) supplements on carotid intima-media thickness (CIMT).

RESEARCH DESIGN AND METHODS

We enrolled 1,184 people with cardiovascular (CV) disease and/or CV risk factors plus impaired fasting glucose, impaired glucose tolerance, or early type 2 diabetes in a randomized multicenter 2 × 2 factorial design trial. Participants received open-label insulin glargine (targeting fasting glucose levels ≤5.3 mmol/L [95 mg/dL]) or standard glycemic care and double-blind therapy with a 1-g capsule of n-3FA or placebo. The primary trial outcome was the annualized rate of change in maximum CIMT for the common carotid, bifurcation, and internal carotid artery segments. Secondary outcomes were the annualized rates of change in maximum CIMT for the common carotid and the common carotid plus bifurcation, respectively. Baseline followed by annual ultrasounds were obtained during a median follow-up of 4.9 years.

RESULTS

Compared with standard care, insulin glargine reduced the primary CIMT outcome, but the difference was not statistically significant (difference = 0.0030 ± 0.0021 mm/year; P = 0.145) and significantly reduced the secondary CIMT outcomes (differences of 0.0033 ± 0.0017 mm/year [P = 0.049] and 0.0045 ± 0.0021 mm/year [P = 0.032], respectively). There were no differences in the primary and secondary outcomes between the n-3FA supplement and placebo groups.

CONCLUSIONS

In people with CV disease and/or CV risk factors and dysglycemia, insulin glargine used to target normoglycemia modestly reduced CIMT progression, whereas daily supplementation with n-3FA had no effect on CIMT progression.
Adding Once-Daily Lixisenatide for Type 2 Diabetes Inadequately Controlled With Newly Initiated and Continuously Titrated Basal Insulin Glargine
Authors: Riddle Matthew C. , Forst Thomas , Aronson Ronnie , Sauque-Reyna Leobardo , Souhami Elisabeth , Silvestre Louise , Ping Lin , Rosenstock Julio
Published: April 2013

OBJECTIVE

When oral therapy for type 2 diabetes is ineffective, adding basal insulin improves glycemic control. However, when glycated hemoglobin (HbA1c) remains elevated because of postprandial hyperglycemia, the next therapeutic step is controversial. We examined the efficacy and safety of lixisenatide in patients with HbA1c still elevated after initiation of insulin glargine.

RESEARCH DESIGN AND METHODS

This double-blind, parallel-group trial enrolled patients with HbA1c 7–10% despite oral therapy. Insulin glargine was added and systematically titrated during a 12-week run-in, after which candidates with fasting glucose ≤7.8 mmol/L and HbA1c 7–9% were randomized to lixisenatide 20 µg or placebo for 24 weeks while insulin titration continued. The primary end point was HbA1c change after randomization.

RESULTS

The randomized population (n = 446) had mean diabetes duration of 9.2 years, BMI 31.8 kg/m2, and daily glargine dosage of 44 units. HbA1c had decreased during run-in from 8.6 to 7.6%; adding lixisenatide further reduced HbA1c by 0.71 vs. 0.40% with placebo (least squares mean difference, –0.32%; 95% CI, –0.46 to –0.17; P < 0.0001). More participants attained HbA1c <7% with lixisenatide (56 vs. 39%; P < 0.0001). Lixisenatide reduced plasma glucose 2 h after a standardized breakfast (difference vs. placebo –3.2 mmol/L; P < 0.0001) and had a favorable effect on body weight (difference vs. placebo –0.89 kg; P = 0.0012). Nausea, vomiting, and symptomatic hypoglycemia <3.3 mmol/L were more common with lixisenatide.

CONCLUSIONS

Adding lixisenatide to insulin glargine improved overall and postprandial hyperglycemia and deserves consideration as an alternative to prandial insulin for patients not reaching HbA1c goals with recently initiated basal insulin.
Glucagon-Like Peptide 1 Reduces Endothelial Dysfunction, Inflammation, and Oxidative Stress Induced by Both Hyperglycemia and Hypoglycemia in Type 1 Diabetes
Authors: Ceriello Antonio , Novials Anna , Ortega Emilio , Canivell Silvia , La Sala Lucia , Pujadas Gemma , Esposito Katherine , Giugliano Dario , Genovese Stefano
Published: April 2013

OBJECTIVE

Hyperglycemia and hypoglycemia currently are considered risk factors for cardiovascular disease in type 1diabetes. Both acute hyperglycemia and hypoglycemia induce endothelial dysfunction and inflammation, raising the oxidative stress. Glucagon-like peptide 1 (GLP-1) has antioxidant properties, and evidence suggests that it protects endothelial function.

RESEARCH DESIGN AND METHODS

The effect of both acute hyperglycemia and acute hypoglycemia in type 1 diabetes, with or without the simultaneous infusion of GLP-1, on oxidative stress (plasma nitrotyrosine and plasma 8-iso prostaglandin F2alpha), inflammation (soluble intercellular adhesion molecule-1 and interleukin-6), and endothelial dysfunction has been evaluated.

RESULTS

Both hyperglycemia and hypoglycemia acutely induced oxidative stress, inflammation, and endothelial dysfunction. GLP-1 significantly counterbalanced these effects.

