Journal articles: 'Playboy of the western world'

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Scott, Van. "Playboy of the Western World." Harrington Gay Men's Fiction Quarterly 3, no. 2 (April 5, 2002): 56–65. http://dx.doi.org/10.1300/j152v03n02_06.

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Lappin, Louis, and J. M. Synge. "The Playboy of the Western World." Theatre Journal 39, no. 1 (March 1987): 111. http://dx.doi.org/10.2307/3207636.

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Powell, Janice A. "Synge's the Playboy of the Western World." Explicator 47, no. 3 (April 1989): 32–35. http://dx.doi.org/10.1080/00144940.1989.9933927.

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O'Leary, Deirdre. "The Playboy of the Western World (review)." Theatre Journal 57, no. 2 (2005): 296–98. http://dx.doi.org/10.1353/tj.2005.0072.

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Butler, David. "Hamlet, Carnival, and The Playboy of the Western World." Irish University Review 42, no. 2 (November 2012): 236–53. http://dx.doi.org/10.3366/iur.2012.0032.

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That The Playboy of the Western World is a paradigm of the arrival, crowning, decrowning and expulsion of a carnival king has been reasonably well established. This essay aims to extend this analysis by examining a number of ‘grotesque’ themes that relate specifically to the Bakhtinian view of carnival, in particular as these operate at the level of language: hyperpole, ambivalent laughter, ingestion and excretion, violent physical disarticulation, sex and death. The essay thereby aims to place the text squarely into the tradition of the medieval fabliaux that, Bakhtin suggests, is characterised by ambivalence, is resistant to monologic interpretation, and which was largely superseded in the late Renaissance. To further support this view, there is an extended intertextual comparison between the graveyard scene in Act V of Hamlet and the opening of Act III in The Playboy of the Western World.

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Yim, Harksoon. "Campbellian Quester in Synge’s The Playboy of the Western World." Jungang Journal of English Language and Literature 49, no. 3 (September 2007): 297–307. http://dx.doi.org/10.18853/jjell.2007.49.3.015.

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Levitt, Paul Michael. "Fathers and Sons in Synge's the Playboy of the Western World." Explicator 66, no. 1 (September 2007): 18–21. http://dx.doi.org/10.3200/expl.66.1.18-21.

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Dowd, Christopher. "The Irish Scheherazade: Conquering Death in Synge'sTHE PLAYBOY OF THE WESTERN WORLD." Explicator 73, no. 1 (January 2, 2015): 55–60. http://dx.doi.org/10.1080/00144940.2014.1000258.

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Parker, Randolph. "Gaming in the Gap: Language and Liminality in "Playboy of the Western World"." Theatre Journal 37, no. 1 (March 1985): 65. http://dx.doi.org/10.2307/3207185.

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Urban, Eva. "Spectres of Fiction: New Political Contexts for The Playboy of the Western World." Études irlandaises, no. 45-1 (September 24, 2020): 103–17. http://dx.doi.org/10.4000/etudesirlandaises.9098.

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Kim, Inpyo. "The Playboy of the Western World: The Temperaments and Traditions of Irish People." Modern Studies in English Language & Literature 60, no. 4 (November 30, 2016): 73–90. http://dx.doi.org/10.17754/mesk.60.4.73.

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Chaudhuri, Una. "The Dramaturgy of the Other: Diegetic Patterns in Synge'sThe Playboy of the Western World." Modern Drama 32, no. 3 (September 1989): 374–85. http://dx.doi.org/10.3138/md.32.3.374.

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Cusak, George. ""In the Gripe of the Ditch": Nationalism, Famine, andThe Playboy of the Western World." Modern Drama 45, no. 4 (December 2002): 567–92. http://dx.doi.org/10.3138/md.45.4.567.

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Hwang, Hoon-sung. "The Political Unconscious Staged in J. M. Synge’s The Playboy of the Western World." Journal of Modern English Drama 30, no. 3 (December 31, 2017): 279–308. http://dx.doi.org/10.29163/jmed.2017.12.30.3.279.

