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Journal articles on the topic 'Susan Glaspell'

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Published: 4 June 2021

Last updated: 25 April 2022

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1

Shafer, Yvonne. "Susan Glaspell: A Critical Biography. By Barbara Ozieblo. Chapel Hill: University of North Carolina Press, 2000; pp 345. $55.00 hardcover, $22.50 paperback." Theatre Survey 42, no. 2 (2001): 231–33. http://dx.doi.org/10.1017/s0040557401250121.

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The past two decades have witnessed an increasing interest in the work of Susan Glaspell. C. W. E. Bigsby's collection of her plays, published in 1988, introduced many readers to her work for the first time. Reviewing the collection, critic Michael Goldman called Glaspell “the only playwright of her generation worthy of comparison with O'Neill.” Since that time, essays about Glaspell's work have been published in multiple books: Mary E. Papke published the very thorough and useful Susan Glaspell: A Research and Production Sourcebook (1993); a lengthy analysis of Glaspell's plays, with particular emphasis on their expressionistic qualities, appeared in my book American Women Playwrights, 1900 – 1950 (1995); and there have been academic conferences devoted to Glaspell's work. Now Barbara Ozieblo has written an excellent critical biography that will be of value to theatre scholars.

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2

Tayler, Marilyn R. "Legal and Moral Justification for Homicide in Susan Glaspell’s “A Jury of Her Peers”." Law, Culture and the Humanities 15, no. 2 (2015): 364–81. http://dx.doi.org/10.1177/1743872115575205.

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This article examines the legal, moral and social injustices resulting from women not having the right to serve as jurors, in the context of Susan Glaspell’s “A Jury of Her Peers.” I demonstrate how Glaspell provides a fictional window into moral justice based upon jury nullification, exercised by disempowered women, and I establish how Glaspell’s narrative helped to lay the foundation for legal recognition of women’s rights to serve as jurors, and acceptance of Battered Woman’s Syndrome as a defense. I conclude that Glaspell was an agent for change, whose work contributed to equal justice for women under law.

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3

Ahmed, Assist Instructor Shirin Kamal. "The Spousal Abuse of Women in Susan Glaspell’s Trifles." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (2018): 101–18. http://dx.doi.org/10.36473/ujhss.v224i1.251.

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This research plans to focus on the spousal abuse of women in Susan Glaspell’s Trifles. Susan Glaspell (1876-1948) is one of the remarkable American female playwrights whose main literary concern is focusing on women issues. The drama of Trifles is considered her master piece in which she sympathises with the American abused women and speaks up for them. American woman is still suffering from spousal abuse but in the early 20thcentury this problem was ignored, excused or denied because women did not have their legal rights and were treated as being inferior than men. The system then gave men the authority over women in all aspects of society even at home. When speaking about abused women, critics’ main concern is the physical effects of the abuse ignoring other types of the spousal abuse, their impacts and consequences. Through her realistic drama of Trifles, Glaspell exposes different types of spousal abuse which are important as the physical onesince they have bad impact on the victims. This research will analysethe types of spousal abuse in Susan Glaspell’s Trifles, their impact and consequences.

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4

Hilton, Leon. "Trifles, by Susan Glaspell." Women & Performance: a journal of feminist theory 21, no. 1 (2011): 147–49. http://dx.doi.org/10.1080/0740770x.2011.563045.

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5

Ben-Zvi, Linda. "PLAYS BY SUSAN GLASPELL." Resources for American Literary Study 17, no. 1 (1990): 122–26. http://dx.doi.org/10.2307/resoamerlitestud.17.1.0122.

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6

Kelly, Katherine E., and Barbara Ozieblo. "Susan Glaspell: A Critical Biography." South Central Review 19, no. 2/3 (2002): 106. http://dx.doi.org/10.2307/3189875.

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7

Engle, Sherry. "Springs Eternal by Susan Glaspell." Theatre Journal 67, no. 1 (2015): 119–22. http://dx.doi.org/10.1353/tj.2015.0018.

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8

Black, Cheryl. "SUSAN GLASPELL: A CRITICAL BIOGRAPHY." Resources for American Literary Study 29, no. 1 (2004): 394–96. http://dx.doi.org/10.2307/resoamerlitestud.29.2004.0394.