CONCLUSIONS

These results suggest a protective effect of GLP-1 during both hypoglycemia and hyperglycemia in type 1 diabetes.
Low-Carbohydrate Diet for the Treatment of Gestational Diabetes Mellitus
Authors: Moreno-Castilla Cristina , Hernandez Marta , Bergua Merce , Alvarez Maria C. , Arce Maria A. , Rodriguez Karen , Martinez-Alonso Montserrat , Iglesias Montserrat , Mateu Magdalena , Santos Maria D. , Pacheco Linda R. , Blasco Yolanda , Martin Eva , Balsells Nuria , Aranda Nuria , Mauricio Didac
Published: April 2013

OBJECTIVE

Medical nutrition therapy based on the control of the amount and distribution of carbohydrates (CHO) is the initial treatment for gestational diabetes mellitus (GDM), but there is a need for randomized controlled trials comparing different dietary strategies. The purpose of this study was to test the hypothesis that a low-CHO diet for the treatment of GDM would lead to a lower rate of insulin treatment with similar pregnancy outcomes compared with a control diet.

RESEARCH DESIGN AND METHODS

A total of 152 women with GDM were included in this open, randomized controlled trial and assigned to follow either a diet with low-CHO content (40% of the total diet energy content as CHO) or a control diet (55% of the total diet energy content as CHO). CHO intake was assessed by 3-day food records. The main pregnancy outcomes were also assessed.

RESULTS

The rate of women requiring insulin was not significantly different between the treatment groups (low CHO 54.7% vs. control 54.7%; P = 1). Daily food records confirmed a difference in the amount of CHO consumed between the groups (P = 0.0001). No differences were found in the obstetric and perinatal outcomes between the treatment groups.

CONCLUSIONS

Treatment of women with GDM using a low-CHO diet did not reduce the number of women needing insulin and produced similar pregnancy outcomes. In GDM, CHO amount (40 vs. 55% of calories) did not influence insulin need or pregnancy outcomes.
Variational iteration method — a promising technique for constructing equivalent integral equations of fractional order
Authors: Wang Yi-Hong , Wu Guo-Cheng , Baleanu Dumitru
Published: April 2013

The variational iteration method is newly used to construct various integral equations of fractional order. Some iterative schemes are proposed which fully use the method and the predictor-corrector approach. The fractional Bagley-Torvik equation is then illustrated as an example of multi-order and the results show the efficiency of the variational iteration method’s new role.
The Tragic Effect in Autumn Fire and Desire Under the Elms
Authors: Conlin Matthew
Published: April 2013

During the winter and spring of 1924, two modem dramatists, both highly regarded in their own countries, turned their minds to the same problem. Each was writing a new tragedy and by chance each decided on basically the same plot: the story of an elderly widower who brings into his farmhouse a young wife only to find within a year that the new bride is more attracted to her new stepson than to her husband. Each finished his play during the summer of that year. Eugene O'Neill offered his, entitled Desire under the Elms, to the Provincetown Players; T. C. Murray sent his, called Autumn Fire, to the nearby Abbey Theatre. Since that day both works have enjoyed steady popularity.
Joyce's Exiles and the Prodigal Son
Authors: Moseley Virginia
Published: April 2013

That a Biblical parable is the fundamental analogy of Exiles seems, in the first place, an important clue to the relation of Joyce's only attempt at drama to his other works; for the parables, used to illustrate rather than to establish doctrine, were only parts of a whole. Joyce's explanation suggests that his only play illustrates a vision of life which, like Jesus', was not "of this world," then, as well as that he considered this work a necessary "penance." According to other notes, Richard Rowan, the "prodigal son" of Exiles, must "persuade," and although all the characters should remain convincingly natural, they must work out theories. As Colum points out in his introduction, the "exiles" have all been taken "beyond the accepted moralities and to where they have to make choices for themselves" (p. 8). It is probable, therefore, that Joyce's dramatic parable was intended to be much more than an experiment in technique. Through this medium Joyce may have been seeking not only to achieve a better understanding of his whole way of life but also a better means of externalizing his vision.Exiles may well represent an important development in Joyce's career as an artist and thinker.
A Revaluation of Axel
Authors: Friedman Melvin
Published: April 2013

Villiers de l’Isle-Adam was said to have lived on terms of dangerous intimacy with the dream. His almost pathological fear of too-close association with his contemporaries made for an unhealthy state in his personal life. He lived apart from his fellow men in the manner of a recluse. The symptoms of this are everywhere evident in his last work, published posthumously in 1890, Axel. It is perhaps time for a reappraisal of that complicated drama which Edmund Wilson introduced to the American reader in his Axel's Castle (1931). Wilson's comments about the play were limited to certain belle-Iettristic remarks to give his thorough study of Symbolism a convenient fulcrum. In his final chapter he proceeded to contrast the Axel of Villiers de l1sle-Adam's play with the poet Rimbaud. Each was intended to represent an approach of the "Symbolist" man: Axel, the renunciation of life through suicide; Rimbaud, the rejection of art and the search for a new medium.
Julia Marlowe: Portrait of an Actress
Authors: Wagenknecht Edward
Published: April 2013