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Barnett, David. "Resisting the Irish Other: the Berliner Ensemble's Production of The Playboy of the Western World." New Theatre Quarterly 33, no. 2 (April 12, 2017): 156–68. http://dx.doi.org/10.1017/s0266464x17000069.

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In this article David Barnett explores the Berliner Ensemble's production in 1956 of Synge's classic The Playboy of the Western World. Although it was directed by Peter Palitzsch and Manfred Wekwerth, Bertolt Brecht, the company's co-founder, loomed large in planning and rehearsal. This staging serves as an example of how a politicized approach to theatre-making can bring out relationships, material conditions, and power structures that the play's production history has often ignored. In addition, Barnett aims to show how Brechtian methods can be applied more generally to plays not written in the Brechtian tradition and the effects they can achieve. David Barnett is Professor of Theatre at the University of York. He is the author of Heiner Müller's ‘The Hamletmachine’ (Routledge, 2016), A History of the Berliner Ensemble (Cambrige, 2015) and Brecht in Practice: Theatre, Theory, and Performance (Bloomsbury, 2014). His recent AHRC-funded ‘Brecht in Practice: Staging Drama Dialectically’, led to a Brechtian production of Patrick Marber's Closer, and he offers theatre-makers and teachers workshops on using Brecht's method on stage and in the classroom.

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Beirne, Piers, and Ian O'Donnell. "Gallous stories or dirty deeds? Representing parricide in J.M. Synge’s The Playboy of the Western World." Crime, Media, Culture: An International Journal 6, no. 1 (April 2010): 27–48. http://dx.doi.org/10.1177/1741659010363042.

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Castle, Gregory. "Staging Ethnography: John M. Synge's Playboy of the Western World and the Problem of Cultural Translation." Theatre Journal 49, no. 3 (1997): 265–86. http://dx.doi.org/10.1353/tj.1997.0060.

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Morozova, Svetlana N., and Dmitriy N. Zhatkin. "Creative work of Edmund John Millington Synge in literary and critical perception of Korney Chukovsky." Vestnik of Kostroma State University, no. 3 (2019): 101–6. http://dx.doi.org/10.34216/1998-0817-2019-25-3-101-106.

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The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publication in 1923. The article "Synge and His "Playboy"" reflects the Russian writer’s understanding of the moral and aesthetic questions of the play. According to Korney Chukovsky, tSynge's complex art method was formed under the influence of the ideas of revival of the national drama theatre. This direction in perception of Synge’s heritage was determinative in Russian literature and, in general, reflected the nature of the attitude of Russian cultural consciousness to the Irish playwright’s creative work.

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Henigan, Julie. ""The Power of a Lie": Irish Storytelling Tradition in The Playboy of the Western World." New Hibernia Review 6, no. 3 (2002): 92–112. http://dx.doi.org/10.1353/nhr.2002.0046.

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Deprats, Jean-Michel. "Traduire une langue duelle : le cas de l'anglo-irlandais de Synge dans The Playboy of the Western World." Palimpsestes, no. 11 (September 1, 1998): 71–81. http://dx.doi.org/10.4000/palimpsestes.1529.

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MURPHY, PAUL. "J. M. Synge and the Pitfalls of National Consciousness." Theatre Research International 28, no. 2 (June 26, 2003): 125–42. http://dx.doi.org/10.1017/s0307883303001019.

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An exploration of the repressed issues of class and gender which inhabit the Irish national unconscious, also seeks to intervene in the essentialism/constructionism debate concerning national identity which has preoccupied post-colonial scholars and Irish studies academics over the last few decades. The argument focuses on Synge's plays and culminates in an examination of his magnum opus The Playboy of the Western World (1907), while analysing Declan Kiberd's appropriation of Frantz Fanon's theories of decolonization in his critique of Synge's play. The objective is not only to trace the Möbius strip of national essence qua cultural construct, but also to analyse the dialectic of desire which energizes cultural and political identification.