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9

Bach, Gerhard, and Claudia Harris. "Susan Glaspell: Rediscovering an American Playwright." Theatre Journal 44, no. 1 (1992): 94. http://dx.doi.org/10.2307/3208521.

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10

Donkin, Ellen. "Susan Glaspell: Her Life and Times." Theatre Survey 47, no. 2 (2006): 329–31. http://dx.doi.org/10.1017/s0040557406290306.

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11

MacFarlane, L. "Susan Glaspell: Her Life and Times." American Literature 78, no. 4 (2006): 872–73. http://dx.doi.org/10.1215/00029831-2006-057.

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12

Noe, Marcia. "Susan Glaspell: A Critical Biography (review)." Legacy 18, no. 1 (2001): 114–15. http://dx.doi.org/10.1353/leg.2001.0009.

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13

Nati, Ikhlas Muhammed. "The underestimated power of woman In Susan Glaspell’s Trifle." لارك 1, no. 21 (2019): 14–25. http://dx.doi.org/10.31185/lark.vol1.iss21.659.

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This paper examines the theme of feminism through focusing on the female bonding as a means of gaining power .In this paper I’ll prove that the America dramatist Susan Glaspell (1876-1948) makes a feminist leap as she portrays her female characters with an ample cunning to secretly and humbly triumph over male prejudice. She challenged those who believed that the United States offered freedom and equality by demonstrating that women were not treated equally since they were excluded from participating in the justice system except as defendants the underestimated power of woman in Susan Glaspell’s Trifles (1916) which is written in the early twentieth century but it transcends time periods and cultures.

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14

Brashi, Abbas. "An Arabic translation of Susan Glaspell's play, "Trifles"." International Journal of Comparative Literature and Translation Studies 7, no. 4 (2019): 14. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.4p.14.

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This is an Arabic translation of “Trifles”, a famous play by prominent American playwright Susan Glaspell (1876-1948). Glaspell was one of the founders of the Playwright’s Theatre, formerly recognized as the Provincetown Players in the United States of America. She wrote ten novels, twenty plays, and more than forty short stories. “Trifles” is a one-act play written in 1916.2 It is considered to be one of Susan Glaspell’s major works. “Trifles” is a play that is frequently anthologized in American literature textbooks. The play was based on the murder case of the sixty-year-old farmer, John Hossack, which was covered widely by Susan Glaspell while she was working as a journalist with the Des Moines Daily News immediately after her graduation from Drake University. Accordingly, “Trifles” presents the murder of an oppressive husband by his emotionally abused wife. It is an attempt to re-address the John Hossack case from the point of view of women who might not have a similar viewpoint of the nature of marital disagreement and domestic unhappiness.3 The murder happened in a period where women had insufficient protection from domestic abuse, and had not yet obtained the right to vote. The main characters of the play are: 1- The Sheriff, Mr. Henry Peters; 2- Mrs. Peters(wife of the Sheriff); 3- Mr. Lewis Hale (a neighbour of Mr. and Mrs. Wright); 4- Mrs. Hale (wife of Mr. Hale); and 5- The County Attorney, Mr. George Henderson. The off-stage characters are: 1- Mr. John Write (the victim); 2-Mrs. Minnie Write (the victim’s wife); 3- Frank (Deputy Sheriff); 4- Harry (a helper of Mr.Lewis Hale); 5- Dr. Lloyd (the coroner). The play addressed the life of Mrs. Wright who becameenraged and took the life of her abusive and violent husband after he killed her bird. The motivefor murder was the killing of the canary because it represented freedom for her. Mrs. Wright, theprotagonist, lived through a series of emotions, such as rage, shock, lack of feeling, rejection,and deep sadness, mainly because the loss of her bird was sudden, surprising and unforeseen.4 She considered the death of her bird as a great calamity, as she lost something extremely crucialin her life. Susan Glaspell chose the title of the play from a line stated by one of the characters inthe play, Mr. Lewis Hale, when he says: “Well, women are used to worrying about trifles.” The title demonstrates irony when Mrs. Minnie Wright seemed to be more concerned about triflesthan she is about being under arrest for murder. This English play, “Trifles,” was chosen to betranslated into Arabic because of its significance and association to the Arab culture. For thesake of wide readability, it was translated into Modern Standard Arabic (formal Arabic), as it isquite the same in all Arab countries.