More than any other famous actress of her time, Julia Marlowe enjoyed a deliberately self-directed career. Mrs. Fiske turned to Ibsen because he seemed, on the whole, better than any other of the moderns to suit her particular style. Ethel Barrymore played everything from The School for Scandal to Rasputin and the Empress. Even the association of Maude Adams with Barrie and with Rostand was due more or less to managerial exigencies. But Julia Marlowe knew from the beginning that what she wanted to do was to interpret grandly the heroines of Shakespeare. To this aspiration she dedicated all that there was of her, and after years of struggle in the face of terrific odds, she won through by sheer force of perseverance and talent, bringing her girlhood's dreams at last to a richer, fuller realization than even she could have dared to hope for.
Messages From Pinter
Authors: Walker Augusta
Published: April 2013

EVERYBODY RECOGNIZES THAT MODERN THEATER IS PUNY, compared to the real thing of the past; it presents a puny species of human who has no incentive for character development and no notion of what he exists for. But in the hands of a genuine artist this negative seeming substance can be used, if not to embody any great principles, at least to set loose all the big questions, and the English playwright, Harold Pinter, is one of the most skillful at doing so. There is no need to make more of his material than he, does, and no reason why he should ever run out of it.
Theory And Practice in the Plays Of Henry James
Authors: King Kimball
Published: April 2013

IF THE PLAYS OF HENRY JAMES HAVE BEEN IGNORED, it is largely because his critics consider James's theatrical ventures unworthy in themselves and justifiable only as lessons in dramatic technique advantageously applied to his later novels. Leon Edel, in particular, makes much of James's inability to collaborate with ,actors, producers and stage managers; and he says that unlike the successful playwright Wilde, James "could not be indifferent to his public." Though he referred to Wilde as the "unspeakable one," James envied Wilde's success and debased his own art to appeal to the latter's audiences.
James And Dumas, fils
Authors: Maguire
Published: April 2013

HENRY JAMES'S REVIEW OF L’Etrangére in his March 25, 1876 newsletter to the Tribune has an asperity about it which seems oddly exaggerated. He calls it a "rather desperate piece of floundering in the dramatic sea," and even the presence of "that very interesting actress, Mme. Sarah Bernhardt" could not soften him. (p. 90) He sums up the plot satirically, sprinkling loaded words and belittlingly colloquial language: it is the old story of the wealthy girl married to a "shaky, unclean little Duke," so that her bourgeois father may have a title in the family and the title may have financial support. Gerard, a poor young man, son of the Duchess' former governess, has renounced the poor little rich girl because of the discrepancy in their fortunes. James rather unfairly calls him her "lover," adding the corrective parenthesis "a lover who is as yet, I hasten to add, sincerely platonic." (p. 88) The "as yet" is uncalled for, since the presence of the impeccable young man contradicts James's judgment: "There is not a person in the play who is not, in one way or another, misbehaving grossly." (p. 90) There are, James' says, three distinct faults in the play: it "hangs very loosely together," and the story is not only "extremely improbable," but "profoundly disagreeable." It is "saturated with" an "aroma of bad company and loose living." M. Dumas' muse is incapable of making even rudimentary distinctions between what is "possible, for decent people," and what is not. James bases his disapproval, therefore, on both technical and moral grounds.
On Structure And Sweeney Agonistes
Authors: Holt Charles
Published: April 2013

MR. ELIOT'S CURIOUS MODESTY LEADS HIM TO DESCRIBE the two scenes of Sweeney Agonistes as, respectively, the "Fragment of a Prologue" and the "Fragment of an Agon." Too many critics, unfortunately, have been content to let it go at that, to hurry apologetically through the "fragmentary superfluities" of the opening scene in Doris Dorrance's flat to Sweeney's "broadbottomed" appearance in the second scene and the subsequent thickenings of the plot.
O'Neill's Use, Of Dante In The Fountain And The Hairy Ape
Authors: Andreach Robert
Published: April 2013

The Hairy Ape IS ONE OF EUGENE O'NEILL'S MOST POPULAR plays, probably his most anthologized one, while remaining one of his most confusing plays. According to Carpenter, "The trouble is that the emotional violence of the hero and his sudden alienation from American life are not fully motivated nor explained." Carpenter is right, of course, yet I think we can better appreciate Yank's bewilderment and fury if we read this play in relation to a play O'Neill was working on in the period preceding and following the composition of The Hairy Ape: The Fountain. In order, therefore, to try to understand Yank, I want first to examine O'Neill's use of Dante in The Fountain.
J.M. Synge And The Drama Of Art
Authors: Ganz Arthur
Published: April 2013

THE NEWSPAPER ATTACKS THAT GREETED Synge's first play, In the Shadow of the Glen, and the famous riots at the opening performance of The Playboy of the Western World took as their theme the notion that Synge was a traducer of Irish womanhood and a corrupter of the Irish nation. That the depiction in the first play of a peasant girl discontented with a crass, cold, miserly husband or the mention in the second of a ladies' undergarment could subvert the institution of marriage or demonstrate that the people of Ireland were unfit for home rule seems at this date unlikely. The student of Synge may by now be excused from defending him against these charges or even against the slightly more coherent assertions that his works are untrue to Irish life and language. Synge's plays are valid representations of the human world of thought and feeling which we all inhabit, and whether or not the pattern of life and speech portrayed in them is precisely coincident with that of the Irish peasantry at the tum of the century is a question irrelevant to matters of literary analysis or judgment. Unfortunately, much of the writing on Synge has been too partisan or simply too general to deal with him as a literary and dramatic artist.
One Man And His Dog: A Study Of A Deleted Draft Of Bernard Shaw's The Philanderer
Authors: Tyson Brian
Published: April 2013