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Lionel Pilkington. "The “Folk” and an Irish Theater: Re-reading J. M. Synge's The Playboy of the Western World." Princeton University Library Chronicle 68, no. 1-2 (2007): 295. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0295.

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Boynton, T. J. "“The Fearful Crimes of Ireland”: Tabloid Journalism and Irish Nationalism in The Playboy of the Western World." Éire-Ireland 47, no. 3-4 (2012): 230–50. http://dx.doi.org/10.1353/eir.2012.0012.

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Synge, John Millington, Leonardo Marcondes Malavasi FAIG, Letícia Carvalho Pereira PASQUALOTTO, Henrique Vieira TOZZI, Vitória Tassara Costa SILVA, and Roberta Rego RODRIGUES. "Tradução para o português do Brasil da peça teatral The Playboy of the Western World, de J. M. Synge." Belas Infiéis 7, no. 1 (July 31, 2018): 271–344. http://dx.doi.org/10.26512/belasinfieis.v7i1.12574.

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O dramaturgo John Millington Synge nasceu em 16 de abril de 1871, em Rathfarnham – aproximadamente 20 minutos de Dublin – na Irlanda. Fez parte da geração de autores que atuaram no renascimento literário irlandês, como William Butler Yeats e Lady Augusta Gregory. Entre suas peças publicadas estão: In the Shadow of the Glen (primeira encenação em 1903), Riders to the Sea (1904) e The Well of the Saints (1905) – sua primeira peça em três atos.

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강준수. "The Realization of Dream in J. M. Synge's Works: The Playboy of the Western World and The Shadow of the Glen." Journal of English Cultural Studies 8, no. 2 (August 2015): 7–29. http://dx.doi.org/10.15732/jecs.8.2.201508.7.

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Dallett, Athenaide. "Protest in the Playhouse: Two Twentieth-Century Audience Riots." New Theatre Quarterly 12, no. 48 (November 1996): 323–32. http://dx.doi.org/10.1017/s0266464x00010514.

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Theatre historians are now reconsidering traditional attitudes towards ‘theatre riots’ of the past, in the light of the new perception of ‘mob’ activity pioneered by the social historian George Rudé. Here, Athenaide Dallett looks at two more recent audience revolts – the well-documented riots at the opening of Synge's The Playboy of the Western World in Dublin in 1907, and the indignant response of Berkeley students in 1968 to the Living Theatre's presumption in Paradise Now, in lecturing them about a revolution already taking place on the streets. In both cases, she suggests, riots were provoked by a breach of the contract between performers and audience, taken as legitimating a revolutionary response by such social theorists as Locke and Rousseau. Athenaide Dallett, who recently gained her doctorate from Harvard, teaches at the University of Connecticut at Torrington, and is currently working on a study of the connections between political philosophy and theatre.

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O’Toole, Emer. "Cultural capital in intercultural theatre." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 407–26. http://dx.doi.org/10.1075/target.25.3.06aal.

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In 2006, the Dublin-based theatre company Pan Pan went to China to produce a Mandarin version of J.M. Synge’s canonical Irish play The Playboy of the Western World. Director Gavin Quinn chose to set the adaptation in a hairdresser/ massage parlour/brothel, on the outskirts of Beijing. He originally wanted the protagonist to hail from Xin-Jiang, China’s troubled Sinomuslim province. In interview, he said he was advised against this for fear of Chinese state censorship. However, the Chinese translators, Yue Sun and Zhaohui Wang, suggest that the decision not to represent a Muslim protagonist had to do with ethnic sensitivities. In order to analyse this conflict, this article draws on translation sociology after Bourdieu, clarifying the functioning of the habitus, and formulating a global field of cultural production. It argues that analysis of intercultural processes focused on cultural capital can provide materially engaged insights into the power relations informing given intercultural situations.

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Roche, Anthony. "‘Mirror up to nation’: Synge and Shakespeare." Irish University Review 45, no. 1 (May 2015): 9–24. http://dx.doi.org/10.3366/iur.2015.0146.

