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Thomas P. Adler – More Metadrama than Antidrama: Thoughts and Counter Thoughts on Bernd Engler’s “Arthur Kopit’s The Hero in Context”

More Metadrama than Antidrama: Thoughts and Counter Thoughts on Bernd Engler’s “Arthur Kopit’s The Hero in Context” Thomas P. Adler Published in Connotations Vol. 4.3 (1994/95) Although Bernd Engler’s claim that Arthur Kopit has been subjected to “unanimous critical neglect” is something of an overstatement (admittedly, articles by Gautam Dasgupta, […]

John Cooley – Faulkner, Race, Fidelity

Faulkner, Race, Fidelity John Cooley Published in Connotations Vol. 4.3 (1994/95) They were as close to me as a reflection in the mirror; I could touch them, but I could not understand them.58)     —Claude Levi−Strauss Writing in response to Arthur Kinney’s essay “Faulkner and Racism” I will both endorse his […]

Terence Martin – Reflections on Jürgen Wolter’s “Metafictional Discourse in Early American Literature”

Reflections on Jürgen Wolter’s “Metafictional Discourse in Early American Literature” Terence Martin Published in Connotations Vol. 4.3 (1994/95) After a strategic acknowledgement of self−reflexive characteristics in the work of Sterne, Richardson, and Fielding, Jürgen Wolter sets the context for his discussion with a review of the American case against the […]

Cecile Wiliamson Cary – A Comment on Roy Battenhouse’s “Shakespearean Tragedy: Its Christian Premises”

A Comment on Roy Battenhouse’s “Shakespearean Tragedy: Its Christian Premises” Cecile Wiliamson Cary Published in Connotations Vol. 4.3 (1994/95) Abstract Cecil Williamson Cary reviews Shakespeare’s Christian Dimension (edited by Roy Battenhouse). Professor Battenhouse’s summary of the premises on which he has based his criticism of Shakespeare and his account of […]

Nancy A. Gutierrez – A Response to Lisa Hopkins

A Response to Lisa Hopkins Nancy A. Gutierrez Published in Connotations Vol. 4.3 (1994/95) In her brief but suggestive essay, “The False Domesticity of A Woman Killed with Kindness,” Lisa Hopkins reminds us that the domestic context and description in Thomas Heywood’s play are in fact self−conscious authorial inventions, providing […]