Now above all the machinery of Victorian drama, Shaw abominated the plot. His hatred for it is apparent throughout his entire critical career. Speaking of H. A. Jones's play Hoodman Blind, as early as 1885, he said: “it has that dramatic cancer, a plot"; and he praised another work by the same author, six months later, by saying: "The sole superiority of The Lord Harry to Mr. Jones's previous work consists in its almost absolute freedom from the incubus of a plot." His days with The Saturday Review further exemplify this attitude; so that when he turned from playgoing to playwriting—activities which he carried out simultaneously for a time—one would expect him to put his precepts into practice. And so it has always been believed.
A Play On The Death Of God: The Irony Of Yeats's The Resurrection
Authors: Baird Mary
Published: April 2013

FROM TITLE TO CRYPTIC CONCLUSION, The Resurrection,by William Butler Yeats, presents an enormous irony. Dated 1931, almost 2000 years after the event, it celebrates not the triumph of Christ but the supposed impending death of Christianity. Controlling here is Yeats's central idea that each of the great cycles of Western history, the classical and the Christian, began with a conception by a mortal woman, of the child of a god. He foresees the dissolution of the Christian cycle and the beginning of another.
The Theme And Structural Significance Of Leonid Andreev's The Black Masks
Authors: Woodward James
Published: April 2013

No MAJOR WORK OF Andreev has provoked less comment than his allegorical drama The Black Masks. This is particularly surprising in view of the great importance which he himself attached to it. He wrote to the critic A. Evlakhov in 1916: "For me personally 'The Black Masks' is the most important of my works; it is the closest to me and psychically the dearest (despite its many formal defects)." Although he is referring here primarily to its theme, a greater impression was made by the structural and formal peculiarities of the play when it appeared in St. Petersburg in the autumn of 1908 in the seventh of the Sipovnik ("Wildbriar") almanacs. Whilst most theatre-goers, according to the contemporary critic Kozlovskij, were discouraged by the complexity of the work from even attempting to understand the thought expressed in it, many theoreticians of the "new theatre" were intrigued by Andreev's manner of treatment. It is maintained by the present writer that the source of this interest was due recognition of the fact that Andreev had attempted in the play to put into practice certain theoretical principles which were the subject of keen debate in theatrical circles at the time. But before this aspect of the play's significance can be discussed, it is necessary to establish briefly what Andreev was trying to depict in the play; the "what" must precede the "how."
O'Neill And German Expressionism
Authors: Valgemae Mardi
Published: April 2013

WHEN BERTOLT BRECHT TOLD AN INTERVIEWER THAT "People like Georg Kaiser and his follower O'Neill have successfully applied quite new methods which are good and interesting even if their ideas don't coincide with my own," he had obviously not heard about O'Neill's protestations that he "did not think much" of Kaiser's plays, because they were "too easy" and "would not have influenced me." Despite his negative declarations concerning Kaiser, O'Neill's attempts to objectify inner experiences by means of the forms of a stylized theater have much in common with the techniques of the Continental expressionists. Many American critics, however, took O'Neill's remarks at face value and dismissed the possibility of his affinity with the German expressionists by merely quoting his denials. The adjective "expressionistic" has, of course, been applied to several of O'Neill's plays, but the tendency has been to minimize his ties with the Germans and to emphasize his indebtedness to Strindberg. John Gassner's observation that "O'Neill derived his expressionist technique directly from Strindberg and not from the late central European expressionists" is characteristic of the current evaluation of O'Neill. One looks in vain for Kaiser's name in the indexes of recent books on O'Neill, and even Robert Brustein, who lists nine modern playwrights—from Andreyev to Wedekind—as the sources of O'Neill's inspiration, omits any mention of Kaiser. Yet failure to account for the influence of the German expressionists in general and Georg Kaiser in particular makes it difficult to evaluate O'Neill's development as an experimenter with dramatic form.
LOPEZ RUBIO'S ALBERTO: CHARACTER REVELATION AND FORM
Authors: Holt Marion
Published: April 2013

THEATRICAL ACTIVITY IN SPAIN REMAINED CURTAILED DURING the decade that followed the end of the civil war in 1939. The finest of the younger dramatists, Federico Garcia Lorca, had been killed; the promising talent of Alejandro Casona was lost to the nation through exile. The aging Benavente continued to produce new plays of no exceptional interest, and several playwrights who had begun to write for the stage before or during the period of the republic resumed their careers. But the unfortunate state of the national economy, the imposed censorship, and the fear of any expression that might lend itself to unfavorable ideological interpretation were almost insurmountable obstacles to experimentation in form or the presentation of provocative themes.
Georges SchehadÉ: The Transfiguration Of A Poetic Theatre
Authors: Silenieks Juris
Published: April 2013

