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Study of Power and Dissidence in O’Neill’s the Emperor Jones

Received: 18 July 2017    Accepted: 7 August 2017    Published: 23 August 2017
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Abstract

This Paper examines Eugene O’Neil`s The Emperor Jones in Power and dissidence. O’Neill was highly under the influence and inspiration of his contemporary events and the traces of those events are reflected in his works. He prefers to deal with the authentic American types and backgrounds in his social dramas. The main characters of his plays under the tyranny of dominant power turn into dissidents and resist against the authority or control of the dominant system. They struggle to subvert the dominant order, and since they would be a threat for absolute power they are consequently condemned to harsh punishment. O’Neill in his selected plays represents the conflict between the marginalized group and the central one. His sympathetic tone indicates his intention in supporting the dissidence in social and political activities. In The Emperor Jones O’Neill scrutinizes the situations of the Afro-Americans and challenges the concept of power and authority in the White American ideology. Particularly in this play the interrelation of the dissident and dominant within a socio-cultural system is expressed.

Published in English Language, Literature & Culture (Volume 2, Issue 4)
DOI 10.11648/j.ellc.20170204.12
Page(s) 37-44
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Cultural Materialism, Dissidence, Hegemony, Society and Environment, Allegiance, Power, Resistance

References
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[2] Barler, Chris. Sage Dictionary of Cultural Studies. London: Sage Pub Inc, 2003. Barry, Peter. Beginning Theory, an Introduction to Literary and CulturalTheory. New York: St. Martin press, 1995.
[3] Bayem, Nina, ed. The Norton Anthology of American Literature. 4th ed. New York: Norton press, 1994.
[4] Bigspy, C. W. E. A Critical Introduction to Twentieth Century American Dramas. New York: Cambridge press, 1984.
[5] Bogard, Travis. Contour in Time: The Plays of Eugene O’Neill. New York: Oxford UP, 1972.
[6] Brannigan, John. New Historicism and Cultural Materialism. New York: ST. Martin press, 1998.
[7] Brustein, Robert Sarford. The Theatre of Revolt. New York: Atlantic Monthly press, 1927.
[8] Clark, Barrett. Eugene O’Neill: The Man and His Play. New York: McBride Company, 1929.
[9] Day, Cyrus, ed. The Twentieth Century Interpretations of the Iceman Cometh. New York: Englewood Cliffs Pub, 1968.
[10] Dollimore, J. and Sinfield, A. Political Shakespeare: Essays in Cultural Materialism. London: Manchester University Press, 1994.
[11] Dusenbury, Winifred. The Theme of Loneliness in Modern American Drama. New York: Gainesvildge Pub, 1960.
[12] Falk, Doris. O’Neill and Tragic Tension: An Interpretive Study of the Plays. New York: Rutgers UP, 1985.
[13] Floyd, Virginia. Eugene O’Neill at Work. New York: Ungar Pub, 1981. Gelb, Arthur. Nine Plays of Eugene O’Neill. New York: Random House, 1954. Gessner, John. ed. Eugene O’Neill: A Collection of Critical Essays. New York: Englewood Cliffs, 1946.
[14] Higgins, John. Raymond Williams, Literature, Marxism and Cultural Materialism. New York: Routledge Press, 1999.
[15] Krasner, David. ed. A Companion to Twentieth Century American Drama. New York: Blackwell Pub, 2005.
[16] Krutch, Joseph Wood. American Drama Since 1918. New York: Addison-Wesely Publishing Company, 1957.
[17] Lewis, Allan. American Plays and Playwrights of Contemporary Theatre. New York: Crown Pub, 1965.
[18] Lodge, David, ed. Modern Criticism and Theory. New York: Longman Pub, 2000. Lonely, Glenn Meredith. Twentieth Century Theatre. New York: Facts& File Publication, 1983.
[19] Makaryk, Ireana. Encyclopedia of Contemporary Literary Theory: Approaches, Scholars, Terms. Toronto: Toronto university Press, 1993.
[20] Manheim, Micheal. ed. The Cambridge Companion to Eugene O’Neill. New York: Cambridge UP, 1998.
[21] Maufort, Marc. ed. Eugene O’Neill and the Emergence of American Drama. Amesterdam: Rodopi Pub, 1989.
[22] Murphy, Martin. Cultural Materialism, Study/ Culture. New York: University of Florida, 1995.
[23] Newton, K. M. Twentieth Century Literary Theory. New York, 1995. Nugent, Elizabeth. The Iceman Cometh: A Critique. New York: Monarch Press, 1965. Prendergast, Christopher. ed. Cultural Materialism: On Raymond Williams. New York: Minnesota University Press, 1995.
[24] Rodgers, David. The Plays of Eugene O’Neill: A Critical Commentary. New York: Monarch Press, 1965.
[25] Selden, Roman. Contemporary Literary Theory. London: Harvester Wheatheaf, 1993. Shipley, Joseph. Guide to Great Plays. Washington D. C.: Public Affairs Press, 1956. Stansell, Christian. American Moderns: Bohemian New York and the Creation of a New Century. New York: Blackwell Pub, 1999.
[26] Summers, Martin. Manliness and its Discontents: The Black Middle Class and the Transformation of Masculinity, 1900-1930. New York: North Caroline UP, 2000.
[27] Takeuchi, Y. The Theory of Culture. Tokyo: Iwanmi, 1981. Wilson, Scott. Cultural Materialism, Theory and Practice. New York: Blackwell Pub, 1995.
[28] Wilson, R. and Dutton, R. ed. New Historicism and Renaissance Drama. New York: Longman press, 1992.
[29] Abdo, Diya. The Emperor Jones: A Struggle for Individuality. Wilkins, Fredrick. ed. The Eugene O’Neill Review: volume 24, No I& II. Spring-Fall 2000.1/5/2004.
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  • APA Style