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Christopher Murray, Philip Edwards, and Rebecca Steinburger have examined the ways in which the Irish Dramatic Revival drew on the example and plays of Shakespeare. Their emphasis falls on Yeats and O'Casey, both of whom have written extensively on Shakespeare in their prose essays and autobiographies. The allusions to Shakespeare by Synge are much briefer and more cryptic. And yet there is a deep and complex relationship between Shakespeare and Synge, as this essay will indicate. The one writer who has paired the two is James Joyce, in the Library chapter of Ulysses, set in the same year that Ireland's National Theatre was founded. The essay also looks at the neglected fact that Synge, while an undergraduate at Trinity College, Dublin, took lectures on Shakespeare from Professor Edward Dowden and made copious extracts from Dowden's Shakespeare: His Mind and Art. The essay goes on to examine Synge's key remarks on Shakespeare in relation to Irish writers and to compare the return of the dead father in The Playboy of the Western World and Hamlet.

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Nunes, Fabricio Vaz. "Simbolismo e modernismo na ilustração literária de Harry Clarke." Revista Criação & Crítica, no. 25 (December 27, 2019): 229–49. http://dx.doi.org/10.11606/issn.1984-1124.v1i25p229-249.

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Este trabalho aborda a obra do artista irlandês Harry Clarke (1889-1931), buscando demonstrar a especificidade dos aspectos simbolistas e decadentistas presentes na sua ilustração literária, marcada pela influência do ilustrador inglês Aubrey Beardsley e diretamente ligada ao contexto nacionalista do Irish Revival e do movimento Arts and Crafts irlandês. Como ilustrador, Clarke foi um intérprete, no meio visual, de textos essenciais para o simbolismo de língua inglesa, como A balada do velho marinheiro, de Samuel Taylor Coleridge e os Contos de mistério e imaginação de Edgar Allan Poe, incluindo a poesia nacionalista e medievalizante da primeira fase de William Butler Yeats. Por outro lado, afastando-se do simbolismo profético de Yeats, Clarke também ilustrou textos que problematizavam a dimensão nacionalista do Irish Revival, como a polêmica peça The playboy of the western world, do dramaturgo irlandês John Millington Synge. A análise das relações estabelecidas entre as ilustrações, os textos literários e o seu contexto cultural caracteriza a obra de Harry Clarke como manifestação de um decadentismo tardio dentro do qual eclodem aspectos marcadamente modernos, presentes nas imagens deformantes e insólitas criadas para a edição de 1925 do Fausto de Goethe.

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James, Allan, and Nursen Gömceli. "The textual analysis of dramatic discourse revisited." English Text Construction 11, no. 2 (October 19, 2018): 200–225. http://dx.doi.org/10.1075/etc.00009.jam.

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Abstract This article explores dimensions of dramatic structure which the literary linguistic analysis of a play text can illuminate within an integrated model of dramatic significance. The play to be examined is John Millington Synge’s The Playboy of the Western World, known for its lexical richness, denseness of dramatic expression and not least the structural creativity of its Hiberno-English, all of which provide an abundant fund of textual semiotics for the present drama-specific literary linguistic analysis. The dimensions of the play investigated are (i) those of its ‘constitution’, which linguistically comprises dialogue and stage directions, and characterisation, plot and setting as traditional constituents of dramatic structure in their own right; and (ii) those of its ‘realisation’ as literary work, staging production and theatre performance and the associated addressivity of materially the same play text at each of these levels. As such, it will be shown that the employment of, and further development of, a linguistic model of social semiotics (after Halliday 1978; Fairclough 2003) enables a unified account to be given of the dramatic meanings a play text expresses at these two levels of its internal construction and its external actualisation.

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Franks, Matthew. "Schoolchildren or Citizen Shareholders?: Provincial Repertory Audiences, Letters to the Editor, and Public Subscription." Theatre Survey 58, no. 2 (April 19, 2017): 186–208. http://dx.doi.org/10.1017/s0040557417000060.

