bluuebunny/crossref_metadata_2025_split huggingface dataset:
Judges In The Plays Of Albert Camus
Authors: Reed Peter 
Published: April 2013

DURING THE LAST DECADE, appreciation of Albert Camus has grown not only because of his skill as a literary artist but also because of his insight as an examiner of our times. Much has been written about the political and ethical content of Camus' novels and essays, but while his plays have been examined for such well-known philosophical concepts as "the Absurd" and "Revolt," little attention has been paid to their social commentary. Camus was intensely concerned with the administration of justice and the legal systems in society. For example, his hatred of capital punishment is emphasized in La Peste, Reflexions sur la Peine Cap itale, Le Myth de Sisyphe, CEtranger, La Chute, and some of his shorter essays. But evidence of his interest in law and justice also abounds in his plays. Consequently, judges receive much attention, and it is with these I shall concern myself. Though not all of those I shall mention are judges in the legal meaning of the word, most of them are in the sense that human lives depend upon their judgments.
Book Reviews
Authors: Lewis John , Buckley Jerome , Kepler Henery , Unterecker John , Carpenter Charles 
Published: April 2013

John D. Hurrell, Two Modern American Tragedies, reviewed by John S. Lewis Margery M. Morgan, A Drama Of Political Man: A Study In The Plays Of Harley Granville Barker, reviewed by Jerome H. Buckley Michel Saint-Denis, Theatre: The Rediscovery of Style, reviewed by Henery Kepler W.B. Yeats, Essays and Introductions, reviewed by John Unterecker Edwin Wilson ed., Shaw on Shakespeare, reviewed by Charles A. Carpenter, Jr.
Visions of A Transfigured Humanity: Strindberg and Lenormand
Authors: White Kenneth 
Published: April 2013

DEFINITION OF THE BOUNDARIES separating "sickness" and "health," in appraising theatrical creativity, is obviously perilous. Many of Strindberg's plays exemplify this difficulty. A rather characteristic American view of Strindberg was phrased by John Gassner in his semi-ironic verdict, "[The United States] ... is the Bernard McFadden of nations, and• Strindberg is definitely not healthy." Today, this categorical conclusion appears untenable. Qualification and explanation of Strindberg's "maladies" are needed. One of the most provocative early summaries of the basic soundness underlying the Apocalyptic prophecies dramatized by Strindberg was offered by Henri-Rene Lenormand, the French playwright of the 1920's and 1930's. Throughout his entire career, Lenormand freely admitted his artistic debt to Strindberg.
Book Reviews
Authors: Watt David , Striff Erin , Colin Philip , Jenckes Norma , Hurley Erin , Argay Mireia , White Lee , Solga Kim , Dobson Jill 
Published: April 2013

Ian Cohen-Cruz and Mady Schutzman, A Boal Companion: Dialogues on Theatre and Cultural Politics, reviewed by David Watt Elain Aston, Feminist Futures? Theatre, Performance, Theory, reviewed by Erin Striff James Fisher, Tony Kushner: New Essays on the Art and Politics of the Plays, reviewed by Philip C. Kolin Stephen Bottoms, ed., The Cambridge Companion to Edward Albee, reviewed by Norma Jenckes Philip C. Kolin, Understanding Adrienne Kennedy, reviewed by Erin Hurley Varun Begley, Harold Pinter and the Twilight of Modernism, reviewed by Mireia Aragay Steve Nicholson, The Censorship of British Drama, Vol. 2: 1933–1952, reviewed by Lee White James M. Harding and John Rouse, ed., Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance, reviewed by Kim Solga Joe Kelleher, Contemporary Theatres in Europe: A Critical Companion, reviewed by Julia Dobson,
Job In Anderson's Winterset
Authors: Pearce Howard 
Published: April 2013

MAXWELL ANDERSON'S Winterset has a certain unity which has often been denied the play. Once we view this drama through its most pervasive parallel, the Book of job, the unity becomes apparent. Job, the hitherto unnoticed element, is an aid toward a grasp of the playas a unified totality, providing a dominant theme and resulting in a new perspective. This unity will be found by viewing the theme not as "justice" or "love," but as the overpowering of vengeance by love, as the rejection of a lesser for a greater good. At any rate there is an interplay, and a movement from one to the other, of the two themes, justice and love. The Sacco-Vanzetti parallel points up this relationship. Scene iii of Act I moves from the puerile romanticism of an anonymous girl's seduction to an equally youthful, particularized verbal battle of cops and radicals to the ethereal first love of Mio and Miriamne and finally to the horrible, mysterious murder of Shadow. Here we have love-justice-Iove-justice developed in one scene, but the two kinds of love and the two kinds of justice are antipodal: the first two are common, worldly, particular; the last two are universal. So in this scene there is almost the admission that the play sets out to universalize the contemporary themes of romantic love and social injustice. The theme of justice has already been established in Act I: Trock has been released from prison after serving the sentence of justice, and Garth is struggling with himself to overcome his personal defeat which arose from injustice. In Scene iii the themes of love and justice are juxtaposed, and Mio reveals that the bitterness of his search for justice precludes love: he cries, "Enduring love, oh gods and worms, what mockery!" And the plot becomes twisted up in the conflict of love against justice, until it is untangled by the conquest of love.
Holloway on Synge's Last Days
Authors: O'Neill Michael 
Published: April 2013

