Mourning Becomes Electra as a Tragedy

Asselineau, Roger

doi:10.3138/md.1.3.143

Cited by 3 publications

(1 citation statement)

References 3 publications

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“…5 Critics consider Oresteia the main source of influence on O'Neill's writing of Mourning Becomes Electra. See Asselineau (1958), Rutledge (1982, 143-144), Burian (1997, 254-256), Khare (1998, 339-374), Black (2004, 174-178), andAlexander (2007, 33-37).…”

Section: Introductionmentioning

confidence: 99%

From Hatred to Love: Development of a Literary Topos in Eugene O’Neill’s Mourning Becomes Electra (1931)

Nazemi

Mariscal²

2022

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In the present study, two literary topics of love are introduced and its historical development is traced from the classical tradition to the modern culture. Also being studied is Eugene O'Neill's modern American tragedy, Electra Is Good for Mourning (1931). These topics consist of 'love for hate' and 'jealousy in love'. It is argued that both topics comprise four stages, originate in ancient Greek and Roman literature and evolve into modern culture, as in O'Neill's work, following tradition. Also, despite critics' belief that Electra is fine with mourningO'Neill's is based on the versions of Euripides, Sophocles and Aeschylus on the history of Orestes and Electra, the contextualization of these two topics follows the tradition of Homer's Iliad and Ovid 's Metamorphoses. Finally, this article studies the appearance of each mole on television and in contemporary world cinema, such as the British La Joven Jane Austen (2007), the Iranian Shahrzad Series (2015) and the American La La Land (2016).

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Section: Introductionmentioning

confidence: 99%

From Hatred to Love: Development of a Literary Topos in Eugene O’Neill’s Mourning Becomes Electra (1931)

Nazemi

Mariscal²

2022

Archivum (Oviedo)

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Forty Years of O'Neill Criticism: A Selected Bibliography

Bryer¹

1961

Modern Drama

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Personal Nomenclature In The Plays Of O'Neill

Törnqvist¹

1966

Modern Drama

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When a dramatist baptizes his fictitious creatures, he is not in the situation of a parent christening his own children. For the dramatist usually baptizes, not children, but grown-ups, who have developed a number of characteristic traits. Hence he can do for them what he cannot do for his own offspring: give them fitting names. Since all names have a meaning (although in some cases it is obscure or unknown even to the scholars in the field) it would seem natural if any dramatist, indeed any writer, made naming a distinctive element of characterization along with occupation, costume, gestures, etc. It is objected that the average theater-goer or reader of plays knows the meaning of but a few names, and that this inventiveness on the part of the author is consequently wasted on his public. The obvious answer to this is that some dramatists at least—and O'Neill is one of them—do not let their way of writing be influenced by the average theatre-goer.

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Mourning Becomes Electra as a Tragedy

Cited by 3 publications

References 3 publications

From Hatred to Love: Development of a Literary Topos in Eugene O’Neill’s Mourning Becomes Electra (1931)

From Hatred to Love: Development of a Literary Topos in Eugene O’Neill’s Mourning Becomes Electra (1931)

Forty Years of O'Neill Criticism: A Selected Bibliography

Personal Nomenclature In The Plays Of O'Neill

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