Relevant bibliographies by topics / Mexican drama, history and criticism

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Mexican drama, history and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

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Journal articles on the topic "Mexican drama, history and criticism"

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Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism." Journal of Contemporary Educational Research 5, no. 10 (October 29, 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.

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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.
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McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.

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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.
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Kurdi, Mária. "Samuel Beckett’s Drama in Hungarian Theatre History and Criticism before 1990." Theatron 16, no. 4 (2022): 54–69. http://dx.doi.org/10.55502/the.2022.4.54.

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The international and intercultural aspects of Samuel Beckett’s theatre have been widely recognised by an increasing number of scholarly works in the last few decades. This article offers a study of the pre-1990 reception of Beckett’s drama and theatre in Hungarian criticism and literary and theatre histories. Its focus is on critical and theoretical investigations of three of Beckett’s masterpieces for the stage, Waiting for Godot (1953), Endgame (1957), and Happy Days (1961), provided by Hungarian authors in Hungary or in Hungarian-language forums of the neighbouring countries. While mentioning all the premieres of the three masterpieces in Hungary during the given period, the article surveys and compares only those ideas across the various theatre reviews, which contribute to the Hungarian critical reception of Beckett and the selected works. To place the addressed pre-1990 Hungarian studies and reviews in the broader field, the article is framed by references to some relevant writings of international Beckett scholars.
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Cohen, Stephen, and Lawrence J. Ross. "On Measure for Measure: An Essay in Criticism of Shakespeare's Drama." Sixteenth Century Journal 29, no. 2 (1998): 510. http://dx.doi.org/10.2307/2544531.

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Tavarez, D. "Nahuatl Theater. Volume 3. Spanish Golden Age Drama in Mexican Translation." Ethnohistory 57, no. 2 (April 1, 2010): 349–50. http://dx.doi.org/10.1215/00141801-2009-077.

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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Smith, Michael M. "CarrancistaPropaganda and the Print Media in the United States: An Overview of Institutions." Americas 52, no. 2 (October 1995): 155–74. http://dx.doi.org/10.2307/1008260.

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Despite the voluminous body of historical literature devoted to the Mexican Revolution (1910-1920) and U.S.-Mexican diplomatic relations, few works address the subject of revolutionary propaganda. During this tumultuous era, however, factional leaders recognized the importance of justifying their movement, publicizing their activities, and cultivating favorable public opinion for their cause, particularly in the United States. In this regard, Venustiano Carranza was especially energetic. From the inception of his Constitutionalist revolution, Carranza and his adherents persistently attempted to exploit the press to generate support among Mexican expatriates, protect Mexican sovereignty, secure recognition from the administration of Woodrow Wilson, gain the acquiescence–if not the blessing–of key sectors of the North American public for his Constitutionalist program, enhance his personal image, and defend his movement against the criticism and intrigues of his enemies–both Mexican and North American.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
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Lampert, Nick. "Social criticism in Soviet drama: The plays of Aleksandr Gel'man." Soviet Studies 39, no. 1 (January 1987): 101–15. http://dx.doi.org/10.1080/09668138708411676.

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Dissertations / Theses on the topic "Mexican drama, history and criticism"

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Neria, Leticia. "Humour as political resistance and social criticism : Mexican comics and cinema, 1969-1976." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3196.

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This research focuses on the study of Mexican comics and films from 1969 to 1976. It uses the language of humour to understand how these media expressed contemporary social and political concerns. After reviewing theories of humour and proposing an eclectic theory to analyse visual sources, three different comic books and four films were examined in order to gain an understanding of the issues that troubled the society at the time. This eclectic theory considered academic approaches from a variety of disciplines, including philosophy, sociology, linguistics, psychology, and others. The theory of humour proposed in this thesis can be used to study humorous visual expressions from other cultures and historical times. Thus, one of the novelties of this research is the proposal of an eclectic theory of humour to study visual culture. A second original contribution of this thesis is that it proposes an approach to social history through the analysis of two relevant cultural manifestations: humour and visual culture. This work also invites us to reflect on Mexican society during the presidency of Luis Echeverría Álvarez, as well as the circumstances of the mass media and the arts, both of which enjoyed some freedom in what was called the apertura democrática. Nevertheless, since some topics were still prickly and difficult, humour helped society discuss them, kept them on the social agenda, and acted as a safety valve to express the discomfort of the members of society. Finally, this thesis considers social manifestations, such as humour, as sources through which to study culture and history; it highlights the relevance of the cultural legacy of comics which have been considered as a sub-cultural product; and it shows how we can use films to discover something new about a specific time and social group.
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Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.