Georges Schehadé's first play, Monsieur Bob'le, produced in 1951, was generally acclaimed by critics as a highly original and significant contribution to the modern poetic theater, thus setting the pattern of criteria applied to the interpretation of his theater. With the recent production of his latest play, L'Emigre de Brisbane, it is incontestable that Schehadé'scaptivating poetic idiom is the most salient characteristic of his theater. Analyzing Schehadé's first plays, Jacques Guicharnaud had very perceptively summarized his method: "Each play goes out to meet the spectator on his own ground instead of beginning with a dazzling avant-garde attack .... Then the language becomes increasingly metaphorical, the images increasingly obscure, the situations increasingly unreal. ... Everything happens as if the poet were taking the spectator by the hand and gradually leading him into his universe of enchantment." Although Schehadé has never really renounced this characteristic method of his, it is not difficult to detect a humorous vein that has had a progressively heavier admixture of irony coalescing with paradoxes and parody. It is evident that the land of mystery is more easily identifiable in terms of the contemporary social and political scene. Persisting in its inveterate refusal to return to naturalism, while using abundantly the nonverbal elements of music, dance, and ritual, Schehadé's theater seems to be drawing more copiously on comic effects that, having lost much of their original gaiety, unselfconscious naturalness and spontaneity, leave almost an aftertaste of cultivated sarcasm and selfparody. It is the Schehadé protagonist who has suffered most from this metamorphosis of the author's attitude.
Polus Naufrangia: A Key Symbol In The Ascent Of F6
Authors: Bruehl William
Published: April 2013

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Robert Bolt: Self, Shadow, And The Theater Of Recognition
Authors: Atkins Anselm
Published: April 2013

OPPOSITES, AT THEIR FARTHEST EXTREMES, return on each other. A negation contains its affirmation; the end-points of a line bent into a circle coincide; the devil is the "ape of God." This paradox has been fully discussed by Norman Brown, who draws on .the most diverse sources: literature, psychology, philosophy, and theology. A striking example of the coincidence of opposites has been created by Robert Bolt in his play, A Man For All Seasons. The crude stagehand dressed in satanic black and called the "Common Man" is an exact shadow of Thomas More, the saint-protagonist. More and the Common Man, who at first sight seem so irreconcilable, are two sides of an equation which, as far as I know, has not been observed by critics.
Arthur Miller: Between Pathos And Tragedy
Authors: Towbridge Clinton
Published: April 2013

What might be called Miller's commitment to greatness is important to recognize at the outset because it is this that has made him so harshly critical of the modern theater, has driven him to use his talents only for the production of what he considers the highest in dramatic art, and it is this, finally, that has brought him the extraordinary mixture of critical praise and scorn that he has received.
Structure In After The Fall: The Relevance of the Maggie Episodes to the Main Themes and the Christian Symbolism
Authors: Stinson John
Published: April 2013

CRITICAL OPINION DOES NOT SEEM ABOUT TO CRYSTALLIZE ITSELF very soon on After the Fall, a play which provoked even initially a deeply divergent cleft among our literary and dramatic critics. Reaction to the play is now distinctly weighted on the negative side, with the major charge levelled against Miller being that he has failed to transmute, satisfactorily, autobiographical material into art. The charge is a serious and legitimate one, but it is one which has not yet, as far as I know, been thoroughly substantiated. Critics have pointed accusing fingers at Miller for dropping whole episodes of his own life into the play without giving them proper aesthetic distance; they simply cite as proof the well-known facts of his own biography. But the matter of taste seems too often to be inextricably confused with all this, and questionable taste should not necessarily be identified with bad art. Does the play seem to lack aesthetic distance to someone who knows nothing of Miller's biography, or—as we should rather have to phrase it in this case—does the play seem structurally inchoate, weak, or confusing? This is the basic question which will have to be answered before any definitive critical opinion of the play can be formed.
The Tragic Downfall Of Blanche Du Bois
Authors: Berkman Leonard
Published: April 2013

THOUGH THE EXTENT TO WHICH A Streetcar Named Desire exemplifies traditional tragedy may command increasing attention as this paper progresses, a demonstration of that idea is not the central aim at hand. It is, rather, one fragment of the question of tragic stature that most concerns us here: the terms according to which "victory" may be considered within the heroine's grasp, the course of her struggle toward victory, and the pivotal moment in which the struggle turns to defeat.
Albee's Great God Alice
Authors: Valgemae Mardi
Published: April 2013

CRITICS WHO HAVE GRAPPLED WITH EDWARD ALBEE'S Tiny Alice have conjectured about its possible sources. These range from Alic~s Adventures in Wonderland to the plays of Noel Coward, T. S.Eliot, Jean Genet, and several other European playwrights. Surprisingly, no one has mentioned Eugene O'Neill. Albee himself has repeatedly admitted being "an enormous admirer" of "late O'Neill." "By late O'Neill, do you mean Long Day's Journey Into Night?" asked an interviewer. "Yes," replied Albee; "and The Iceman Cometh and those of that period when he started writing good plays." The interviewer: "Do you mean after he got over his gimmicky period?" Albee: "Yes."! Yet it is precisely the O'Neill of the "gimmicky period" who seems to have influenced the Albee of Tiny A lice.
Games People Play In Who's Afraid Of Virginia Woolf?
Authors: Flasch Joy
Published: April 2013