THROUGHOUT MOST OF HIS LIFE J. M. Synge was afflicted with delicate health. His sickly state generated in him an intensified awareness of the irony, the mystery, and the tragedy of existence. Death above all haunted his brooding thoughts to become, as we know, a recurring motif in his writing. So in his poetry, for example, he saw death emerge as his "cruel personal foe" and "chase after him with huge strides leaving in its wake a great desolation." During his youth the more stern aspects of his mother's Evangelical Protestant faith turned him away from religion to assume instead a mask of stoic resignation when dealing with life's enigmas. This attitude apparently served him as a satisfactory way for accepting the human condition, for being reconciled to his enemy, death; it aided him, he tells us, "to put away sorrow like a shoe that is worn and muddy."
Book Reviews
Authors: Philips William , Hogan Robert , Mendelsohn Michael , Kelson John , Wills Arthur , Frenz Horst , Frenz HorstJohn 
Published: April 2013

Oscar Cargill, N. Bryllion Fagin, and William J. Fisher ed., O'Neill And His Plays: Four Decades Of Criticism, reviewed by William L. Philips Constantin Stanislavsky, Creating A Role, reviewed by Robert Hogan Morgan Y. Himelstein, Drama Was A Weapon, reviewed by Willis Michael J. Mendelsohn R. Baird Shuman, Clifford Odets, reviewed by John H. Kelson Paul Green, Paul Green: Five Plays, reviewed by Arthur Wills Rex Burbank, Thornton Wilder, reviewed by Horst Frenz 1, 2, reviewed by 3 1, 2, reviewed by 3 1, 2, reviewed by 3 1, 2, reviewed by 3 1, 2, reviewed by 3 1, 2, reviewed by 3
Book Reviews
Authors: Brie Germaine , King Walter , Gaskell Ronald , LeSage Laurent , Kelson John , Kuhn Reinhard 
Published: April 2013

Jean-Paul Sartre, Saint Genet: Actor And Martyr, reviewed by Germaine Brie Rupert Croft-Cooke, Bosie, The Story Of Lord Alfred Douglas, His Friends And Enemies,, reviewed by Walter N. King Montgomery Hyde, Oscar Wilde, The Aftermath,, reviewed by Walter N. King Michéal Mac Liammóir, The Importance Of Being Oscar, reviewed by Walter N. King Robert Lima, The Theatre Of Garcia Lorca, reviewed by Ronald Gaskell Albert Camus, Notebooks 1935-1942 of Albert Camus, reviewed by Laurent LeSage James Walter Mcfarlane ed., Discussions Of Henrik Ibsen, reviewed by John H. Kelson Leonard Cabell Pronko, Avant-Garde: The Experimental Theater In France, reviewed by Reinhard Kuhn
Yeats and The Two Harmonies
Authors: Ure Peter 
Published: April 2013

IN FOUR OF HIS PLAYS, On Baile's Strand, The Hour-Glass, The Shadowy Waters, and The King’s Threshold, Yeats mingled verse and prose. In so doing he was contravening current opinion as well as the judgement of a very eminent authority: […] So far as I know this matter has not been discussed in any detail in relation to Yeats, except by Dr. Denis Donoghue in his chapter on Yeats in The Third Voice (1959). It may, like other questions concerning Yeats's plays, be worth looking at again, though I am of course indebted to Donoghue's treatment of the subject.
Douglas Hyde's “share" In The Unicorn From The Stars
Authors: Mercier Vivian 
Published: April 2013