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15

Ben-Zvi, Linda, Mary E. Papke, and Veronica Makowsky. "Susan Glaspell: A Research and Production Sourcebook." Theatre Journal 47, no. 4 (1995): 560. http://dx.doi.org/10.2307/3209002.

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16

Friedman, Sharon. "Susan Glaspell: Her Life and Times (review)." Modern Drama 50, no. 2 (2007): 278–81. http://dx.doi.org/10.1353/mdr.2007.0040.

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17

Ozieblo Rajkowska, Barbara. "The Major Novels of Susan Glaspell (review)." Legacy 20, no. 1 (2003): 206–7. http://dx.doi.org/10.1353/leg.2003.0060.

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18

Black, Cheryl. "Susan Glaspell: Her Life and Times (review)." Theatre Journal 58, no. 1 (2006): 151–53. http://dx.doi.org/10.1353/tj.2006.0061.

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19

Ismael, Zaid Ibrahim, and Jinan Waheed Jassim. "Moving out of the Attic: Susan Glaspell and the American She-Tragedy." English Language and Literature Studies 8, no. 4 (2018): 1. http://dx.doi.org/10.5539/ells.v8n4p1.

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Midwestern American dramatist Susan Glaspell (1876-1948) was one of the early voices in the American theater who explored gender issues and woman&rsquo;s rights at the beginning of the twentieth century. She portrays women in distress, trying to find an outlet from the vicious circle of loneliness and abuse in which they live. Despite the fact that her characters resist oppression and degradation and try to defy the patriarchal authority that restrains them, they are often overwhelmed by this powerful male-dominated system. As a result, they grow defensive and resort to violence and murder in order to avenge themselves from the society that dehumanizes them. They ultimately fall prey to their tragic fate, not necessarily death, but psychological disintegration and incarceration. Glaspell&rsquo;s tragic heroines are outsiders, living in a world that thwarts their dreams to have a free life beyond the prescribed roles and social demands of house management, domesticity, and social propriety. This study applies the feminist theory of Sandra M. Gilbert and Susan Gubar, introduced in their seminal work The Madwoman in the Attic, to two of Glaspell&rsquo;s major plays, namely Trifles and The Verge. It also aims at tracing the elements of the Restoration &lsquo;she-tragedy&rsquo; in these plays to prove to what extent Glaspell is a master of this form of writing.

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20

Iliescu-Gheorghiu, Catalina. "Humor, ironía y actualidad en la dramaturgia de Susan Glaspell." La Colmena, no. 102 (June 29, 2019): 141. http://dx.doi.org/10.36677/lacolmena.v0i102.10465.

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Reseña crítica de Nieves Alberola Crespo, Susan Glaspell y los Provincetown Players. Laboratorio de emociones (1915-1917), ISBN: 9788491340829, Valencia, Publicaciones de la Universidad de Valencia, 2017, 180 pp.

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21

Dymkowski, Christine. "On the Edge: The Plays of Susan Glaspell." Modern Drama 31, no. 1 (1988): 91–105. http://dx.doi.org/10.3138/md.31.1.91.

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22

Black, Cheryl. "Susan Glaspell: The Complete Plays (review)." Comparative Drama 46, no. 1 (2012): 99–102. http://dx.doi.org/10.1353/cdr.2012.0005.

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23

Fox, Ann M. "Susan Glaspell and Sophie Treadwell (review)." Modern Drama 52, no. 1 (2009): 136–38. http://dx.doi.org/10.1353/mdr.0.0091.

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24

Aegyung Noh. "Historiographies of Modernity: Susan Glaspell and “Jig” Cook." Feminist Studies in English Literature 21, no. 1 (2013): 141–76. http://dx.doi.org/10.15796/fsel.2013.21.1.006.

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25

King, W. D. "Context of the Context: Writings about Susan Glaspell." Theater 33, no. 2 (2003): 106–7. http://dx.doi.org/10.1215/01610775-33-2-106.

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26

Beck, Anne. "Susan Glaspell and Sophie Treadwell (review)." Theatre History Studies 29, no. 1 (2009): 203–5. http://dx.doi.org/10.1353/ths.2009.0007.

