Journey Into Research Articles

Journeys Into Awareness: The Long Emergency and Counselor and Psychologist Training

Abstract Educating counselors- and psychologists-in-training about the effects of climate change, environmental degradation, and a healthy planet on human health and well-being prepares them for being problem solvers during what Kunstler calls the long emergency. This narrative describes processes for integration of such information in programs that train counselors and psychologists, including addressing how the long emergency might affect humans, how it might show up in work with clients, and what counselors and psychologists might do about the issues. The challenges of doing so while also considering the worldviews of the trainees are also discussed. Key Words: Climate change—Education—Behavior change—Attitudes—Values.

Foreword

Foreword

Foreword

Foreword

The Second Girl

The Second Girl

Three Ways to Fail at Forgiveness

Abstract The characters in O'Neill's late plays, especially in Long Day's Journey Into Night, fail to forgive each other for a variety of reasons, which can be elucidated by examining failures at forgiveness in the works of Samuel Beckett and Arthur Miller. The framework for the discussion of forgiveness here, including the difference between forgiveness and reconciliation, is provided by insights into ethics and philosophy of mind from Bernhard Schlink, William James, Stanley Cavell, Daniel Kahneman, and Jonathan Haidt. Ultimately, O'Neill's characters' failure to forgive is attributed to a kind of narcissism, and narcissism is explored as an underlying theme in the plays O'Neill wrote at Tao House in the late 1930s and early 1940s.

Eugene O'neill: The Contemporary Reviews

Eugene O'neill: The Contemporary Reviews

Three Ways to Fail at Forgiveness

Abstract The characters in O'Neill's late plays, especially in Long Day's Journey Into Night, fail to forgive each other for a variety of reasons, which can be elucidated by examining failures at forgiveness in the works of Samuel Beckett and Arthur Miller. The framework for the discussion of forgiveness here, including the difference between forgiveness and reconciliation, is provided by insights into ethics and philosophy of mind from Bernhard Schlink, William James, Stanley Cavell, Daniel Kahneman, and Jonathan Haidt. Ultimately, O'Neill's characters' failure to forgive is attributed to a kind of narcissism, and narcissism is explored as an underlying theme in the plays O'Neill wrote at Tao House in the late 1930s and early 1940s.

Review of Simon Malpas and Andrew Taylor, Thomas Pynchon (Manchester University Press, 2013)

Book review of Review of Simon Malpas and Andrew Taylor, Thomas Pynchon (Manchester University Press, 2013). Review of Simon Malpas and Andrew Taylor, Thomas Pynchon (Manchester University Press, 2013) George William Twigg Simon Malpas and Andrew Taylor’s book is a welcome addition to Manchester University Press’s ‘Contemporary American and Canadian Writers’ series. Previous entries in the series include such complex, experimental authors as Paul Auster and Mark Z. Danielewski, amongst whom Pynchon is in good company. Indeed, much of the book is devoted to discussing exactly how we may ‘read’ Pynchon’s difficult, allusive style. The series editors’ foreword states that ‘[c]entral to the series is a concern that each book should argue a stimulating thesis, rather than provide an introductory survey’, and while we may wonder whether any book on Pynchon’s vast, complex fictional world can truly be more than an ‘introduction’, Malpas and Taylor are indeed stimulating. Their study provides a clear, lucid discussion of several key themes in Pynchon’s novels, chief amongst which are paranoia, the emancipatory power of fantasy and alternative modes of perception, and the ‘subjunctive potentiality’ (3) of spaces of resistance. Malpas and Taylor’s analysis is always illuminating, and their analysis of space in particular ensures that their book is a significant contribution to the diffuse field of Pynchon scholarship. Chapter One focuses on three of the stories published in Slow Learner. ‘Low-lands’ is placed in its historical and cultural context, with incisive readings of 1950s cultural critiques by figures such as David Riesman and C. Wright Mills, who argued that ‘[t]he success of American capitalism had led[...]to the occlusion of dissenting voices from debates about national identity’ (14). Characteristically of their book, Malpas and Taylor examine space, warning that the apparent promise in ‘Low-lands’ of ‘a renewed privatised space and a reconstituted individuality’ (15) may be illusory, as the story’s ending suggests. ‘The Secret Integration’ is read in conjunction with Pynchon’s article ‘A Journey Into the Mind of Watts’, with the authors sensitively charting the disparities between white and black experiences of Copyright © 2015, George William Twigg License (open-access): This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The citation of this article must include: the name(s) of the authors, the name of the journal, the full URL of the article (in a hyperlinked format if distributed online) and the DOI number of the article. DOI: http://dx.doi.org/10.7766/orbit.v1.2.128 2 Review of Simon Malpas and Andrew Taylor, Thomas Pynchon (Manchester University