ON FEBRUARY 12, 1908, W. B. Yeats wrote to A. H. Bullen refusing to allow the latter to include Where There Is Nothing in the Collected Edition of Yeats's works for the following reason: Though The Unicorn is almost altogether Lady Gregory's writing it has far more of my spirit in it than Where there is Nothing which she and I and Douglas Hyde wrote in a fortnight to keep George Moore from stealing the plot. Hyde forbade me to mention his name for fear of consequences, and you must not mention it even now ... Not until this letter was published by Wade in 1954 did Hyde's share in the first version of The Unicorn from the Stars become generally known. As late as 1936, three years after Moore's death, when all danger of his bringing a lawsuit had consequently disappeared, the malicious and delicious account of the Yeats-Moore quarrel in Dramatis Personae referred to Hyde only as "a certain cautious friend, whose name must be left out of this narrative .... " Since Yeats predeceased Hyde by many years, this is how the passage still stands in the Autobiography. I assume that Hyde was less afraid of Moore's taste for litigation than he was of offending the Roman Catholic clergy and laity of Ireland. Where There Is Nothing contains much that they would regard as blasphemous and heretical. If Yeats had revealed Hyde's share in it even in 1936, I wonder whether Hyde could have been elected President of Ireland in 1938.
Variations On A Theme: A Study Of Exiles By James Joyce And The Great God Brown By Eugene O'Neill
Authors: Metzger Deena 
Published: April 2013

THERE IS A SURPRISING RELATIONSHIP BETWEEN The Great God Brown by Eugene O'Neill (1925) and Exiles by James Joyce (1914) which bears investigation. An analysis of their themes and plots reveals them to be parallel developments despite their seeming irreconcilability. Their disparity is an illusion based on the conception of each within the framework of a very different philosophic and aesthetic perspective. Joyce's philosophic position demands the use of the dramatic emotion of stasis and the illuminating technique of "epiphany." O'Neill's position accords with the aesthetic of traditional theater and depends upon ecstasy and catharsis. These are polar positions resulting in the production of two singularly different plays representing significant variations on one theme of overwhelming contemporary pertinence. One of Exiles' concerns is the problem of establishing and maintaining the integrity of the individual. This self-realization depends upon the renunciation of conventional modes of action and thought for a terrible freedom which will permit the individual to commit himself consciously to a desired mode of behavior.
Modern Drama: A Selective Bibliography Of Works Published In English In 1963-64
Authors: Shedd Robert 
Published: April 2013

THE TWO-YEAR PERIOD COVERED in this bibliography was most remarkable for the worldwide observations of the multicentenary celebrations of towering figures in world drama and theater (Lope de Vega, Shakespeare, Marlowe, and Stanislavski). Not surprisingly, there was —except for the studies of Shaw—a slight diminution in the total number of publications concerned with modern dramatists. Among national dramas, however, the older and current French playwrights have continued to receive the most exhaustive and penetrating scrutiny. Were it possible to include journalistic items, this bibliography would more clearly reflect the obituaries of such dramatists as O'Casey, Cocteau, and Odets who departed from the scene in 1963-1964. A more formidable prospect for this bibliography was the task of selecting the most important from the many essays evoked by Hochhuth's The Deputy; the appearance Ganuary, 1965) of Eric Bentley's The Storm over THE DEPUTY, with David Beams' thorough bibliography (pp. 237-254), eliminated the need for what was shaping up as an extremely long section here.
Book Reviews
Authors: Sokel Walter , Ginestier Paul , Heringman Bernard , Crafton Allen , Hill Claude , Hammond Geraldine , Rose Marilyn , Frenz Horst 
Published: April 2013

John Willett ed., Brecht On Theatre: The Development Of An Aesthetic, reviewed by Walter H. Sokel Aureliu Weiss, Le Theatre De Luigi Pirandello Dans Le Mouvement Dramatique Contemporain, reviewed by Paul Ginestier William York Tindall, Lawrence Durrell, and John Unterecke, Samuel Beckett, reviewed by Bernard Heringman John Gassner, Directions In Modern Theatre And Drama, reviewed by Allen Crafton Herbert Lindenberger, Georg Bochner, reviewed by Claude Hill Robert Brustein, The Theatre Of Revolt: Studies In Modern Drama From Ibsen To Genet, reviewed by Geraldine Hammond Norberto Avila, ed., O Serj1idor Da Humanidad, reviewed by Marilyn Gaddis Rose Kurt Schluter, Der Mensch Als Scha Uspieler, reviewed by Horst Frenz
Book Reviews
Authors: King Walter , Reardon William , Miller Jordan , Friedman Melvun , Arestad Sverre , Goldstein Malcom , Gaskell Ronald , Crafton Allen 
Published: April 2013

