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Journal articles on the topic 'Sean O'Casey'

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Published: 4 June 2021

Last updated: 20 February 2023

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

MacNamee, Brendan. "The visionary affinities of W. B. Yeats and Sean O'Casey." Irish Studies Review 12, no. 3 (December 2004): 293–301. http://dx.doi.org/10.1080/0967088042000267579.

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12

Parkin, Andrew. "Sean O'Casey by James Simmons, and: My Very Dear Sean: George Jean Nathan to Sean O'Casey, Letters and Articles ed. by Robert G. Lowery and Patricia Angelin (review)." Modern Drama 30, no. 1 (1987): 115–17. http://dx.doi.org/10.1353/mdr.1987.0022.

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13

MacKenzie, Norman H., Ronald Ayling, and Ronald Ayling. "Seven Plays by Sean O'Casey: A Student's Edition... with an Introduction and Notes." Canadian Journal of Irish Studies 13, no. 1 (1987): 177. http://dx.doi.org/10.2307/25512698.

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14

MacKenzie, Norman H., Ronald Ayling, and Ronald Ayling. "Seven Plays by Sean O'Casey: A Student's Edition... with an Introduction and Notes." Canadian Journal of Irish Studies 14, no. 1 (1988): 89. http://dx.doi.org/10.2307/25512734.

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15

Looby, Robert. "Looking for the Censor in the Works of Sean O'Casey (and Others) in Polish Translation." Translation and Literature 17, no. 1 (March 2008): 47–64. http://dx.doi.org/10.3366/e0968136108000058.

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The March 1953 edition of the Polish publication Medycyna Weterynaryjna (‘Veterinary Medicine’) carried on its first page a photograph of the recently deceased Stalin. In an internal report, the censor wrote: Szkodliwość w okolicznościowym numerze polega na tym, że redakcja ograniczyła się do zamieszczenia na pierwszej stronie zdjęcia Tow. Stalina bez jakiego-kolwiek art. wstępnego. Bardzo nieprzyjemne wrażenie mógłby odnieść czytelnik znajdując na miejscu art. okolicznościowego /wstępnego/ - art. o “Ochronnym szczepieniu świn”. (The harmfulness of the special issue consists in the fact that the editors limited themselves to putting a picture of comrade Stalin on page one without any kind of leader article. A very unpleasant impression might be made on readers finding in the place of a leader (or special) article a piece about ‘Swine Vaccination.’)1

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16

Tolan, Padraig. "Sean O'Casey Niall: a LamentLondon: Calder; New York: Riverrun, 1991. 96 p. £14.99. ISBN 0-7145-4196-6." New Theatre Quarterly 8, no. 32 (November 1992): 396. http://dx.doi.org/10.1017/s0266464x00007296.

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17

McFadden, Hugh. "‘Our own fastidious John Jordan’: Poet, Literary Editor, Critic." Irish University Review 42, no. 1 (May 2012): 124–40. http://dx.doi.org/10.3366/iur.2012.0012.

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For more than three decades, John Jordan (1930–88) was one of the most astute and perceptive literary critics in Ireland. As editor of the magazine Poetry Ireland in the Sixties he helped to revive Dublin as a significant literary centre, maintaining friendships with Patrick Kavanagh, Brendan Behan, and Austin Clarke. Himself a poet in the late modernist mode and a writer of witty and idiosyncratic short stories about the bohemian Dublin of the Forties and Fifties, Jordan was equally well-known as a drama critic, a staunch advocate of the later plays of Sean O'Casey, a defender of Joyce and Beckett, and a champion of the work of women authors including Kate O'Brien and the playwright Teresa Deevy. A child prodigy who corresponded with the famous English drama critic James Agate and evaluated play scripts for Edwards and MacLiammóir at the Gate Theatre, where he also acted, John Jordan distinguished himself as a scholarship student at Pembroke College Oxford and at UCD, where he lectured brilliantly on English literature. He was also a noted broadcaster on radio and TV programmes such as the Thomas Davis Lectures, Sunday Miscellany, and the TV book programme Folio.

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18

Grene, Nicholas. "Sean O'Casey. By James Simmons. Pp. ix + 187 (Macmillan Modern Dramatists). London and Basingstoke: Macmillan, 1983. Hardboard £11.00; paperbound £3.95." Notes and Queries 32, no. 3 (September 1, 1985): 408–9. http://dx.doi.org/10.1093/notesj/32.3.408.