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27

Dymkowski, Christine. "Susan Glaspell: Essays on Her Theater and Fiction (review)." Theatre Journal 49, no. 3 (1997): 389–90. http://dx.doi.org/10.1353/tj.1997.0063.

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28

Casero Osorio, Elisa María. "NEW WOMAN Y TEATRO EN LA OBRA DE SUSAN GLASPELL: TRIFLES." Revista Internacional de Culturas y Literaturas 19, no. 19 (2016): 42–52. http://dx.doi.org/10.12795/ricl.2016.i19.04.

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29

Barlow, Judith E. "Susan Glaspell: New Directions in Critical Inquiry, and: Disclosing Intertextualities: The Stories, Plays, and Novels of Susan Glaspell (review)." Theatre History Studies 28, no. 1 (2008): 188–91. http://dx.doi.org/10.1353/ths.2008.0025.

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30

Roessel, David, and Steven R. Wertzberger. ""Stepchild of the Sun": An Unpublished Story by Susan Glaspell." Resources for American Literary Study 36, no. 1 (2013): 107–18. http://dx.doi.org/10.7756/rals.036.005.107-118.

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31

Ozieblo, Barbara. "Susan Glaspell and the Anxiety of Expression (review)." Theatre History Studies 28, no. 1 (2008): 156–59. http://dx.doi.org/10.1353/ths.2008.0029.

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32

ROESSEL, DAVID, and STEVEN R. WERTZBERGER. "“Stepchild of the Sun”: An Unpublished Story by Susan Glaspell." Resources for American Literary Study 36 (January 1, 2011): 107–18. http://dx.doi.org/10.5325/resoamerlitestud.36.2011.0107.

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Abstract The previously unpublished story “Stepchild of the Sun” by American playwright and novelist Susan Glaspell deals with the exclusionary nature of female community and its complicated relationship with female solidarity. The story is about a woman named Maida who contracts a rare disease that precludes her from ever being in sunlight again. It details Maida's life after contracting the disease and the problems her condition causes both in her relationships with friends and in her inner life. The typescript with the author's handwritten corrections is located in the Berg Collection of the New York Public Library.

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33

Hall, Edith. "American Communist Idealism in George Cram Cook’s The Athenian Women (1918)." Keria: Studia Latina et Graeca 20, no. 3 (2018): 7–25. http://dx.doi.org/10.4312/keria.20.3.7-25.

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The Athenian Women, written by the American George Cram Cook with input from Susan Glaspell, is a serious, substantial play drawing chiefly on Lysistrata and Thesmophoriazusae. It premiered on March 1st 1918 with the Provincetown Players. Cook was convinced of parallels between the Peloponnesian War and World War I. He believed there had been communists in Periclean Athens comparable to those who were making strides in Russia (in 1922 to become the USSR) and the socialists in America, amongst whom he and Glaspell counted themselves. The paper examines the text and production contexts of The Athenian Women, traces its relationships with several different ancient Greek authors including Thucydides as well as Aristophanes, and identifies the emphatically stated socialist and feminist politics articulated by the two main ‘proto-communist’ characters, Lysicles and Aspasia. Although the play was not particularly successful, its production had a considerable indirect impact on the future directions taken by left-wing theatre in the USA, through the subsequent dramas of Glaspell and Eugene O’Neill for the Provincetown Players.

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34

Wale, Instr Kamal. "Expressionism in Susan Glaspell's Trifle." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 219, no. 1 (2018): 25–38. http://dx.doi.org/10.36473/ujhss.v219i1.498.

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The main purpose of this research paper is to show how Expressionism is influential to postwar American literature, especially to the one-act play entitled Trifles (1916) written by Susan Glaspell (1876-1948). America witnessed a new period of special culture and art during the second half of the twentieth century, especially after the second world war. The traditional forms of art have failed to satisfy the wishes and aspirations of the new artists who deliberately look for new forms to express their attitudes towards the new state of life to be lived after grave wars that have caused humanity great losses on many and various levels. Thus, they have felt the need to break away with the existing traditional modes of expression. Hence, there appears new dramatic movements like existentialism, surrealism and Expressionism. The latter movement advocates the expression of the enthusiastic emotional state of the artist reacting to the anxieties of the modern world. The title one-act play Trifles can be regarded as a very well example illustrating the aims of this new movement and anticipating its appearance.

