Relevant bibliographies by topics / Sean O'Casey

Academic literature on the topic 'Sean O'Casey'

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Journal articles on the topic "Sean O'Casey"

1

Countryman, John, James Simmons, Heinz Kosok, and Nesta Jones. "Sean O'Casey." Theatre Journal 39, no. 2 (May 1987): 251. http://dx.doi.org/10.2307/3207703.

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Countryman, John, and Garry O'Connor. "Sean O'Casey: A Life." Theatre Journal 41, no. 4 (December 1989): 560. http://dx.doi.org/10.2307/3208029.

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O'Brien, Paul, and Christopher Murray. "Sean O'Casey: Writer at Work." Canadian Journal of Irish Studies 30, no. 2 (2004): 75. http://dx.doi.org/10.2307/25515539.

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Firchow, Peter E., and Garry O'Connor. "Sean O'Casey: A New Life." World Literature Today 63, no. 2 (1989): 311. http://dx.doi.org/10.2307/40144906.

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Newsinger, John. "Sean O'casey, Larkinism and literature." Irish Studies Review 12, no. 3 (December 2004): 283–92. http://dx.doi.org/10.1080/0967088042000267588.

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Innes, Christopher. "The Essential Continuity of Sean O'Casey." Modern Drama 33, no. 3 (September 1990): 419–33. http://dx.doi.org/10.3138/md.33.3.419.

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Schrank, Bernice, David Krause, and Sean O'Casey. "The Letters of Sean O'Casey, Volume III, 1955-1958." Canadian Journal of Irish Studies 16, no. 2 (1990): 135. http://dx.doi.org/10.2307/25512839.

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Durbach, Errol, and E. H. Mikhail. "Sean O'Casey and His Critics: An Annotated Bibliography, 1916-1982." Canadian Journal of Irish Studies 14, no. 1 (1988): 72. http://dx.doi.org/10.2307/25512729.

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Shaw, W. David, and Michael Kenneally. "Portraying the Self: Sean O'Casey and the Art of Autobiography." Canadian Journal of Irish Studies 15, no. 1 (1989): 116. http://dx.doi.org/10.2307/25512773.

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Krause, David. ""We Cannot Always Suffer Ecstasy" "The Letters of Sean O'Casey"." Canadian Journal of Irish Studies 15, no. 2 (1989): 39. http://dx.doi.org/10.2307/25512786.

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Dissertations / Theses on the topic "Sean O'Casey"

1

Dumay, Émile-Jean. "Le theatre de sean o'casey." Paris 3, 1987. http://www.theses.fr/1987PA030006.

