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Journal articles on the topic 'Tom Stoppard'

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Published: 4 June 2021
Last updated: 10 March 2023

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1

Worth, Katharine, and Susan Rusinko. "Tom Stoppard." Modern Language Review 83, no. 3 (July 1988): 712. http://dx.doi.org/10.2307/3731335.

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2

Rusinko, Susan, and Thomas Whitaker. "Tom Stoppard." World Literature Today 59, no. 1 (1985): 97. http://dx.doi.org/10.2307/40140658.

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3

Robinson, Gabrielle, and Tom Whitaker. "Tom Stoppard." Theatre Journal 37, no. 2 (May 1985): 249. http://dx.doi.org/10.2307/3207092.

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4

Harty, John, and Susan Rusinko. "Tom Stoppard." Theatre Journal 39, no. 1 (March 1987): 130. http://dx.doi.org/10.2307/3207650.

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5

Kane, Leslie, and Susan Rusinko. "Tom Stoppard." World Literature Today 60, no. 4 (1986): 635. http://dx.doi.org/10.2307/40142846.

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6

Nadel, Ira Bruce. "Writing Tom Stoppard." Journal of Modern Literature 27, no. 3 (2004): 19–29. http://dx.doi.org/10.1353/jml.2004.0077.

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7

Quennell, Nicholas. "Arcadia, by Tom Stoppard." Landscape Journal 15, no. 1 (1996): 65–67. http://dx.doi.org/10.3368/lj.15.1.65.

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8

Grimes, Charles. "Tom Stoppard: A Life." Harold Pinter Review 6 (June 1, 2022): 64–70. http://dx.doi.org/10.5325/haropintrevi.6.1.0064.

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9

Rusinko, Susan, and Tim Brassell. "Tom Stoppard: An Assessment." World Literature Today 60, no. 1 (1986): 110. http://dx.doi.org/10.2307/40141245.

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10

Harty, John, and Tim Brassell. "Tom Stoppard: An Assessment." Theatre Journal 38, no. 1 (March 1986): 127. http://dx.doi.org/10.2307/3207848.

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11

Levitt, Morton. "Tom Stoppard: A Life." Journal of Modern Literature 26, no. 3 (2003): 166–68. http://dx.doi.org/10.1353/jml.2004.0033.

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12

Davis, Glyn. "Tom Stoppard Discovers Politics." Political Science 42, no. 1 (July 1990): 13–26. http://dx.doi.org/10.1177/003231879004200102.

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13

Rusinko, Susan, and Paul Delaney. "Tom Stoppard in Conversation." World Literature Today 69, no. 2 (1995): 369. http://dx.doi.org/10.2307/40151236.

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14

Demastes, William W. "Hermione Lee, Tom Stoppard: A Life." Modern Drama 65, no. 3 (October 1, 2022): 457–59. http://dx.doi.org/10.3138/md-65-3-br04.

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Tom Stoppard: A Life is a thorough, authorized, major critical biography of the playwright Tom Stoppard, covering his sixty-year career in the British theatre and on the world stage, 1960–2020. This is an excellent, academically compelling, popular reading of Stoppard’s plays and films and a thoroughly documented life of a high-profile man of the theatre.
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15

Worth, Katharine, and Anthony Jenkins. "The Theatre of Tom Stoppard." Modern Language Review 85, no. 2 (April 1990): 431. http://dx.doi.org/10.2307/3731844.

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16

Bressler, Sylvie. "Tom Stoppard, l'histoire en scène." Esprit Juin, no. 6 (2007): 165. http://dx.doi.org/10.3917/espri.0706.0165.

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17

Kelly, Katherine E., Elissa S. Guralnick, and Paul Delaney. "Tom Stoppard: Craft and Craftiness." PMLA 107, no. 2 (March 1992): 354. http://dx.doi.org/10.2307/462647.

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18

Dickey, Johanna S., John Harty, and Neil Sammells. "Tom Stoppard: A Case Book." Theatre Journal 41, no. 2 (May 1989): 266. http://dx.doi.org/10.2307/3207882.

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19

Mackenzie, Ian. "Tom Stoppard: The Monological Imagination." Modern Drama 32, no. 4 (December 1989): 574–86. http://dx.doi.org/10.3138/md.32.4.574.