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Streete, Adrian George Thomas. "Calvinism, subjectivity and early modern drama." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/12800.

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This thesis examines the connections between Calvinism and early modern subjectivity as expressed in the drama produced during the reigns of Elizabeth I and James I. By looking at a range of theological, medical, popular, legal and polemical writings, the thesis aims to provide a new historical and theoretical reading of Calvinist subjectivity that both develops and departs from previous scholarship in the field. Chapter one examines the critical question of 'authority' in early modern Europe. I trace the various classical and medieval antecedents that reinscribed Christ with political authority during the period, and show how the Reformers' conception of conscience arises out of this movement. In chapter two, I offer a parallel reading of Reformed semiotics in relation to the individual's response to two specific loci of power, the Church and the stage. Chapter three brings the first two chapters together by outlining the development of Calvinist doctrine in early modem England. Chapter four offers a theoretical reading of the early modern 'unconscious' in relation to the construction of England as a Protestant nation state against the threat of Catholicism. In the next four chapters, I show how the stage provided the arena for the exploration of Calvinist subjectivities through readings of four early modern plays. Chapter five deals with Christopher Marlowe's Doctor Faustus and in particular the Calvinist conception of Christ interrogated throughout the play. Chapter six looks at The Revenger's Tragedy in relation to the question of masculine lineage and the Name-of-the-(Calvinist)-Father. Finally, in chapters seven and eight, I examine two of William Shakespeare's plays, Macbeth and Antony and Cleopatra. In the first, I demonstrate how the play's concern with witchcraft brings about a parody of providential discourse that is crucial to an understanding of Macbeth's subjectivity. And in the second, I excavate the use of the biblical book of Revelation in Antony and Cleopatra in order to show how an understanding of the text's 'religious' concerns problematises more mainstream readings of the drama.
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D'Ermo-Tenaglia, Doria. "Calandro, un personaggio nella storia della critica, 1788-1980 : saggio di bibliografia critica." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65467.

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O'Regan, Inge Brigitta. ""Zuwachs unsrer existenz" : the quest for Being in J.M.R. Lenz." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31078.

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Jakob Michael Reinhold Lenz (1751-1792), whose plays have been acclaimed as the prototype of the modern drama of Brecht and Durrenmatt, is a controversial figure who rose to prominence on the German literary scene in the early seventeen seventies. Among Lenz's theoretical writings is the influential essay "Anmerkungen ubers Theater," in which he introduces his innovative dramatic theories and describes the independent protagonists he envisions for the German stage. In the same essay, he demands "Zuwachs unsrer Existenz" (a heightened awareness of existence) from contemporary drama. However, in marked contrast to the "Anmerkungen," the protagonists of his two most prominent plays, Der Hofmeister (1774) and Die Soldaten (1776), are self-alienated, ontologically insecure individuals who seem victims of the socio-political realities of their times. Not surprisingly, critics are divided in their opinion as to what the contradictions in Lenz's oeuvre signify. Lenz was a student of Immanuel Kant's between 1768 and 1770, a time when the latter was formulating ideas that would find their full expression years later in his critical philosophy. In 1770, Kant presented his inaugural address "de mundi sensibilis atque intelligibilis forma et principiis" (On the Form and Principles of the Sensible and Intelligible World) to the assembled faculty and students of KCnigsberg Academy, among them J.M.R. Lenz. It is in the inaugural dissertation that Kant introduces his thesis of the individual as an inhabitant of two "worlds," the noumenal and the phenomenal, a central concept in his first critique, Kritik der reinen Vernunft, which would be published in 1781. This study examines Lenz's thoughts as they surface in his theoretical essays and his major plays and puts forward the thesis that it is Kant's division of the self into an intelligible and a sensible realm which prompts Lenz's call for "Zuwachs unsrer Existenz." Lenz's quest is fuelled, furthermore, by his acute awareness of the ontological insecurity of the individual self, an awareness which seems to anticipate the thought of Kierkegaard. The overriding purpose of this thesis is, through a reevaluation of Lenz's theoretical and dramatic works, to elucidate this eighteenth-century writer's quest for authentic being, a quest that he considered to be the individual's most urgent task.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.

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齊曉楓 and Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.

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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.