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Premiere partie : les options specifiques dans l'appel au reel : o'casey a raison de refuser l'etiquette realiste. Mais il s'attache a des fragments multiples de realite, a des reels, a la vie. Ces niveaux de realite sont permanents dans l'oeuvre (indications sceniques, echanges verbaux dans la banalite du quotidien, absence de psychologie traditionnelle mais plausibilite minimale dans les personnages, situations centrales au lieu d'intrigues classiques, stylisation de l'histoire, didactisme, melodrame, comique, langage). Deuxieme partie : expressions et finalites de l'irreel : l'evolution de l'irreel ou du reve, piece par piece. L'imaginaire est present dans les pieces de dublin, mais comme negativement. Avec the silver tassie apparait une rupture : irruption de l'irreel pour l'expression du progressisme de l'auteur et de ses visions d'une cite future : esthetique, politique et sociale. (les "lendemains qui chantent"). L'evolution mene a une incarnation de l'irreel dans des etres mythiques, dans les dernieres pieces, et vers la fin a une curieuse presence de dieu. Vers une fantaisie revolutionnaire. La fete dans le theatre d'o'casey. Troisieme partie : modalites revolutionnaires : la specificite profonde des pieces d'o'casey est evoquee sous les rubriques suivantes :. Theatre de l'inconfort (ruptures de ton, mises en question). Theatre d'agitation, de manifestation, de provocation (personnages agitateurs, histoire des pieces elles-memes et de leur accueil). Theatre de revolution culturelle et esthetique (fusion art et vie ; presence et recherche de beaute par chant danse et lyrisme ; personnage du militant et ou du poete ; valeur revolutionnaire de la beaute). . Surrealisme naif. Parallele avec les peintures de magritte
1 specific choices in resorting to reality o'casey is right when he denies a realistic label. But he clings to innumerable bits of reality, to life. These levels of actuality are to be found throughout the dramatic works in stage directions, verbal communication of trifling everyday dialogues, absence of standard psychological approach, but characters endowed with minimal probability, absence of standard plots but development of basic situations, stylization of history, didactic features, melodrama, comedy and language. 2 aspects and final meanings of fancy and dream-like scenes their evolution play after play. Fancy is to be found already in the dublin trilogy but so to speak negatively. The silver tassie appears as a break, with fancy and dream sweeping through to express the dramatist's progressive views and convey his visions of a "socialistic" new jerusalem, aesthetically, socially and politically glorious. The evolution just mentioned leads to an increasingly clear embodiment of the author's dream in mythical creatures and, towards the end, oddly enough, to an intimation of god. Merriment and celebration is also part of o'casey's revolutionary fancy. 3 revolutionary modes : the inmost specificity of o'casey's plays is studied under the following headings :. Theatre of discomfort (abrupt changes of tone, perpetual questioning of things. . ). Theatre of demonstration, provocation, agitation, unrest (characters as agitators, survey of performances of plays and their critical reception). Theatre of cultural aesthetic revolution (blending of art and life ; use of song, dance and lyricism to mean beauty and to try and convey it ; the militant and or poet as character ; revolutionary value of beauty). Naive surrealism ; in particular a parallel with magritte's paintings
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2

Peyronnet, Marianne. "Les personnages féminins dans l'oeuvre dramatique de Sean O'Casey." Paris 8, 1997. http://www.theses.fr/1997PA081255.

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En irlande, du debut du siecle aux annees soixante, les femmes subissent, dans tous les domaines, la volonte de domination de leurs congeneres masculins. Leurs droits elementaires sont bafoues : elles sont privees de citoyennete, releguees au foyer malgre leur resistance. Sean o'casey, dans son oeuvre dramatique, au cours de toute cette periode, depeint des personnages feminins en lutte pour leur liberation. Il montre des heroines courageuses face a des compagnons couards, volontaires face a des amants timores, constantes dans leur desir de s'emanciper. Il donne a voir des representations de femmes qui deplaisent, par leur realisme, a ses contemporains, car sont trop eloignees du modele d'epouses et meres soumises voulu par les instances religieuses et nationalistes. Par le langage, il les valorise. Il leur assigne une fonction politique, pretend que grace a elles naitra un monde meilleur, plus egalitaire. Il leur associe des images revolutionnaires, non conventionnelles. A travers son oeuvre se lit l'evolution de sa pensee : une mutation dans sa vision du role de la femme dans la societe se dessine. Au depart feministe differencialiste, il se rapproche peu a peu du feminisme universaliste
In ireland, from the beginning of the century to the sixties, men dominate their female fellow-citizens in every field. The elementary rights of the irish women are flouted : they are deprived of citizenship, are relegated to the home in spite of their resistance. Sean o'casey, in his dramatic works, during the whole period, depicts female characters fighting for their emancipation. He shows brave heroines confronted by coward companions and lovers. They are determined to free themselves from male yoke. O'casey paints images of women which cause displeasure to his contemporaries because of their realism, because they are too far from the models of submitted mothers and wives desired by the religious and nationalist groups. He creates a language to make them appear superior ; he gives them a political function. He maintains that women only will be able to construct a better, a more egalitarian world. Through his works, the evolution of his thought can be read ; a change in his way of looking at woman's place in society is revealed. If he can be considered at the beginning as a "feministe differencialiste", he becomes at the end a feministe
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3

Dumay, Émile-Jean. "Le Théâtre de Sean O'Casey réalité, rêve et révolution /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37604756w.