Games People Play. BY ERIC BERNE, M.D., was published in July, 1964, and is now in its thirtieth printing. Appealing to man's interest in himself, Berne elaborates on a system of. individual and social psychiatry based on game analysis and group therapy introduced in a previous volume, Transactional Analysis in Psychotherapy. The current work shows how people can lead more constructive lives by analyzing their behavior in terms of games.
O'Neill Since World War II: Critical Reception In New York
Authors: Reardon William
Published: April 2013

SINCE THE END OF WORLD WAR II, O'Neill thoroughly consolidated his position as America's foremost dramatist. The long hiatus which followed the production of Days Without End (1934) ended with the opening of The Iceman Cometh in 1946. Since that year not only have most of the works of his later period been presented, but also most of the significant works of his middle and early periods. Furthermore, some of his plays have been transferred to the musical and operatic stage, as well as to the media of the motion pictures and television.
The Lady Gregory Letters To G. B. Shaw
Authors: Murphy Daniel
Published: April 2013

THE SECOND LETTER IN THE FOLLOWING SELECTION is characteristic of the relationship between Lady Gregory and G. B. Shaw—it is a request for advice. Shaw was frequently asked about theater matters, for, as Lady Gregory once pointed out, she could not go to the Author's League, since, as the owner of a theater, she was considered the author's legitimate enemy. Problems were constantly cropping up—money matters, salaries for author and actor, audience hostility, and the need for new plays.

It was this need for plays, perhaps, that first involved Shaw with what has become known as the Irish Renaissance. The Abbey patent restricted the theater "to exhibit plays in the Irish or English language written by Irish writers on Irish subjects, or such dramatic works of foreign authors as would tend to interest the public in the higher works of dramatic art .... "The small repertory company assembled by the Fay brothers precluded any ambitious undertaking; moreover, there was no tradition in Ireland for the kind of plays the theater needed. Yeats asked Shaw for help, and he responded with John Bull's Other Island.
Christopher Fry As Tragicomedian
Authors: Roy Emil
Published: April 2013

ALTHOUGH CHRISTOPHER FRY HAS CALLED HIS NON-RELIGIOUS PLAYS "comedies" and has repeatedly used the term in his infrequent but incisive criticism, all his plays except perhaps Curtmantle belong to the tradition of tragicomedy. It is a form which has also been called "problem play" (in Shakespeare), "dark comedy" or, by Suzanne Langer, "averted tragedy." Fry's term, of course, is "comedy of mood." If as Eric Bentley suggests, the two most successful types of tragicomedy are tragedy with a happy ending and comedy with an unhappy ending, Fry writes the former.
Confrontation And Escape In Two Social Dramas
Authors: Spacks Patricia
Published: April 2013

Like Ibsen in A Doll's House (1870), John Osborne in Look Back in Anger (first produced in 1956) offered a "revolutionary" play, one destined to create not only a literary sensation but social excitement as well. Both plays seem to have filled similar places in the literary history of their times; both were taken as manifestoes of significant new ways of thinking and feeling. The specific social situations they reflect are, of course, radically different, and the sensation Osborne created was minor in comparison to Ibsen's-partly, one assumes, because by the mid-twentieth century the world had become thoroughly accustomed to sensations; partly, certainly, because Look Back in Anger is a far less successful piece of dramaturgy than the earlier play. The relative weakness of Osborne's play seems (rather surprisingly, considering the drama's superficial tone of loud assurance) a result of the playwright's fundamental lack of clarity about his characters and their meanings. The central action of Look Back in Anger takes an opposite direction to that of A Doll' s House; the opposition may reflect the difference between acceptable "radical" attitudes in the late nineteenth and mid-twentieth centuries. But Osborne's "reply" to Ibsen is weak both ideologically and dramatically; its dramatic technique, superficially similar to Ibsen's, focuses attention on its inadequacies of conception. The issues characters face are fundamentally similar in the two plays; no character is able to face them with complete success. Ibsen manipulates his cast to reveal this fact; Osborne seems unwilling to explore the fact's significance.
A Selective Bibliography Of Works Published In English In 1967
Authors: Haskell Jr. John , Shedd Robert
Published: April 2013

A Selective Bibliography Of Works Published In English In 1967
The Four-Act Version Of The Importance Of Being Earnest
Authors: Mikhail
Published: April 2013

IT HAS BEEN KNOWN TO A FEW of the many readers and playgoers who have delighted in The Importance of Being Earnest that Oscar Wilde originally wrote this comedy in four acts. In the form in which the play was first produced, it consisted of three acts, and it has been played in that form ever since. The original version contained a whole scene, with one fresh character, besides a good deal of additional dialogue, all of which Wilde cut out in revising the script. George Alexander, the manager of the St. James's Theatre and the producer of the play, did not like the idea of another character who appeared only in one particular scene. So, to oblige him, the author condensed Acts II and III to form a single act, and dropped the scene with the extra character, whose name was Gribsby. That the most drastic part of the curtailment, the actual compression of the four acts in three, was done shortly before the comedy was presented is clear from the fact that the counterfoil of the license to perform, issued by the office of the Lord Chamberlain which is dated 30 January 1895, states that the play is in four acts, although the actual copy deposited is in three.
John Arden's Use Of The Stage
Authors: Blindheim Joan Tindale
Published: April 2013

