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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The Listener leaves just before the end of the first act and returns just after the beginning of the second . " Oh , that's all right , ” Quentin greets him , " I didn't mind waiting . How much time do I have ? " ( 90 ) .
Guided by Holga's words , he turns towards the tower , which had lighted up again at the beginning of his final scene with Maggie : Or is it possible ... that this is not bizarre ... to anyone ? And I am not alone , and no man lives who ...
Critics have also recognized from the beginning the traces of Ibsen's Pillars of Society in All My Sons ( 1947 ) , and others have pointed out that the story of Joe Keller and Steve Deever in that play is derived from that of Hakon ...
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Early Response to 1959
Arthur Miller and the Tradition of Tragedy
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