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Paull, Michelle Constance. "The plays of Sean O'Casey 1919-1959 : innovation, history and form." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434836.

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This thesis provides a radical re-reading of a'Casey's early work, which sheds new light upon the later plays. The orthodox reading of the socalled 'Dublin Plays' - The Shadow of a Gunman (1923), Juno and the Paycock (1924) and The Plough and the Stars (1926) - as a triumph in theatrical naturalism that is never matched in the later plays, is here strongly countered. The thesis seeks to demonstrate that far from being dramatic failures, the later plays are fresh and dynamic, a logical and natural progression from the formal and thematic experiments within the early plays. The thesis argues that it is the critical labelling of a'Casey's first plays as 'comedies' or 'realist dramas', which has led to the prevailing view of the last plays as theatrically flawed. This distorting critical prism has resulted in an underplaying of a'Casey's significant contribution to theatrical innovation in the first half of the twentieth century. a'Casey's work has received comparatively little recent critical attention, particularly from British academics. This is clearly no academic accident: a'Casey's marginalisation by scholars is directly linked to the way theatre critics misinterpreted his plays from 1924 onwards, when they received their first performances at the Abbey Theatre in Dublin. This study considers the complex dynamics of national and theatre politics that underpin these critical misunderstandings and explores why a'Casey has often been dismissed as a dramatist of character. Discussing plays from The Harvest Festival to The Moon Shines on Kylenamoe, I explore why each play becomes more experimental in form and analyse why a'Casey's critics and public alike gradually become alienated from what they perceive as the new experimental style of his later work. Chapter 1 considers a'Casey's early plays with special reference to the use of space in The Shadow of Gunman. In chapter 2 I examine the use of repetition as a controlling dramatic technique in Juno and the Paycock, chapter 3 explores the re-writing of history as drama through a'Casey's re-dramatisation the Easter Rising in The Plough and the Stars, chapter 4 focuses on a'Casey's engagement with European, especially German, Expressionism in The Silver Tassie; and his experimentation with what we now label 'Absurdist' techniques, as well as dance and song in Within the Gates which provides the subject for chapter 5. The later plays are discussed in chapter 6, where their formal and thematic innovations are considered in relation to the contemporary developments in the cinema and Absurdist drama.
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5

Harris, Peter James. "Sean O'Casey's letters and autobiographies : reflections of a radical ambivalence /." Trier : WVT, Wiss. Verl. Trier, 2004. http://www.gbv.de/dms/goettingen/390326526.pdf.

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6

Malick, Neeraj. "The politics of laughter : a study of Sean O'Casey's drama." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39493.

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This is a study of popular festive laughter in Sean O'Casey's drama. It argues that O'Casey's use of the strategies of laughter is an integral part of his political vision. The concept of festive laughter is derived from the theory of Mikhail Bakhtin, and is related, in this thesis, to the culture of low life in O'Casey's Dublin. Through a detailed analysis of O'Casey's plays, this study shows how the forms of laughter function to interrogate the hegemonic political, economic, and cultural discourses of the Irish society of his time. The Dublin trilogy counters the nationalist ideology and its constructions of history, while the later comedies focus on the issues of cultural domination and religious authoritarianism. This negative critique of the dominant order is accompanied, in these plays, by a celebration of the rich energy of popular, collective life, and its capacity to resist domination and to create an alternative society. The study concludes by focusing on the festive nature of O'Casey's theatre.
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7

Riordan, Michael, and n/a. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey." Griffith University. School of Humanities, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040615.132200.

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second section of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
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8

Riordan, Michael. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367087.

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second sectio of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
Thesis (Masters)
Master of Philosophy (MPhil)
School of Humanities
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9

McDonald, Ronan. "Versions and aversions : conceptions of tragedy in J.M. Synge, Sean O'Casey and Samuel Beckett." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313585.