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When the Abbey Theatre installed a nightly police cordon to silence protesting playgoers during the 1907 run of Synge's The Playboy of the Western World, spectators voiced their objections in newsprint. Under pseudonyms like “A Western Girl,” “A Commonplace Person,” “A Much Interested Foreigner,” and “A Lover of Liberty,” correspondents sent letters to the Dublin Evening Telegraph, Freeman's Journal, and Dublin Evening Mail. “Vox Populi” wrote that the arrested protesters “showed an admirable public spirit, which in any other country would be highly honoured.” “Oryza” reported a conversation overheard from the stalls in which Synge had said that the audience's hissing was “quite legitimate.” After journalist and Galway MP Stephen Gwynn penned a letter supporting the Abbey, biographer D. J. O'Donoghue responded that “the vindictiveness which has been shown night after night in expelling and prosecuting people who ahve [sic], in their excitement, called out ‘It's a libel’ or ‘shame,’ or otherwise mildly protested, is a serious menace to the freedom of an audience.” He referred to the furor as a “newspaper controversy”; others called it a “newspaper war.” In a public discussion at the Abbey after the play's run, Yeats quoted from the correspondence when defending his decision to call in the police. According to playwright William Boyle, the controversy boiled down to political representation. In a letter to the Freeman's Journal, he argued that protesters had not reacted “by staying away,” as some supporters had suggested they should, “because the ‘Abbey’ is a subsidised theatre, independent of the money taken at the door. Therefore … the public had no remedy, but the one resorted to.” Private subsidy had muffled the democratic shuffling of playgoers’ pocketbooks; forced to shut their mouths inside the theatre, playgoers opened up to the newspapers that circulated around it.

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Swettenham, Neal. "Irish Rioters, Latin American Dictators, and Desperate Optimists' Play-boy." New Theatre Quarterly 21, no. 3 (July 18, 2005): 241–54. http://dx.doi.org/10.1017/s0266464x0500014x.

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The narrative process is inherently selective and consequently open to distortion and falsification. J. M. Synge humorously illustrated this in The Playboy of the Western World, in which his central character, Christy Mahon, reinvents himself through the telling and retelling of his own story. Play-boy, a much more recent performance work created by Desperate Optimists, takes as its opening gambit the riots that accompanied the first performances of this controversial Irish classic and adds a bewildering variety of other narrative materials to the mix—providing, as it does so, a tongue-in-cheek commentary on this story about stories. A detailed account of the show in performance and the manner in which the company construct their own tall tales initiates an investigation into how fact becomes fiction in the creation of new narrative accounts, narrative being considered as a participatory event that is both a psychological imperative and a ludic pleasure. Neal Swettenham lectures in drama at Loughborough University. His research into the role and status of narrative in contemporary theatre has led him to fresh examinations of both traditional story-based drama and avant-garde performance work. In particular, he has written about the plays of American dramatist Richard Foreman and is currently exploring the challenges presented to both actor and director by these texts.

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Agostini, René. "A propos d'un poème de Synge : In a New Diary : intégrité de l'individu et intégration sociale dans The Well of the Saints et The Playboy of the Western World." Études irlandaises 12, no. 1 (1987): 71–83. http://dx.doi.org/10.3406/irlan.1987.2423.

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Hidalgo Tenorio, Encarnación. "“GOOD EVENING TO YOU, LADY OF THE HOUSE”: CONSIDERACIONES SOBRE EL PRINCIPIO DE CORTESÍA EN EL TEATRO DE J.M. SYNGE." RAUDEM. Revista de Estudios de las Mujeres 1 (May 22, 2017): 201. http://dx.doi.org/10.25115/raudem.v1i0.574.