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20

Schildcrout, Jordan. "Tom Stoppard: A Life (review)." Theatre Journal 55, no. 2 (2003): 381–82. http://dx.doi.org/10.1353/tj.2003.0081.

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21

Rusinko, Susan, and Anthony Jenkins. "The Theatre of Tom Stoppard." World Literature Today 62, no. 1 (1988): 130. http://dx.doi.org/10.2307/40144133.

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22

Diamond, Elin. "Tom Stoppard by Thomas Whitaker." Comparative Drama 20, no. 1 (1986): 79–81. http://dx.doi.org/10.1353/cdr.1986.0033.

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23

Vos, Jozef De. "Tim Brassell, Tom Stoppard. An assesment, London 1985. & Anthony Jenkins, Theatre of Tom Stoppard. Cambridge 1987. & Michael Bellington, Stoppard the Playwright. London 1987." Documenta 6, no. 4 (April 30, 2019): 249–51. http://dx.doi.org/10.21825/doc.v6i4.11004.

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24

Delaney, Paul, and Elissa S. Guralnick. "Structure and Anarchy in Tom Stoppard." PMLA 106, no. 5 (October 1991): 1170. http://dx.doi.org/10.2307/462688.

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25

Delaney, Paul. "Hermione Lee, Tom Stoppard: A Life." Society 58, no. 6 (November 24, 2021): 540–44. http://dx.doi.org/10.1007/s12115-021-00650-3.

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26

L.A., Borbotko. "TOM STOPPARD: THE AUTHOR "IN DETAILS"." Humanities And Social Studies In The Far East 17, no. 1 (2020): 90–95. http://dx.doi.org/10.31079/1992-2868-2020-17-1-90-95.

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The article regards a descriptive analysis of attributes contributing to the originality of Tom Stoppard’s literary pieces. The paper regards such typical features as intertextuality crucial for the structure and the plot, chronological and spacial characteristics, a variety of topics tackled and stylistic devices employed (allusions, paradox, ellipses, etc.). T. Stoppard’s plays were described as representations of both postmodernism and the personal style comprising philosophical and axiological views of the dramatist as a cultural and language personality.
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27

Nadel, IRa. "Tom Stoppard: In the Russian Cour." Modern Drama 47, no. 3 (September 2004): 500–524. http://dx.doi.org/10.3138/md.47.3.500.

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28

Powell, K. T. "The Cambridge Introduction to Tom Stoppard." English 62, no. 238 (July 30, 2013): 345–46. http://dx.doi.org/10.1093/english/eft041.

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29

Guralnick, Elissa S. "Structure and Anarchy in Tom Stoppard." Publications of the Modern Language Association of America 106, no. 5 (October 1991): 1171–72. http://dx.doi.org/10.1632/s0030812900174309.

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30

Guralnick, Elissa S. "Tom Stoppard: Craft and Craftiness - Reply." Publications of the Modern Language Association of America 107, no. 2 (March 1992): 354. http://dx.doi.org/10.1632/s0030812900175182.

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31

Delaney, Paul. "Tom Stoppard: Craft and Craftiness - Reply." Publications of the Modern Language Association of America 107, no. 2 (March 1992): 354–55. http://dx.doi.org/10.1632/s0030812900175194.

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32

Doyle, M. "The Cambridge Companion to Tom Stoppard." Genre 35, no. 1 (January 1, 2002): 167–71. http://dx.doi.org/10.1215/00166928-35-1-167.

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33

Er, Zekiye. "Tom Stoppard, New Historicism, and Estrangement in Travesties." New Theatre Quarterly 21, no. 3 (July 18, 2005): 230–40. http://dx.doi.org/10.1017/s0266464x05000138.

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New historicism rewrites history from different viewpoints in order to prove that the past is inaccessible, and all historians can do is to work on incomplete knowledge, aware of the fact that a teleological, linear approach to their subject is misleading. In this study, Zekiye Er aims not only to analyze Tom Stoppard's Travesties from a new historicist stance, but also to utilize a new historicist approach to an understanding of what Stoppard is doing in the play, in the light of the striking parallels between Stoppard's technique and the new historicist critics' methods of analyzing history and literary texts. She concludes that Stoppard himself plays the role of a new historicist while writing a brilliant comedy of ideas. Zekiye Er received her PhD for a dissertation on Stoppardian drama from Ankara University in 2004. She has been working as a lecturer in the Department of English Language and Literature of Gaziantep University since 1993.
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34

Belopukhova, Olga V. "FUNCTIONAL SIGNIFICANCE OF IVAN TURGENEV’S CHARACTER IN THE DRAMATIC TRILOGY ‟THE COAST OF UTOPIA” BY ТОM STOPPARD." Vestnik of Kostroma State University 28, no. 3 (February 28, 2023): 146–52. http://dx.doi.org/10.34216/1998-0817-2022-28-3-146-152.