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El, Fouadi Kamal. "The scope of naturalism in British working-class drama, with particular reference to Joe Corrie, D.H. Lawrence and Sean O'Casey." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/3197/.

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The purpose of this dissertation is to define the scope of naturalism in British working-class drama with special reference to the plays of D.H. Lawrence, Sean O'Casey and Joe Corrie. To fulfill such a project, I undertook a personal assessment of the theory of naturalism and its practice in the theatre. For the purpose of being more comprehensive, I carried out a comparative study between working-class naturalism and that of the New Drama since the latter preceded the former. Having assessed and evaluated the theory of naturalism, in general, and its manifestation in the works of the new drama exponents and of the working-class dramatists, I defined and discussed the comparative aspects, as concepts, in the plays of three British playwrights. I have also tried to familiarize the reader with the features of the conversational analysis in the light of which I approached the issue of how similar to natural discourse dramatic dialogue may be. The study of the manifestation of naturalism in the plays of Lawrence, Corrie and O'Casey, which covers the last three chapters, is undertaken in the light of the scope of naturalism as I have previously defined it. In other words, an attempt is being made to question the validity of the naturalist theory as advocated by its exponents, and to prove the practicality of the angle from which I approached naturalism by examining certain plays. The study of the plays, therefore, allows me to define the extent to which one can refer to Lawrence, Corrie and O'Casey as naturalist dramatists and to question, if not to correct, some unfounded criticisms of naturalism in general and working-class naturalism in particular.
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Books on the topic "Sean O'Casey"

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Sean O'Casey. London: Faber and Faber, 1998.

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James, Simmons. Sean O'Casey. Houndmills, Basingstoke: Macmillan, 1988.

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Christopher, Murray. Sean O'Casey. London: Faber and Faber, 2000.

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Márton, Mesterházi. Sean O'Casey Magyarországon. Budapest: Akadémiai Kiadó, 1993.

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Literature, International Association for the Study of Anglo-Irish. Studies on Sean O'Casey. [Caen]: The Association, 1987.

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Sean O'Casey: A life. London: Paladin, 1989.

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O'Connor, Garry. Sean O'Casey: A life. New York: Atheneum, 1988.

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O'Connor, Garry. Sean O'Casey: A life. London: Hodder and Stoughton, 1988.

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O'Casey, Eileen. Sean. London: Papermac, 1990.

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Sean O'Casey: A research and productionsourcebook. Westport, Conn: Greenwood Press, 1996.

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Book chapters on the topic "Sean O'Casey"

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O’Sullivan, Emer. "O'Casey, Sean." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14422-1.

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Wilson, John. "Sean O'casey." In The Faith of an Artist, 68–79. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003291282-6.

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Hölscher, Meike. "O'Casey, Sean: The Silver Tassie." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14426-1.

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Pankratz, Anette. "O'Casey, Sean: Juno and the Paycock." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14424-1.

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Yun, Hunam. "The Strange Case of Sean O'Casey." In Appropriations of Irish Drama in Modern Korean Nationalist Theatre, 123–58. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003163947-4.

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Lemke, Cordula. "O'Casey, Sean: The Shadow of a Gunman." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14423-1.

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Kluge, Walter, and Meike Hölscher. "O'Casey, Sean: The Plough and the Stars." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14425-1.

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Moran, James. "The Plough and the Stars (1926) by Sean O'Casey." In Fifty Key Irish Plays, 45–48. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003203216-12.

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Watson, G. J. "Sean O'casey: Hearts O' Flesh, Hearts O' Stone, and Chassis." In Irish Identity and the Literary Revival, 245–87. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003369943-5.

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Wynands, Sandra. "The Word of Politics/Politics of the Word: Immanence and Transdescendence in Sean O'Casey and Samuel Beckett." In A Companion to Irish Literature, 113–28. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch36.

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