IT IS A COMMON FEATURE OF CRITICISM that the work of dramatists is explored from every conceivable literary angle, while its stage functions are usually neglected. This is particularly unfortunate in the case of John Arden, a writer who, as I hope to show, displays acute awareness in his work of the demands and potentialities of the stage. Ronald Bryden, in a review of "Serjeant Musgrave's Dance" at the Royal Court Theatre, London,l says that "Arden's sources, symbolism and subject-matter have been chewed to jute in learned magazines," and the construction and language of his plays might be added to this irreverent listing, but Arden's use of the stage, it will be noticed, does not figure there, and as far as I have been able to discover, it has not been examined thoroughly. Of the more popular writers on Arden, Ronald Hayman2 and John Russell TaylorS refer to it only in passing, and, surprisingly in a practical man of the theatre, William Gaskill makes no reference to this aspect of Arden's work in an interview with Tom Milne after directing "Armstrong's Last Goodnight" in collaboration with John Dexter.4 I propose, if not to chew this subject to jute, at least to give it some consideration.
Ibsen's Wild Duck
Authors: Mueller Janel
Published: April 2013

WHEN IBSEN MAILED THE MANUSCRIPT OF The Wild Duck to his publisher in September 1884, he noted in his covering letter that the method of the new play gave it a place apart in his work. He would say no more, he added; the critics would find enough to squabble about and interpret.

Ibsen's prediction has proved abundantly correct. Although some have found novelty in its mixture of tragedy and farce, in its involved, equivocal exposition, or in its notoriously squalid setting, most have agreed that the novelty of The Wild Duck is in its structure. As the title alerts us to see, the play is built around the wild duck which, though it remains unglimpsed by the audience, becomes the most instrumental element in the drama. Ibsen uses it to bring out the nature and relations of the characters and to point the way to our understanding of the course of events. In fact, his choice of title is our best clue to the meaning of his teasing remarks, for The Wild Duck all but ensures recognition of the peculiar concentric arrangement of the play.
The Uncommon Cocktail Party
Authors: Lightfoot Marjorie
Published: April 2013

NO STUDENT OF ENGLISH LITERATURE IS UNAWARE of the importance of the creation and development of blank verse. Yet a great poet, T. S. Eliot, experimented for forty years with the modeling of a 'new" poetic line for contemporary verse drama, and that line has been little understood. It is surely worthwhile to find out why and try to formulate a description of his prosody. The Cocktail Party offers special advantages for such a study.
A Note On “Yeats On The Possibility Of An English Poetic Drama"
Authors: Desai Rupin
Published: April 2013

MR. SENA, BY DWELLING AT LENGTH on the disillusionment that Yeats experienced when his efforts to found an Irish dramatic movement proved futile, has represented him as being in total despair over this failure. But the attitude of despair was not one that was more than spasmodically congenial to Yeats. If, as Mr. Sena states, it has been a fashion to dwell upon Yeats's early hopes for the Irish theater as though they remained fixed in later life, it is equally untenable to take fitful expressions of dissatsfaction as if they indicated a settled mood of despondency. Like most pioneers of the theater Yeats was often frustrated in his ambisions and constantly explored alternative possibilities. He justified his new ventures by expressing a heightened dissatisfaction with even his own earlier efforts, but each such expression was intended to prepare the way for some innovation; it would be less than fair to argue that by so doing Yeats abrogated his earlier work. His dislike for Ibsen and Shaw gave him the warranty for establishing the Irish National Theatre; the feeling that drama had become too naturalistic led him to experiment with the Japanese Noh theater, and his recognition that this in turn severely limited his theatrical scope led him to take a number of quite different directions in his later plays. As he followed each of these possibilities to its extreme his energies necessarily flagged and he attempted something else. Thus there was a constant oscillation from dissatisfaction to enthusiasm in Yeats's dramatic thought, but his underlying concept of what drama should be never radically altered. The opening line of his short poem, "The Coming of Wisdom With Time," provides an appropriate commentary on the unity of his convictions: "Though leaves are many, the root is one."
Biblical Perversions In Desire Under The Elms
Authors: Hays Peter
Published: April 2013

WHILE O'NEILL'S PLAYS ARE NOTED PRIMARILY for the dramatic force with which they express his tragic view of life, many of them—The Hairy Ape, All God's Chillun Got Wings, Marco Millions, Iceman Cometh, and others—contain a great deal of social criticism. So does his early tragedy Desire Under the Elms, which has been critically examined for its use of the Hippolytus and Medea myths, its Freudian elements, its relation to O'Neill's early plays (e.g., The Rope) and own biography, but there has been little close attention to the way in which religious references inform the play, and the way religion both causes the tragedy and comments upon it.
Six Characters: Pirandello's Last Tape
Authors: Kennedy Andrew
Published: April 2013

THERE CAN BE LITTLE DOUBT that Pirandello's Six Characters in Search of An Author owes its continued hold on our imagination-and its power as theatre-to the successful fusion of two orders of experience: the pain of role-playing in any life, and the painful limitations of dramatic art, particularly the crisis of post-Ibsen naturalism.