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35

Noe, Marcia. "Susan Glaspell in Context: American Theater, Culture and Politics 1915-1948 (review)." Theatre Journal 55, no. 3 (2003): 570–71. http://dx.doi.org/10.1353/tj.2003.0134.

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36

Gainor, J. Ellen. "Disclosing Intertextualities: The Stories, Plays, and Novels of Susan Glaspell, and: Susan Glaspell and the Anxiety of Expression: Language and Isolation in the Plays (review)." Modern Drama 51, no. 2 (2008): 289–93. http://dx.doi.org/10.1353/mdr.0.0049.

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37

Jouve, Emeline. "Self and Space in the Theater of Susan Glaspell by Noelia Hernando-Real." Theatre History Studies 34, no. 1 (2015): 123–25. http://dx.doi.org/10.1353/ths.2015.0028.

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38

Jouve, Emeline. "On The Verge: Dramatisation de la violence symbolique dans The Verge de Susan Glaspell." Caliban, no. 27 (September 1, 2010): 251–62. http://dx.doi.org/10.4000/caliban.2162.

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39

PASCUAL SOLER, NIEVES. "Reseña del libro "Susan Glaspell y los Provicentown Players: Laboratorio de emociones (1915-1917)"." Asparkía. Investigació feminista, no. 34 (2019): 220–24. http://dx.doi.org/10.6035/asparkia.2019.34.14.

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40

Chang, Jung-Yoon. "Teaching the Narrative Technique Used in Susan Glaspell s and Virginia Woolf s Short Stories." Korean Society for Teaching English Literature 20, no. 1 (2016): 129–49. http://dx.doi.org/10.19068/jtel.2016.20.1.06.

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41

Carpentier, Martha C. "The Deracinated Self: Immigrants, Orphans, and the "Migratory Consciousness" of Willa Cather and Susan Glaspell." Studies in American Fiction 35, no. 2 (2007): 131–57. http://dx.doi.org/10.1353/saf.2007.0001.

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42

Hardy, Rob. "“We Live Close Together and We Live Far Apart”: A Look2 Essay on Susan Glaspell." Ploughshares 42, no. 4 (2016): 199–211. http://dx.doi.org/10.1353/plo.2016.0167.

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43

Larabee, Anne. "The Women of Provincetown, 1915–1922. By Cheryl Black. Tuscaloosa: University of Alabama Press, 2002; xvi + 224 pp. $29.95 cloth." Theatre Survey 45, no. 1 (2004): 121–22. http://dx.doi.org/10.1017/s0040557404230083.

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Anyone who has encountered the Provincetown Players, the art theatre that launched Susan Glaspell and Eugene O'Neill, knows what an amazingly vibrant and creative community it was, a progressive smart set teaming with ideas for a new American drama. In The Women of Provincetown, Cheryl Black gives us the most richly detailed work on the Provincetown to date, drawing on an impressive range of primary sources. For this reason alone, the book is essential reading for theatre historians and other scholars working on the emergence of American drama. A playwright, actor, director, and dramaturge herself, Black has enough experience to explore the range of roles needed to make theatre, providing a context for the predominantly literary studies of Provincetown plays.

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44

Moreira, Lucianne Christina Fasolo Normândia. "Ser mulher: a representação da condição feminina e a loucura em O limiar de Susan Glaspell." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 17, no. 26 (2018): 763–69. http://dx.doi.org/10.12957/palimpsesto.2018.35337.

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45

Guswanto, Doni, and Lailatul Husna. "Psychological Conflict Between Men and Women in Susan Glaspell’s Trifles." Jurnal Ilmiah Langue and Parole 2, no. 2 (2019): 26–35. http://dx.doi.org/10.36057/jilp.v2i2.365.