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19

Schrank, Bernice. "In the Aftermath of the Spanish Civil War: A Previously Unpublished Letter from Sean O'Casey to the Veterans of the Abraham Lincoln Brigade." Canadian Journal of Irish Studies 25, no. 1/2 (1999): 216. http://dx.doi.org/10.2307/25515270.

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20

Farrell. "New Discoveries: The Marriage Certificate of Eugene O'Neill and Carlotta Monterey (July 22, 1929) / Sean O'Casey, Letter to Eugene O'Neill (November 25, 1936)." Eugene O'Neill Review 40, no. 2 (2019): 154. http://dx.doi.org/10.5325/eugeoneirevi.40.2.0154.

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21

O'Brien, Paul, and Ronald Ayling. "Sean O'Casey's Theatre of War." Canadian Journal of Irish Studies 32, no. 2 (2006): 72. http://dx.doi.org/10.2307/25515647.

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22

O'Casey, Shivaun. "Down South with O'Casey's Later Work." Irish University Review 45, no. 1 (May 2015): 31–38. http://dx.doi.org/10.3366/iur.2015.0148.

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Sean O'Casey's later plays, written between the 1930s and the early 1960s, are at the centre of Shivaun O'Casey's intimate memory of the theatrical family's life, their cultural influences, daring, professional triumphs, and disappointments. Grounded in her own experiences and her work as a producer and director, the vagaries of theatrical production, performance, and reception of the late work are vividly evoked, while those key figures who recognized and committed themselves to the later plays constitute an international roll-call of theatrical genius.

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23

Fiedler, Mari Kathleen, and Robert G. Lowery. "Sean O'Casey's Autobiographies: An Annotated Index." Theatre Journal 37, no. 2 (May 1985): 242. http://dx.doi.org/10.2307/3207085.

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24

Coakley, James. "The Drama of J. M. Synge by Mary C. King, and: A Critical History of Modern Irish Drama, 1891-1980 by D. E. S. Maxwell, and: Sean O'Casey and His Critics: An Annotated Bibliography, 1916-1982 by E. H. Mikhail." Comparative Drama 22, no. 1 (1988): 84–86. http://dx.doi.org/10.1353/cdr.1988.0025.

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25

Grubgeld, Elizabeth. "Memoirs of Sight Loss from Post-Independence Ireland." Irish University Review 47, no. 2 (November 2017): 266–80. http://dx.doi.org/10.3366/iur.2017.0280.

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Life writing by disabled people in Ireland during the post-independence period constitutes a culturally specific narrative emphasizing the relationship between disability and class and the shaping forces of social and geographical insularity. Because of the often contentious history of activist blind workers in Ireland, as well as the ongoing association between ocular impairments and Ireland's political and economic history, memoirs of sight loss provide a particularly rich field of inquiry into the relationship among disability, class, and the impact of colonialism. Key to this investigation are Sean O'Casey's I Knock at the Door (1939) and Joe Bollard's memoir of mid-century Ireland Out of Sight (1998).

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26

Rollins, Ronald. "Celtic Gods as Catalysts in Sean O'Casey's Purple Dust." Modern Drama 32, no. 2 (1989): 313–14. http://dx.doi.org/10.1353/mdr.1989.0010.

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27

Christopher Murray. "Sean O'Casey's The Cooing of Doves: A One-Act Play Rediscovered." Princeton University Library Chronicle 68, no. 1-2 (2007): 327. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0327.

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28

Schrank, Bernice. "Reception, Close Reading and Re-Production: The Case of Sean O'Casey's "The Silver Tassie"." Canadian Journal of Irish Studies 26/27 (2000): 34. http://dx.doi.org/10.2307/25515348.

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29

Airth, Cathy. "Making the Least of Masculine Authority: Sean O'Casey's "Paycock" and "Plough and the Stars"." Canadian Journal of Irish Studies 32, no. 2 (2006): 42. http://dx.doi.org/10.2307/25515638.

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30

Creedon, Emma. "Disability, Identity, and Early Twentieth-Century Irish Drama." Irish University Review 50, no. 1 (May 2020): 55–66. http://dx.doi.org/10.3366/iur.2020.0434.

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This essay assesses the role of physical disability in early twentieth-century Irish dramatic literature. In particular, by focusing on such plays as W.B. Yeats's On Baile's Strand (1903) and the character of Johnny Boyle in Sean O'Casey's Juno and the Paycock (1924), it critiques the tradition of identifying characters with disabilities solely by their physical impairment and exploiting disability as metaphor; physical disability has been historically employed as a synecdoche for a thwarted morality, or blindness as an allegory for prophecy. However, scholarly criticisms of the Social Model of Disability have demonstrated how disability can be reappropriated to reconceptualize notions of bodily normalcy. Furthermore, this essay suggests that the convention of “cripping up”, an industry term describing the practice of an able-bodied actor playing a character with a physical disability, contributes to the marginalization of those with physical disability in Irish culture. The result is the potential degradation of the disabled body, a stylized performance evoking vaudevillian conventions; performance thus engenders belief in stereotype.