The way Pirandello achieves this fusion is familiar enough and can be restated as follows. The imagined but prematurely abandoned 'characters,' who come to claim performance on the stage, feel themselves caught in the false fixity of a few moments of action; so they hope to be shown, to be re-created in the precise sense, through a different and compensating fixity: the Grecian urn perfectedness of art. But the completion and rehearsal of an unfinished play is not at all like the Grecian urn; on the contrary, it brings back the flux of life and inchoate creation, and the characters have to suffer again an awareness that exceeds their role. In effect, they react to this openness by wanting to choose the kind of play that suits them. And the two most articulate characters-the Father and the Stepmother-are torn by a desire for seemingly conflicting types of play: they want absolute fidelity to every naturalistic detail (the yellow plush of Madame Pace's sofa) while also wanting to go beyond this reduced play to express their essential inwardness: they want to be chorus, and they want to mean more than their fixed actions and words.
Henry Livings: A Neglected Voice In The New Drama
Authors: Giannetti Louis
Published: April 2013

A relative newcomer in the English theatre, Livings' first produced play, Stop It, Whoever You Are, was not performed until 1961. Even by the mid-sixties, however, Livings was still neglected by most criticS'. John Russell Taylor's survey, Anger and After, devotes a section to Livings, but Taylor's discussion, though comprehensive in scope, is necessarily brief and superficial in treatment. Furthermore, it was written before the production and publication of Livings' masterpiece, Ek?
The 1968 Modern Drama Seminar
Authors: Nardin James
Published: April 2013

THE MODERN DRAMA SEMINAR met in the Americana Hotel in New York, Friday morning, December 27, 1968. Although the announced topic of the seminar was contemporary British and Irish drama, the air of concern with involvement and relevance which so strongly pervaded the entire MLA meeting led to animated discussion which veered sharply at times from the question of the status of research in British and Irish drama to two other topics of serious concern to the participants: the future of the seminar and the problem of teaching drama and theater.
Four Variations On The Becket Theme In Modern Drama
Authors: Sochatoff
Published: April 2013

THE OBSERVATION BY ARISTOTLE (Poetics, ix) that dealing with authentic historical incidents does not necessarily impair the artistic creativity of a poet or a dramatist is confirmed in the treatment accorded the relations between Henry II of England and Thomas a Becket by four dramatists within the last eighty years. Each of the four-Alfred Tennyson, T. S. Eliot, Jean Anouilh, and Christopher Fry-deals with the same body of historical facts ("specific events," to use the Aristotelian expression), but manipulates them in a different manner reflecting the operation of his artistic inventiveness
The Mouse In The Model
Authors: Willeford William
Published: April 2013

IN EDWARD ALBEE'S Tiny Alice QUALITIES PROMINENT IN Who's Afraid of Virginia Woolf? are heightened further: cruelty, concern with reality and illusion, and an undertone that seems allegorical but that refuses to yield a meaning. These qualities present a problem, because if a play seems allegorical, yet its sense remains hidden as we look for a motive that will justify the drawn-out presentation of cruelty in it, we may be forced to regard the whole as nihilistic mystification. Various critics have judged Virginia Woolf in this way, among them Tom F. Driver, Alfred Chester and Diana Trilling. From this viewpoint Tiny Alice can be dealt with even more summarily than Virginia Woolf; it has been dismissed as an exercise in cold malice and preciosity. But like Virginia W oolf Tiny A lice has also been praised, sometimes on the basis of non-realistic elements that have caused critics to regard it as unmotivated.
Riot, Revolution, And The Weavers
Authors: Dobie Ann
Published: April 2013

GERHART HAUPTMANN HOLDS THE LONELY DISTINCTION of being a playwright who is anthologized and taught with some frequency but who, with equal frequency, is criticized and dismissed as minor, dated, and inconsistent. Indeed, The Weavers, his most significant play, is often found in textbooks for courses in modern drama with a notable critic such as John Gassner calling it repetitious and criticizing Hauptmann for not fully developing the characters. Gassner even comments that the actions of the weavers contribute nothing to "an intelligent treatment of modern realities."

In general, critical opinion is reluctant to abandon Hauptmann completely to the once popular-then taught-now forgotten category to which many writers are discarded. On the other hand, the superficial and generalized analyses done of his work fail to reveal reasons for continuing to read, study, or produce his plays. Upon reading much of the Hauptmann study of the past few years one is led to wonder what all the enthusiasm could ever have been about. But upon reading Hauptmann himself, the old excitement returns and one wonders what the sneering was all about.

In light of the revolutionary aspects of the present day, The Weavers is a surprisingly current and socially relevant play. Revolution, a word used only a decade ago with some sense of superiority when referring to the governments of South America, is today a term pondered, condemned, and celebrated by America's taxi-drivers, intellectuals, and teen-agers. If heretofore Hauptmann's play has been read with a degree of misunderstanding and apathy, the events of this decade, and more particularly the past election year, bring today's reader to the play with experiences which heighten and clarify its passion and its simplicity.
Evangelism And Anarchy In The Iceman Cometh
Authors: Lee Robert
Published: April 2013

WITH O'NEILL ONE MUST ALWAYS GO BACK TO The Iceman Cometh, for it is both his culmination and his demise. Long Day' s Journey Into Night and A Moon for the Misbegotten follow it, but more for personal purgation than art. Long Day's Journey sums up O'Neill's life, while Iceman sums up all life. "The Iceman is a denial of any other experience of faith in my plays," O'Neill said in 1946. Earlier, in 1940, he had said, "There are moments in it that suddenly strip the secret soul of a man stark naked." As always, that naked soul was O'Neill himself.