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Key figures in realising the idea of the play «The Coast of Utopia» by Tom Stoppard appear to be Alexander Herzen and Vissarion Belinsky in the opinion of many researchers. This article attempts to determine the functional significance of the image of Ivan Turgenev in Tom Stoppard’s play in the light of postmodern tendencies. The author of the article proves that the image of Ivan Turgenev is not central in Tom Stoppard’s book, but the said writer is of particular importance in the realisation of the idea of the work. It emphasises the colour of the era, immerses the reader in the past, allows one drawing parallels between the time of the writer’s life and the present. The opinion of the hero Ivan Turgenev, in which Tom Stoppard tried to convey the features and characteristics of the prototype as much as possible, becomes an alternative in political discussions and literary disputes about the role of literature and the appointment of the writer in society, about the role of the individual in history. Special attention is paid to historical facts in the play by Tom Stoppard, to the love story between Ivan Turgenev and Pauline Viardot.
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35

Morris, John. "Tom Stoppard: An Assessment by Tim Brassell (review)." Modern Drama 29, no. 3 (1986): 492–94. http://dx.doi.org/10.1353/mdr.1986.0051.

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36

Botwick, Aaron. "Tom Stoppard: A Life by Hermione Lee." Comparative Drama 55, no. 1 (2021): 122–24. http://dx.doi.org/10.1353/cdr.2021.0007.

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37

Kelly, Katherine. "Tom Stoppard Journalist: through the Stage Door." Modern Drama 33, no. 3 (September 1990): 380–93. http://dx.doi.org/10.3138/md.33.3.380.

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38

Nadel, Ira. "Tom Stoppard and the Invention of Biography." Modern Drama 43, no. 2 (May 2000): 157–70. http://dx.doi.org/10.3138/md.43.2.157.

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39

Dotsenko, Elena. "Bucking the postdramatic: Epic plays by Tom Stoppard." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 60–81. http://dx.doi.org/10.18522/2415-8852-2020-1-60-81.

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Tom Stoppard’s drama has been one of the eminent and internationally known phenomena of contemporary theatre for several decades. Nevertheless, the polemics are still relevant whether Stoppard’s plays belong to postmodern or postdramatic or any other current trend. The article regards Stoppard’s theatrical experiment as a postmodern one. Moreover, the use and even development of postmodern techniques are noted not only as far as his early plays of the 1960s and 70s are concerned, but as a characteristic of the later dramas by Stoppard. Recently the playwright has created three major epic plays characterized by a deep understanding of historical context: “The Coast of Utopia”, “Rock’n’Roll”, and “Leopoldstadt”. The author of the article considers two later plays as original pieces, having in common some autobiographical details. “Rock’n’Roll” presents the years from 1968 to 1990 in Czechoslovakia and compares the interpretation of “freedom” in the West and that under the Communist regime. “Leopoldstadt” is a play about Austrian Jews and the Holocaust. The article analyzes the artistic devices of representation of the cultural and historical background in each of the plays.
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40

Cantor, Paul A. "Reality Czech: Tom Stoppard Discovers Shakespeare behind the Iron Curtain." Review of Politics 78, no. 4 (2016): 663–79. http://dx.doi.org/10.1017/s0034670516000565.