Walter J. Meserve, An Outline History Of American Drama, reviewed by Jordan Y. Miller Joseph H. McMahon, The Imagination Of Jean Genet, reviewed by Melvin J. Friedman Henrik Ibsen, Peer Gynt: A Dramatic Poem, reviewed by Sverre Arestad Gerald Rabkin, Drama And Commitment, reviewed by Malcolm Goldstein Federico Garcia Lorca, Five Plays: Comedies And Tragicomedies, reviewed by Ronald Gaskell Tyrone Guthrie, A New Theatre, reviewed by Allen Crafton Herbert Blau, The Impossible Theatre, reviewed by William R. Reardon B. C. Rosset, Shaw Of Dublin: The Formative Years, reviewed by Walter. N. King
The Fetal Quality Of “Character" In Plays Of The Absurd
Authors: Feynman Alberta 
Published: April 2013

THE DRAMATISTS OF THE Absurd find Man an uncomprehending being in an incomprehensible universe. They ask, along with Sophocles and Shakespeare, the awful question—Why? Why is Man here? Why is Man on earth? What role is assigned to him to play? What function fulfills Man? And they always arrive at the same answerless answer—Nothing. Nothing fulfills Man. Man is on earth for no reason at all. There is nothing for Man to do—nothing, that is. except to wait, pass time. "Man is lost; all his actions . . . senseless, absurd, useless." He may not even, like Johnson's Rasselas, go back to the "Happy Valley" to cultivate his garden. He has no garden. That is his ultimate absurdity. Assuming, then, the fundamental absurdity of the human condition, what kind of character can a playwright conceive to represent this absurdity in concrete image?
“Torn Dialogues ... Torn And Lacerated Dialogues…” Jean Vauthier
Authors: Knapp Bettina 
Published: April 2013

JEAN VAUTHIER, THE DRAMATIST, does not belong to any theatrical school. He is primarily a poet who uses the theater as his vehicle to express himself. Vauthier brings to the stage dense and tortured conflicts in which his brilliant imagery, with its symbolic overtones and intricate rhythmic effects, serves to give the story its compactness and its momentum, depth, and darkness in which situations are pushed to the extreme. To say, however, that Vauthier has not undergone the influence of theatrical innovators would be misleading. In Vauthier we see aspects of Jarry and Artaud. Like his two predecessors, Vauthier assaults his audiences: he trumpets harsh animal sounds; there are screams, whines, paroxysms of gestures, laughter, brutal and exciting explosions. Vauthier's characters frequently recall Ubu, with their puppet-like, wooden movements, their violence, and sado-masochism. At the same time Vauthier uses the stage as Artaud suggested, as a vehicle for a total, emotive experience. His intention is to break down those barriers of custom and .habit in social man; and also, the formal or traditional barriers separating actor and audience. Once the social and dramatic conventions are breached, the audience is free to engage in a complete emotional experience, brought I. about by a visceral empathy between themselves and the figures on stage. In the four plays under present discussion Captain Bada (Le Capitaine Bada), The Character Against Himself (Le Personnage combattant), The Prodigies (Les Prodiges), and The Dreamer (Le Reveur), similar themes reoccur; the theme of the poet vis-a-vis himself, vis-a-vis women, society, God. Questions are posed in an attempt to answer anguishing problems. What is the poet's reality? How much can the poet give of himself? How much pain can he bear?
Millay's Aria Da Capo: Form and Meaning
Authors: McKee Mary 
Published: April 2013

SO STRONG "was the appeal of the commedia dell' arte that it has, in various guises, survived into the present."! One modern play of this type is Edna St. Vincent Millay's Aria da Capo (popular with drama students despite its requirements of skillful directing, acting, and creative setting), which portrays one aspect of the human plight as an image become flesh on the stage, and which is at the same time broadly comic and deeply tragic. Millay did not choose to write theater-poetry based on folk myth or ritual, as so many playwrights did in the twenties; neither did she write a thesis play on social reform; nor did she write an intellectual farce, in which the point is in the game of ideas. What she did write had a dash of the first, a pinch of the second, a generous sprinkling of the third, with the commedia dell' arte form as one of the main ingredients.
Beckett And Expressionism
Authors: Mayoux Jean-Jacques 
Published: April 2013