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The problem in this paper is psychological conflict between men and women. In the Trifles drama by Susan Glaspell, women seem to have no freedom in terms of expressing opinions, ideas and ideas only because of male domination. Plus women feel inferior just because the man is superior. This is manifested in the act of having to obey what men say to women both in the family environment and in the community. In this writing, the writer uses descriptive research as the method of collecting the data. As for the data analysis method, after determining the theory obtained from the related book, the formulation of the problem is analyzed using the theory of psychology. By using the theory of Sigmund Freud, the characters in the drama are then further analyzed to understand the shape, causes and consequences of a conflict. Authors carry out structural methods with understanding drama, male and female characters. Data collection techniques use qualitative techniques by taking notes in collecting primary data. In data analysis techniques, the author uses techniques by interpreting data. The results of the research in this survey are: 1) Forms of conflict obtained from female leaders whose actions are limited by men. 2) The causes of conflict comes from movements of female figures who do not want to be underestimated by male figures. 3) As a result of the conflict, Mrs. Wright killed her husband because he could not stand the treatment of her husband anymore. In closing, this drama tells the story of conflict between men and women. The mutual respect is very important between men and women.

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46

Ben-Zvi. "“A Different Kind of the Same Thing”: The Early One-Act Plays of Susan Glaspell and J. M. Synge." Eugene O'Neill Review 39, no. 1 (2018): 33. http://dx.doi.org/10.5325/eugeoneirevi.39.1.0033.

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47

Friedman, Sharon. "Revisioning the Woman's Part: Paula Vogel's ‘Desdemona’." New Theatre Quarterly 15, no. 2 (1999): 131–41. http://dx.doi.org/10.1017/s0266464x00012823.

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In Desdemona, Paula Vogel's revision of Shakespeare's Othello, we have a Desdemona who is Othello's worst nightmare, the transformation of lago's fiction into reality. Why has Paula Vogel created a Desdemona who, though ostensibly inside out, still appears to be Othello's projection? Sharon Friedman argues that although Paula Vogel's raucous Desdemona draws on many of the conventions of feminist revisioning, it marks an important shift in the feminist critical perspective in drama – as characterized by Lynda Hart, ‘from discovering and creating positive images of women … to analyzing and disrupting the ideological codes embedded in the inherited structures of dramatic representation’. In a deconstructive parody, Vogel dislodges the convention of the intimate scene between women in Shakespeare's theatre and expands it into an entire play. Decentering the tragic hero, she foregrounds and enacts the threat of female desire that incites the tragic action, and disrupts the familiar categories of virgin, whore, and faithful handmaiden by forging links with gender ideology and class status. The author, Sharon Friedman, is an Associate Professor in the Gallatin School of New York University, and the author of several articles on American women dramatists, including Susan Glaspell and Lorraine Hansberry.

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48

Al-Ibia, Salim Eflih. "In Defense of American Drama." Journal of Arts and Humanities 6, no. 10 (2017): 17. http://dx.doi.org/10.18533/journal.v6i10.1272.

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<p>A colleague of mine claimed that he read somewhere that a former secretary of the Swedish Institute, which awards the Nobel prizes— commented that American writers were less likely to win the award since their work was isolated and not representative of universal experience. But Eugene O’Neil and other American playwrights were named Nobel Laureates. Thus, I write this article in defense of the universality of American drama. Beginning with a discussion of what might be regarded as defining elements of universality as it has been rendered in literature, and more specifically how it operates to make drama relevant and significant for world literature, I examine the work of prominent American playwrights as Arthur Miller, O’Neil, Tennessee Williams, Susan Glaspell, and Edward Albee. I argue that their work establishes a precedent for American drama as a particularly representative expression of aspects of a universal human condition. I relate their work to universal contexts. I shed light on the historical background of some of the plays discussed to argue that American writers are no less talented than other international playwrights who dramatized some historical precedents in their work and their plays present no less universal aspects. </p>

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49

Barlow, Judith E. "Susan Glaspell: Her Life and Times. By Linda Ben-Zvi. New York: Oxford University Press, 2005; xvi + 476 pp., illustrations. $45.00 cloth." TDR/The Drama Review 51, no. 2 (2007): 191–92. http://dx.doi.org/10.1162/dram.2007.51.2.191.

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50

Black, Cheryl. "Self and Space in the Theater of Susan Glaspell. By Noelia Hernando-Real. Jefferson, NC: McFarland, 2011; pp. x + 204, 11 illustrations. $55 paper." Theatre Survey 54, no. 2 (2013): 331–33. http://dx.doi.org/10.1017/s0040557413000173.

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