The Critical Response to Arthur Miller
Presenting roughly sixty year's worth of Miller scholarship, Centola and Cirulli offer a wide range of interpretations and critical responses to the playwright's work. Incorporating insights from several disciplines including, but not limited to, philosophy, psychology, and sociology, this work also contains discussions of his work in light of new understandings discovered through considerations of cultural contexts, performance issues, feminist concerns, as well as deconstructionist and postmodernist redefinitions of the textuality of Miller's writing.
Bearing witness to the enduring value of Miller's work and the relevance of his artistic vision, this body of critical essays reveals why the writer's influence has been so widespread. Adept at dramatic experimentation, Miller succeeded in inspiring the work not only of American playwrights but also that of dramatists around the world.
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That our innocence must sound “ the profoundest tragic depths , ” in the words of the elder Henry James , before we can confront the world as fully developed beings ; that without a sense of darkness in the imagination we are incomplete ...
The first reference in the play to darkness occurs early in act 1 when Ann Putnam reveals that she sent her daughter Betty to Tituba to conjure up Ann's dead babies : PARRIS . Goody Ann , 474 Stephen A. Marino.
( 31 ) In these lines , Giles compares litigation — the legal manifestation of social rancor in the community — to a “ deep thing , and dark as a pit , ” a significant comparison given the earlier association of darkness .
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Early Response to 1959
Arthur Miller and the Tradition of Tragedy
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