1. Editor’s Foreword
  2. Steven F. Bloom, Kurt Eisen
  3. pp. v-vi
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  1. A “sort of composite backwoods-Bronx-bohunk-seaman jargon” Tennessee Williams’s Evolving Impressions of Eugene O’Neill
  2. John S. Bak
  3. pp. 197-225
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  1. Recyclings and Resonances: O’Neill’s Legacy of Natural Representation in American Drama
  2. Robert Baker-White
  3. pp. 226-246
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  1. Tragedy Beyond Pity: A Nietzschean Appraisal of Exorcism
  2. Jeremy Killian
  3. pp. 250-269
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  1. “They’re lowering the boats! She is lost! She is lost!”: Maritime Disasters and Onomastics in Eugene O’Neill’s Early One-Act Plays
  2. Chloé Lucidarme
  3. pp. 270-278
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  1. A Homeless Architect: Nietzschean Philosophy of the Earth in The Great God Brown
  2. Yuji Omori
  3. pp. 279-293
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  1. Crushing Her with the Weight of His Eloquence: Reconsidering the Theatricality of Eugene O’Neill’s Stage Directions
  2. Sarah Bess Rowen
  3. pp. 294-312
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  1. The Theatre of Eugene O’Neill: American Modernism on the World Stage by Kurt Eisen (review)
  2. Chloé Lucidarme
  3. pp. 313-315
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  1. Visions of Tragedy in Modern American Drama ed. by David Palmer (review)
  2. J. Chris Westgate
  3. pp. 316-319
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  1. The Hairy Ape by Ian Wolfgang Hinz (review)
  2. Patrick Chura
  3. pp. 320-323
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  1. Long Day’s Journey Into Night by Richard Eyre, Wallis Annenberg (review)
  2. William Davies King
  3. pp. 324-330
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  1. The Iceman Cometh by George C. Wolfe, Bernard B. Jacobs (review)
  2. Ryder Thornton
  3. pp. 331-335
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  1. “Anna Christie” by Scott Edmiston (review)
  2. Beth Wynstra
  3. pp. 336-339
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