    Nafiseh Iranpour, Fatemeh Sadat Basirizadeh. (2017). Study of Power and Dissidence in O’Neill’s the Emperor Jones. English Language, Literature & Culture, 2(4), 37-44. https://doi.org/10.11648/j.ellc.20170204.12

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    ACS Style

    Nafiseh Iranpour; Fatemeh Sadat Basirizadeh. Study of Power and Dissidence in O’Neill’s the Emperor Jones. Engl. Lang. Lit. Cult. 2017, 2(4), 37-44. doi: 10.11648/j.ellc.20170204.12

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    AMA Style

    Nafiseh Iranpour, Fatemeh Sadat Basirizadeh. Study of Power and Dissidence in O’Neill’s the Emperor Jones. Engl Lang Lit Cult. 2017;2(4):37-44. doi: 10.11648/j.ellc.20170204.12

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  • @article{10.11648/j.ellc.20170204.12,
      author = {Nafiseh Iranpour and Fatemeh Sadat Basirizadeh},
      title = {Study of Power and Dissidence in O’Neill’s the Emperor Jones},
      journal = {English Language, Literature & Culture},
      volume = {2},
      number = {4},
      pages = {37-44},
      doi = {10.11648/j.ellc.20170204.12},
      url = {https://doi.org/10.11648/j.ellc.20170204.12},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ellc.20170204.12},
      abstract = {This Paper examines Eugene O’Neil`s The Emperor Jones in Power and dissidence. O’Neill was highly under the influence and inspiration of his contemporary events and the traces of those events are reflected in his works. He prefers to deal with the authentic American types and backgrounds in his social dramas. The main characters of his plays under the tyranny of dominant power turn into dissidents and resist against the authority or control of the dominant system. They struggle to subvert the dominant order, and since they would be a threat for absolute power they are consequently condemned to harsh punishment. O’Neill in his selected plays represents the conflict between the marginalized group and the central one. His sympathetic tone indicates his intention in supporting the dissidence in social and political activities. In The Emperor Jones O’Neill scrutinizes the situations of the Afro-Americans and challenges the concept of power and authority in the White American ideology. Particularly in this play the interrelation of the dissident and dominant within a socio-cultural system is expressed.},
     year = {2017}
    }
    

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    AB  - This Paper examines Eugene O’Neil`s The Emperor Jones in Power and dissidence. O’Neill was highly under the influence and inspiration of his contemporary events and the traces of those events are reflected in his works. He prefers to deal with the authentic American types and backgrounds in his social dramas. The main characters of his plays under the tyranny of dominant power turn into dissidents and resist against the authority or control of the dominant system. They struggle to subvert the dominant order, and since they would be a threat for absolute power they are consequently condemned to harsh punishment. O’Neill in his selected plays represents the conflict between the marginalized group and the central one. His sympathetic tone indicates his intention in supporting the dissidence in social and political activities. In The Emperor Jones O’Neill scrutinizes the situations of the Afro-Americans and challenges the concept of power and authority in the White American ideology. Particularly in this play the interrelation of the dissident and dominant within a socio-cultural system is expressed.
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Author Information
  • Al-Mustafa-University, Qom Branch, Qom, Iran

  • Researchers and Elite Club, Qom Branch, Islamic Azad University, Qom, Iran

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