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ResumenEn el ámbito de los estudios irlandeses se ha estudiado con profusión el inesperado fracaso del fenómeno teatral encabezado por W.B. Yeats y en el que John Millington Synge se llevó la peor de las partes. La subversión que sus personajes implicaban a todos los niveles explica el rechazo de los mismos por parte del público que acudía en masa al Abbey Theatre solo para silbar y patalear durante alguna de sus representaciones (Kilroy 1971). Un análisis detallado de la forma en la que hace que se expresen apunta en esta dirección. La incorrección verbal es una seña característica del teatro de esta figura clave de la literatura irlandesa. Partiendo de ahí, en el presente trabajo se aplica el principio de cortesía lingüística (Brown y Levinson 1987) a tres de las obras más destacadas de este dramaturgo: In the Shadow of the Glen, The Tinker’s Wedding y The Well of the Saints. Con la intención de refutar los resultados de trabajos anteriores (Hidalgo-Tenorio 1999) y demostrar la validez de este modelo en la investigación de textos de ficción, se comprueba que esas mujeres, que rompen con la norma social y conversacional una y otra vez, en casos muy excepcionales hacen un uso magistral de todas las estrategias posibles de cortesía. Las razones son tan diversas como las que se darían en cualquier transacción conversacional del mundo real. Este artículo se proponer desgranarlas como uno de sus objetivos.Palabras clave: Pragmática, principio de cortesía, género, teatro irlandés, J.M. Synge.English title: “Good Evening to You, Lady of the House”: Considerations on the Politeness Principle in J.M. Synge’s DramaAbstract: In the field of Irish studies, scholars have considered extensively the failure of the theatrical experience led by W.B. Yeats and J.M. Synge, who bore the brunt of popular criticism. The subversion embodied in Synge’s characters explains their rejection by the public, who flocked to the Abbey Theatre just to whistle and stamp their feet during some of his performances. One in January 1907 caused a particularly furious reaction from the press and political nationalists (Kilroy 1971). Since verbal impropriety (Bousfield and Locher 2008, Culpeper 2011) is their most outstanding characteristic, the analysis of how this major literary figure makes them express themselves can shed light on a phenomenon of much sociological relevance. Accordingly, here I apply the politeness principle (Brown and Levinson 1978, 1987) to four of his most well-known plays: The Well of the Saints, The Tinker’s Wedding, In the Shadow of the Glen and The Playboy of the Western World. Apart from demonstrating the validity of this model in the exploration of fiction, I will show that those women, who regularly break social and conversational norms, make use of all politeness strategies in very exceptional cases. The reasons are as diverse as those articulated in any real-world transaction, and this article aims to disentangle them. Thus, it will be easier to tackle the issue of gender role construction (Holmes 1995, Weatherall 2002, Litoselitti 2006), which is definitely one of the grounds on which Dublin’s dismissal of the Irish Dramatic Movement was based (Hidalgo-Tenorio 1999).Keywords: Pragmatics, politeness theory, gender, Irish Theatre, J.M. Synge.

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Devlin, Joseph. "J.M.Synge'sThe Playboy of the Western Worldand the Culture of Western Ireland under Late Colonial Rule." Modern Drama 41, no. 3 (September 1998): 371–85. http://dx.doi.org/10.3138/md.41.3.371.

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Tenorio, Encarnación Hidalgo. "The playboy of the western world:The subversion of a traditional conception of Irishness?" Journal of Literary Studies 15, no. 3-4 (December 1999): 425–58. http://dx.doi.org/10.1080/02564719908530239.

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McNally, Karen. "‘Sinatra, Commie Playboy’: Frank Sinatra, Postwar Liberalism and Press Paranoia." Film Studies 7, no. 1 (2005): 43–53. http://dx.doi.org/10.7227/fs.7.6.

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Anti-Communist hysteria had a wide-ranging impact on Hollywood across the postwar period. As writers, directors and stars came under the scrutiny of the House Un-American Activities Committee (HUAC) due to the content of their films and their political activities, careers were interrupted indefinitely and Hollywood‘s ability to promote cultural change in the new era following World War II was severely hampered. Frank Sinatra‘s heavy involvement in liberal politics during this period illustrates the problems confronting the American film industry as it attempted to address the country‘s imperfections.