IT IS AMONG NORTHERN PEOPLES that imaginative creation has most often taken the Expressionist path, first in the plastic arts, and then in literature. A certain amount of light seems to impose the conviction that the exterior world exists and that bodies are bodies. In contrast, the Irish philosopher, Berkeley, elegantly formulated the theory of the absence of the perceived world .... For the Northerners, the physical corporeal objects in the work of art are not reflections of the same kind of reality; nor are they manifestations of a spiritual reality, a corresponding Idea; instead, they emanate by projection from the artist's feelings. In literature, from Romanticism on, one can trace the transition of many kinds of realism (including Impressionism) toward what one might call meaningful hallucination, by the end of this systematic deformation. Faust or Flaubert's Temptation of St. Anthony herald an Expressionism which will explode differently in and outside of Germany— Strindberg and ]arry, for example. First and foremost, there must be affective surexpression, and true Expressionism emerges when that surexpression moves from the feeling subject to the objects which are evoked by strong and disturbed feelings. Thus, Jarry's burlesque Expressionism of King Ubu, with its phantasms of conflict and destruction, is parallelled by the non-burlesque Expressionism of Nights and Days, with its essential characteristic of this mode: like wishes in fairy tales, these fears, desires, and hatreds take form and become "reality," but a different kind of reality, in which every form is dedicated to deforming itself in the sense of the emotion it expresses.
Prolégomènes à l'analyse des coûts dans des organisations culturelles municipales
Authors: Chatelain-Ponroy Stéphanie 
Published: April 2013

Cet article est le fruit d’une étude visant à évaluer les retombées des organisations culturelles pour leurs principaux bailleurs de fonds : les municipalités. L’analyse du financement des organisations culturelles nous a semblé être un préalable indispensable à l’analyse de leurs retombées.
La gestion des données comptables : une revue de la littérature
Authors: Stolowy Hervé , Breton Gaétan 
Published: April 2013

La gestion des données comptables a fait l’objet de recherches, discussions et même controverses dans plusieurs pays, comme les États-Unis, le Canada, le Royaume-Uni, l’Australie et la France. L’objectif de cet article est de réaliser une revue de la littérature conduisant à une proposition de cadre conceptuel permettant la classification des différentes formes de gestion des données comptables. Ce cadre est fondé sur le désir d’influencer les possibilités de transferts de richesse entre les différents stakeholders , qui se matérialisent à deux niveaux : le bénéfice par action et le ratio dettes/capitaux propres. La littérature sur ce sujet est extrêmement riche. Cependant, plusieurs domaines mériteraient de faire l’objet de recherches complémentaires.
Normes et pratiques de l'audit externe légal en matière de prévention et de détection de la fraude
Authors: Carassus David , Cormier Denis 
Published: April 2013

Cette étude a pour objectif d’analyser les normes et le comportement des auditeurs externes légaux en matière d’évaluation du risque de fraude. Les compagnies régionales des commissaires aux comptes d’Agen, de Bordeaux, de Pau et de Toulouse participent au recensement des pratiques réalisé grâce à un questionnaire. L’analyse de ce dernier est fondée sur les réponses de quatre-vingts commissaires aux comptes, représentant près de 10 % de la population interrogée. Les résultats montrent que les facteurs organisationnels des cabinets d’audit sont reliés au fait d’être confronté à des cas de fraude et au fait de découvrir la fraude. En outre, il apparaît que les auditeurs qui intègrent le risque de fraude de manière spécifique dans leur mission d’audit externe légal, démarche préconisée par les nouvelles normes américaines d’audit, sont davantage susceptibles de découvrir les cas de fraude. L’évolution récente engagée en matière de prévention et de détection de la fraude pourrait donc trouver un terrain d’application favorable chez les commissaires aux comptes français.
L'indépendance du commissaire aux comptes : une analyse empirique fondée sur trois composantes psychologiques du comportement
Authors: Prat dit Hauret Christian 
Published: April 2013

L’objet de l’étude est d’étudier trois composantes psychologiques des auditeurs français confrontés à des situations susceptibles de remettre en cause leur indépendance. Les variables étudiées sont : le stade de développement moral cognitif, le locus de contrôle et le niveau de croyance en un monde juste. Le niveau d’indépendance des auditeurs français et les variables psychologiques ont été mesurés à partir de quatre situations d’audit et de protocoles de recherche présentés dans le cadre d’un questionnaire auto-administré. Les résultats de la recherche ont montré que les auditeurs qui ont le niveau d’indépendance le plus élevé ont un niveau de développement moral cognitif conventionnel et un niveau de croyance dans un monde juste moyen.
Le résultat comptable : conception par les normalisateurs et perception par les analystes financiers
Authors: Saghroun Judith 
Published: April 2013

L’objectif de cette recherche est d’identifier un éventuel écart de représentation entre la conception du résultat émanant, explicitement ou implicitement, des normalisateurs et sa perception par les analystes financiers. Fondée sur des entretiens, cette étude qualitative à visée exploratoire se situe dans le contexte d’une actualité comptable très dense avec l’adoption prochaine des normes IAS par les sociétés cotées européennes et les « révolutions » de la normalisation américaine.