Long Day's Journey Into Night

Long Day's Journey Into Night

Long Day's Journey Into Night

Long Day's Journey Into Night

Foreword

With the revival of The Iceman Cometh with Nathan Lane and Brian Dennehy playing at the Brooklyn Academy of Music in 2015, New York City becomes, once again, the epicenter of Eugene O'Neill productions. The theater capital has figured prominently in the success of O'Neill's plays, from the early days in the Provincetown Playhouse on MacDougal Street to the landmark production of Long Day's Journey Into Night in 2003, with Vanessa Redgrave, Philip Seymour Hoffman, and Brian Dennehy, to this summer's The Complete and Condensed Stage Directions of Eugene O'Neill, Volumes 1 and 2 from the NeoFuturists and Theater for the New City, which reimagines early plays (Recklessness, Warnings, Fog, Abortion, and The Sniper) without dialogue, as stylized gesture. New York's Lincoln Center was the apt place for “Launchpad of American Theatre: The O'Neill since 1964,” an exhibition reviewed here as part of an effort to extend the O'Neill Review's notion of performance and the performativity of space.Yet the attention surrounding the revival of The Iceman Cometh should not obscure the success of O'Neill's other dramas, which have been performed with increasing frequency in regional theaters across the United States. Suddenly in high demand, Desire under the Elms showed up at the Raleigh Little Theater in North Carolina and the F. Scott Fitzgerald Theater in Rockville, Maryland. The Ensemble Theatre in Cleveland, Ohio, continues its prolonged exploration of the plays of O'Neill with Beyond the Horizon and “Anna Christie” this season, while Bayou City Concert Musicals presents George Abbott's musical adaptation of the latter play, New Girl in Town, in Houston, Texas. Affirming the appeal of O'Neill's plays in the South, The Hairy Ape was staged at the Itinerant Theatre in Lake Charles, Louisiana. Across the country the same is true, with productions of A Moon for the Misbegotten at the Rubicon Theatre in Ventura, California; The Iceman Cometh at the O'Neill Festival in San Ramon, California; and Long Day's Journey Into Night next season at the Oregon Shakespeare Festival.Likewise, O'Neill's plays continue to enjoy international success beyond the traditional locations like London. Two productions, in fact, exemplify the global reach of O'Neill's plays, starting with Long Day's Journey Into Night at the Teatro Marquina in Madrid, Spain. More intriguing is the adaptation of Desire under the Elms at the Baxter Theater in Cape Town, South Africa (reviewed here), which suggests, ironically considering the subject of this play, new and fertile ground for O'Neill's plays around the world.

And Give US the Shadows

And Give US the Shadows

Review

Review

Recalibrating O'Neill's Modern Tragedy:

Abstract Theater audiences in the Low Countries in the fall of 2013 had the opportunity to see two concurrent productions of Eugene O'Neill's Long Day's Journey Into Night: a condensed adaptation directed by Peter Monsaert for Theater Antigone, Kortrijk, and a more traditional one directed by Ivo van Hove for Toneelgroep Amsterdam. Starting from the directorial concepts and scenographies of both productions, for which respectively Giovanni Vanhoenacker and Jan Versweyveld designed, this article explores earlier theater historical models and contemporary influences (Irving, Yeats, and Ibsen) in order to elucidate these productions' readjustments of O'Neill's tragic dramaturgy.

Return to Monte Cristo:

Return to Monte Cristo:

Return to Monte Cristo:

Return to Monte Cristo:

Recalibrating O'Neill's Modern Tragedy:

Abstract Theater audiences in the Low Countries in the fall of 2013 had the opportunity to see two concurrent productions of Eugene O'Neill's Long Day's Journey Into Night: a condensed adaptation directed by Peter Monsaert for Theater Antigone, Kortrijk, and a more traditional one directed by Ivo van Hove for Toneelgroep Amsterdam. Starting from the directorial concepts and scenographies of both productions, for which respectively Giovanni Vanhoenacker and Jan Versweyveld designed, this article explores earlier theater historical models and contemporary influences (Irving, Yeats, and Ibsen) in order to elucidate these productions' readjustments of O'Neill's tragic dramaturgy.

Medicine, Law and Education: A Journey Into Applied Linguistics

Medicine, Law and Education: A Journey Into Applied Linguistics

Long Day's Journey Into Night

Long Day's Journey Into Night

Getting to Know O'Neill

Abstract Brenda Murphy, as scholar, teacher, and former Eugene O'Neill Society president, recounts her lifelong fascination with Eugene O'Neill. She is the author of books about American realism, the Provincetown Players, and the performance history of Long Day's Journey Into Night, as well as other topics, and articles about O'Neill in the American intertext.