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AbstractTom Stoppard's Dogg's Hamlet, Cahoot's Macbeth offers fresh evidence of the universality of Shakespeare's genius. The play juxtaposes a perfunctory performance of Hamlet in an English boarding school with a courageous staging of Macbeth as a protest against Communist tyranny in 1978 Czechoslovakia. The play shows that, paradoxically, Shakespeare's plays have less of an impact in England than they do in foreign countries, where differing political circumstances, far from forming an obstacle to appreciating Shakespeare, actually bring his plays to life with a new power. By portraying the secret police interrupting the Czech Macbeth, Stoppard explores how artists can struggle against totalitarianism, and, in particular, how they can develop secret codes to express their dissidence, even under the watchful eyes of the surveillance state. Encountering Shakespeare behind the Iron Curtain, Stoppard developed a new seriousness as a playwright and a new interest in the relation of art and politics.
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41

Voigts, Eckart. "Tom Stoppard: European Phantom Pain and the Theatre of Faux Biography." Humanities 10, no. 2 (June 1, 2021): 80. http://dx.doi.org/10.3390/h10020080.

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The paper reads Stoppard’s work in the 21st century as further testimony of the gradual politicisation of his work that began in the 1970s under the influence of Czech dissidents, and particularly as a result of his visits to Russia and Prague in 1977. It also provides evidence that Stoppard, since the 1990s, had begun to target emotional responses from his audience to redress the intellectual cool that seems to have shaped his earlier, “absurdist” phase. This turn towards emotionalism, the increasingly elegiac obsession with doubles, unrequited lives, and memory are linked to a set of biographical turning points: the death of his mother and the investigation into his Czech-Jewish family roots, which laid bare the foundations of the Stoppardian art. Examining this kind of “phantom pain” in two of his 21st-century plays, Rock’n’Roll (2006) and Leopoldstadt (2019), the essay argues that Stoppard’s work in the 21st century was increasingly coloured by his biography and Jewishness—bringing to the fore an important engagement with European history that helped Stoppard become aware of some blind spots in his attitudes towards Englishness.
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42

Hunt, John Dixon. "“A breakthrough in dahlia studies” onArcadiaby Tom Stoppard." Landscape Journal 15, no. 1 (1996): 58–64. http://dx.doi.org/10.3368/lj.15.1.58.

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43

Rusinko, Susan. "The Last Romantic: Henry Boot, Alias Tom Stoppard." World Literature Today 59, no. 1 (1985): 17. http://dx.doi.org/10.2307/40140525.

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44

Cahn, Victor L. "Tom Stoppard by Thomas Whitaker (review)." Modern Drama 28, no. 3 (1985): 510–12. http://dx.doi.org/10.1353/mdr.1985.0015.

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45

Mullins, Stanley G. "The Theatre of Tom Stoppard by Anthony Jenkins." ESC: English Studies in Canada 15, no. 1 (1989): 111–16. http://dx.doi.org/10.1353/esc.1989.0039.

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46

Dvoryankina, I. S. "Historical process and historical time in Tom Stoppard’s drama." Science and School, no. 1, 2020 (2020): 39–49. http://dx.doi.org/10.31862/1819-463x-2020-1-39-49.

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The article analyzes Tom Stoppard’s historical concept through philological, philosophical and cultural discourse. The article highlights the transformation of the playwright’s views on the historical process: from following the concept of postmodernism to consideration of historical process as included in the Great Chain of Being and objectification of historical events in accordance to Hegel’s determinism. The article covers the influence of Wilson’s and Berlin’s school of history of the ideas on the formation of Stoppard’s history concept. The article highlights the main issues addressed by Stoppard: individual freedom and protection of the human rights; it is noted that the moral and civic pathos of the plays is a distinctive feature of Stoppard’s drama.
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47

HUNTER, JEFFERSON. "SAPPHO, CATULLUS, VERA LYNN, PINK FLOYD, AND TOM STOPPARD." Yale Review 98, no. 2 (2010): 128–44. http://dx.doi.org/10.1353/tyr.2010.0061.

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48

Kelly, Katherine. "Tom Stoppard Radioactive: A Sounding of the Radio Plays." Modern Drama 32, no. 3 (September 1989): 440–52. http://dx.doi.org/10.3138/md.32.3.440.

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49

SAMMELLS, NEIL. "Giggling at the Arts: Tom Stoppard and James Saunders." Critical Quarterly 28, no. 4 (December 1986): 71–78. http://dx.doi.org/10.1111/j.1467-8705.1986.tb00048.x.

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50

HUNTER, JEFFERSON. "SAPPHO, CATULLUS, VERA LYNN, PINK FLOYD, AND TOM STOPPARD." Yale Review 98, no. 2 (April 2010): 128–44. http://dx.doi.org/10.1111/j.1467-9736.2010.00601.x.

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