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31

Schrank, Bernice. "Fabulous Cocks and Fallible Clerics: Fantasy as Politics in Sean O'Casey's "Cock-a-Doodle Dandy"." Canadian Journal of Irish Studies 25, no. 1/2 (1999): 202. http://dx.doi.org/10.2307/25515269.

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32

Poulain, Alexandra. "Playing out the Rising: Sean O'Casey's The Plough and the Stars and Tom Murphy's The Patriot Game." Études anglaises 59, no. 2 (2006): 156. http://dx.doi.org/10.3917/etan.592.0156.

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33

Susan Cannon Harris. "Red Star versus Green Goddess: Sean O'Casey's The Star Turns Red and the Politics of Form." Princeton University Library Chronicle 68, no. 1-2 (2007): 357. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0357.

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34

Waterman, David. "The Performance of Masculinity and Nationalism : Sean O'Casey's The Plough and the Stars and Juno and the Paycock." Études irlandaises 23, no. 2 (1998): 53–69. http://dx.doi.org/10.3406/irlan.1998.1454.

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35

Royston Spears. "REPRESENTATIONS OF REBELLION IN SEAN O'CASEY'S THE PLOUGH AND THE STARS AND THE COOING OF DOVES." Princeton University Library Chronicle 75, no. 1 (2013): 119. http://dx.doi.org/10.25290/prinunivlibrchro.75.1.0119.

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36

Rosa, Ketlyn Mara. ""WHAT WOULD HAPPEN IF A SHELL LANDED HERE NOW"? CORPOREAL VIOLENCE IN SEAN O'CASEY'S THE PLOUGH AND THE STARS AND THE SILVER TASSIE." Revista X 15, no. 7 (December 31, 2020): 495. http://dx.doi.org/10.5380/rvx.v15i7.74750.

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37

"Sean O'Casey, a life." Choice Reviews Online 26, no. 03 (November 1, 1988): 26–1414. http://dx.doi.org/10.5860/choice.26-1414.

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38

"Endpiece: Sean O'Casey on surgeons." BMJ 324, no. 7352 (June 22, 2002): 1479a—1479. http://dx.doi.org/10.1136/bmj.324.7352.1479/a.

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39

"Sean O'Casey: a research and production sourcebook." Choice Reviews Online 34, no. 05 (January 1, 1997): 34–2641. http://dx.doi.org/10.5860/choice.34-2641.

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40

"Portraying the self: Sean O'Casey & the art of autobiography." Choice Reviews Online 26, no. 03 (November 1, 1988): 26–1399. http://dx.doi.org/10.5860/choice.26-1399.

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41

"Ayling, R. ed., Seven Plays by Sean O'Casey: A Students' Edition." Notes and Queries, December 1987. http://dx.doi.org/10.1093/nq/ns-34.4.568.

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42

"The glamour of grammar: orality and politics and the emergence of Sean O'Casey." Choice Reviews Online 38, no. 07 (March 1, 2001): 38–3761. http://dx.doi.org/10.5860/choice.38-3761.

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43

Jordan, Eamonn. "Menace and Play." AnaChronisT 13 (January 1, 2008). http://dx.doi.org/10.53720/ysra4891.

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Irish Drama has changed radically over the last century, and especially during the last decade of the twentieth century. Globally, the state of Irish theatre has never seemed healthier. The vibrancy and recent accomplishments, in terms of box office and awards, of Martin McDonagh, Conor McPherson, Frank McGuinness, Marina Carr, Marie Jones, and of course Brian Friel bear this out. Just as clearly, there has been a dissolution of a dramatic practice that goes back to J.M. Synge and Sean O'Casey, that consolidated in the late 1950s and early 60s, and that later matured and modified, while retaining reasonably consistent artistic aspirations and fundamentals. I map this transition by portraying what seems to me to be shared dramaturgical conventions of an older male generation and the demise or depreciation of those practices (there is still residual evidence of it) in a younger one. I will argue that it is a shift from a post-colonial to a postmodern consciousness that accounts for much of the changes. To make my case, I will work primarily with Brian Friel, Tom Murphy and Frank McGuinness and offset them against Sebastian Barry, Conor McPherson, Martin McDonagh and Mark O'Rowe.

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