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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Ramukosi, Patrick Mbulaheni. "Modern tragedy : a critical analysis of the elements of tragedy with special reference to N.A. Milubi's plays." Thesis, University of Limpopo, 1999. http://hdl.handle.net/10386/2336.

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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.

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Books on the topic "Mexican drama, history and criticism"

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Breining, Daniel. Mexican theater and drama from the Conquest through the seventeenth century. Lewiston: E. Mellen Press, 2007.

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Armando de María y Campos. Teatro del nuevo México: Recuerdos y olvidos. México, D.F: Escenología, A.C., 1999.

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Rivera, Tomás Chacón. Teatro de la Revolución Mexicana: Intelectuales, mártires y caudillos. Chihuahua, México: Universidad Autónoma de Chihuahua, 2010.

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Journées internationales sur le théâtre mexicain en France (1st 1993 Perpignan, France). El teatro mexicano visto desde Europa: Actes des 1res Journées Internationales sur le Théâtre Mexicain en France, 14, 15, 16 juin 1993, Université de Perpignan. [Mexico City, Mexico]: CITRU, 1994.

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Guillermo Schmidhuber de la Mora. El advenimiento del teatro mexicano: Años de esperanza y curiosidad. [San Luis Potosí]: Arriaga, 1999.

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Guillermo Schmidhuber de la Mora. El ojo teatral: 19 lecturas ociosas. Guanajuato, Gto. [Mexico]: Ediciones La Rana, 1998.

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Rascón Banda, Víctor Hugo, 1948-2008, Berman Savina, and Leñero Vicente, eds. Las fronteras mitícas del teatro mexicano: Savina Berman Entre villa y una mujer desnuda : Vicente Leñero Todos somos Marcos : Víctor Hugo Rascóm Banda La mujer que cayó del cielo. Lawrence, KS: LATR Books, University of Kansas, 2009.

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Aún no recuerdo su rostro. México, D.F: Consejo Nacional para la Cultura y las Artes, Dirección General de Publicaciones, 2014.

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Conjuros y divagaciones. México: Coordinación de Difusión Cultural, Dirección de Literatura/UNAM, 2000.

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Guillermo Schmidhuber de la Mora. El teatro mexicano en ciernes, 1922-1938. New York: P. Lang, 1992.

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Book chapters on the topic "Mexican drama, history and criticism"

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Osborne, John. "Theories of drama." In The Cambridge History of Literary Criticism, 539–62. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cho9781139018456.036.

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Novak, Maximillian E. "Drama, 1660-1740." In The Cambridge History of Literary Criticism, 167–83. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.006.

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Osborne, John. "Drama, after 1740." In The Cambridge History of Literary Criticism, 184–209. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.007.

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Wimsatt, William K., and Cleanth Brooks. "Fiction and Drama: The Gross Structure." In Literary Criticism: A Short History, 681–98. Routledge, 2021. http://dx.doi.org/10.4324/9781003141013-7.

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Brazil, Kevin, David Sergeant, and Tom Sperlinger. "Introduction." In Doris Lessing and the Forming of History. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414432.003.0001.

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‘It’s a question of form’ (1993: 418). So declares frustrated writer Anna Wulf, in what remains Lessing’s most celebrated novel, The Golden Notebook. As this volume shows, the attempt to find forms which might record, model and engage historical change and all that it entails is one that persists throughout the six decades spanned by Lessing’s writing. The chapters that follow attend to the full weight of Anna’s statement: when Lessing’s writing turns towards history it is not simply a question of finding the literary form that might best represent it; rather it involves questioning the very relationship between form and history, as they are brought together afresh in each new work. These questions might be common to literary criticism, but the chronological breadth of Lessing’s career, and its sheer variety and productivity, makes them both particularly pressing and particularly enlightening in her work. As she moves from colonial Rhodesia to post-war Britain, and from war-torn Afghanistan to our posthuman future, her work employs the full panoply of techniques, modes, genres and effects that we refer to as forms: short stories, realism, serial fiction, documentary, drama, jokes, Sufi tales, reportage – and more....
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Yanıkkaya, Berrin. "The Ungovernable Female Agency." In Multidisciplinary Perspectives on Women, Voice, and Agency, 219–53. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4829-5.ch009.