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Chatterjee, Shibashis. "Western Theories and the non-Western World." South Asian Survey 21, no. 1-2 (March 2014): 1–19. http://dx.doi.org/10.1177/0971523115592470.

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Gorenburg, Dmitry. "Russia in the Western World." Russian Politics & Law 48, no. 6 (November 2010): 3–6. http://dx.doi.org/10.2753/rup1061-1940480600.

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Tu, Xiaowei. "Mysterious World of Western Sichuan." Management and Organization Review 15, no. 4 (December 2019): 808. http://dx.doi.org/10.1017/mor.2019.74.

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Vallee, Bert L. "Alcohol in the Western World." Scientific American 278, no. 6 (June 1998): 80–85. http://dx.doi.org/10.1038/scientificamerican0698-80.

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Offen, Karen. "Women in the Western World." Journal of Women's History 7, no. 2 (1995): 145–51. http://dx.doi.org/10.1353/jowh.2010.0359.

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Ostenby, Peter M. "Sports in the Western World." Sociology of Sport Journal 7, no. 2 (June 1990): 199–200. http://dx.doi.org/10.1123/ssj.7.2.199.

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Cohen, Eliot A., Robert A. Doughty, and Ira D. Gruber. "Warfare in the Western World." Foreign Affairs 76, no. 3 (1997): 128. http://dx.doi.org/10.2307/20048052.

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Mork, Gordon R., Bullitt Lowry, and Shannon Doyle. "World Civilization and Western Civilization." Teaching History: A Journal of Methods 10, no. 2 (May 4, 1985): 51–62. http://dx.doi.org/10.33043/th.10.2.51-62.

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Holzapfel, Richardd Neitzel, and Peter N. Stearns. "Western Civilization in World History." History Teacher 37, no. 3 (May 2004): 410. http://dx.doi.org/10.2307/1555685.

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Buschmeier, Matthias. "“Western” Histories of World Literature." Journal of World Literature 3, no. 4 (November 19, 2018): 524–51. http://dx.doi.org/10.1163/24056480-00303010.

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Abstract This article reviews attempts to define histories of world literature during the late 19th and first half of the 20th century. It submits that “World Literature” and national philology are two sides of the same coin, in that they serve to produce specific national identities and legitimize colonial hegemonic practices. Astonishingly, some patterns of these early histories of world literature can still be observed in contemporary theoretical debates on the subject. Thus, it is argued that, rather than dismissing this heritage of Western historiography (with or without condemnation), we should strive seriously to come up with alternative histories, wherein “West” is no longer treated as synonymous with “world,” and vice versa. The West should be seen as just one form of society and culture among the many others, all of which are due consideration when invoking the term “world.”

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Yu, Van. "Culture and the Western World." Janus Head 7, no. 2 (2004): 529–31. http://dx.doi.org/10.5840/jh20047233.

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Sakimoto, Kelsey K. "Iron microbe: outfitting organisms for extreme environments." Biochemist 39, no. 6 (December 1, 2017): 30–33. http://dx.doi.org/10.1042/bio03906030.

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As NASA and other space agencies across the world prepare their astronauts to withstand the hazards of space travel and habitation on Mars, tinier adventurers have begun to receive a similar outfitting. For humans to live in extreme environments such as the darkest, coldest, radiation bombarded reaches of space, we must equip useful microorganisms to thrive and survive under similar conditions. This insight has expanded microbial sciences to the materials sciences: blending soft, squishy cells with hard, rocky crystals. And just as billionaire-playboy-philanthropist Tony Stark donned an array of gadgetry to become Iron Man, so too must bacteria and yeast receive the cyborg treatment to augment their functionality for the future of biotechnology.

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Cuff, Robert, and John R. Gillis. "The Militarization of the Western World." Journal of American History 77, no. 4 (March 1991): 1377. http://dx.doi.org/10.2307/2078336.

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Journal articles on the topic 'Playboy of the western world'

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