Titlebook: Arthur Miller for the Twenty-First Century; Contemporary Views o Stephen Marino,David Palmer Book 2020 The Editor(s) (if applicable) and Th

抛物线

Fabian Mohs,Anne-Kathrin Lindau Chinese theater companies, his own 1983 direction of . in Beijing in collaboration with Ying Ruocheng, and current retellings of that watershed event in new theater projects outside of China. Together, these different forms illuminate the important influence Miller’s involvement with China continues to have in the twenty-first century.

荒唐

Henning Füller,Nadine Marquardtieth-first-century audiences. The great themes of his work and career—family and society, individual and social conscience, private and public responsibility, and guilt and betrayal—are what engaged societies throughout the world in his time and continue to do so in our own. Interest in Miller’s wor

AVANT

finale

. ., O’Neill presents four separate ways in which people deal with this confrontation: Harry Hope, Hickey, Larry Slade, and Don Parritt. Characters who resemble Slade and Parritt in their confrontations with a collapsing self also are depicted by Arthur Miller as models of tragedy in many of his pl

cringe

原来

,Zwischen Hörsaal und Fußballplatz,e how the illusory status quo that emerges from the notion of the American Dream had very real and harmful effects on American families. In their back-to-back historical moments, and taken together, Miller’s and Albee’s critiques of the American Dream work analogously to the biblical narratives of E

人类的发源

circumvent

farewell

Grundlagen und konzeptioneller Bezugsrahmen,atic parallels that highlight the arbitrary and imaginary nature of monetary value. By incorporating economic theorists such as Slavoj Žižek, this essay analyzes Miller’s portrait of the Franz family heirlooms as a type of “junk shop” comparable to the setting of .; moreover, the characters in both

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