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By following McNay's conceptualization of agency and adapting Mills' feminist stylistics, this chapter examines the creation of female agency and subjectivity in the Mexican political drama Ingobernable [The Ungovernable]. The series has two complete seasons and 27 episodes so far. The plot revolves around the actions of five women, who can be identified with their unexpected and unanticipated as well as disobedient and resistant behaviors at varying levels. Each woman has different relations with power; however, all aim to engender change within the established order. Here, the author proposed a multi-layered method for analyzing female agency and subjectivity in the series by weaving the analysis through women archetypes from Mexican history and argued that female agency is created through audacious and cautious actions in Ingobernable which exists in-between these two action-based tensions.
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"Displacing Drug War Violence onto Nonhuman Imaginaries." In Latin American Culture and the Limits of the Human, edited by Lucy Bollington, 103–24. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.003.0005.

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This chapter broaches the limits of the human from two entwined angles, examining the intersection of necropolitical violence and nonhuman animal tropes in Mexican author Juan Pablo Villalobos’s 2010 novella Fiesta en la madriguera. Villalobos’s novella is an influential text from the emerging narconarrative corpus in Mexico. The novella has received criticism from prominent critics and writers such as Oswaldo Zavala and Jorge Volpi who have charged that the text inflates the myths surrounding organized crime groups that have been perpetuated by the Mexican state. Drawing on previously unexplored influences from Latin American literary history, and marshalling theories of bio- and necropolitics, postcolonialism, and critical animal studies, this chapter advances a different reading of Villalobos’s text, averring that the author mobilizes the severed head of a highly symbolic animal (the hippopotamus) to launch a nuanced deconstruction of the figure of the drug lord and to recontextualize drug war violence by calling attention to the ways it is immanent to the drive of capitalism and (biopolitical) modernity (rather than outside of these broader processes).
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Stagg, Robert. "Blank Verse." In Shakespeare's Blank Verse, 14–70. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192863270.003.0002.

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Abstract The first chapter, the groundwork of the book, tests what might happen if we conceive of Shakespeare’s blank verse as in some sense ‘bad’. It takes seriously Robert Greene’s 1592 attack on Shakespeare’s blank verse for being ‘bombastic’ by recognizing that Shakespeare’s verse included a ‘metrical end-stop’ (a stressed tenth syllable) which necessarily risked or incurred bombast. It proceeds to tell a history of early blank verse—from the Earl of Surrey’s Aeneid translations to Thomas Sackville and Thomas Norton’s Gorboduc to George Gascoigne’s Steel Glass to Christopher Marlowe’s dramas—through the metrical end-stop before reading Shakespeare’s career-long effort to reply to Greene’s criticism, culminating in an interpretation of The Winter’s Tale as a sort of revenge drama upon Greene.
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Brodrecht, Grant R. "1864." In Our Country, 43–66. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279906.003.0003.

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The second chapter looks at northern evangelicals in relation to the election of 1864. Although the war’s evolving aim, which now included emancipation, reflected northern white evangelicals’ misgivings regarding slavery, during 1864 many nevertheless downplayed slavery-related issues. The year began with high hopes surrounding Ulysses S. Grant’s promotion to lead all Union forces, but by late summer his Virginia campaign had stalled and precipitated much anxiety in the North. In the face of Democratic opposition and abolitionist criticism,mainstream evangelicals cast 1864 as the dénouement of the war, if not the nation’s entire history. The enhanced drama benefitted Lincoln, for the more desperate things appeared, the more desperately mainstream evangelicals supported him. Contrary to the desires of evangelical abolitionists, most northern evangelicals saw the election of 1864 as fundamentally about saving the Union.
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Malcolm, William K. "Legacy." In Lewis Grassic Gibbon, 127–40. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620627.003.0008.

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The final chapter reviews the development of Mitchell’s literary legacy following his death up to the present. Translations of his best work to different genres, including radio, drama and film dramatisations, have had variable success while generically reflecting the growing popular esteem with which the Gibbon fiction is held. Critical appreciation has found a prominent place for A Scots Quair within the history of campaigning working-class writing and within the Scottish tradition in literature. Gibbon’s achievement with narrative focalisation and stream of consciousness combined with the epic grandeur of the trilogy working through Scottish subject matter to address vibrant universal themes has secured his place within the growing body of global criticism as one of the pre-eminent modernist novelists of the twentieth century. While his reputation within the British literary canon has been deemed to have suffered from his subliminal association with a marginalised culture, however, the author’s profound humanitarian principles manifested in his championing of the rights of the individual, irrespective of class, gender, religion and race, together with his prowess as a supreme proponent of ecofiction have a timeless appeal.
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