04413oam 2200685I 450 991080792340332120240402053534.01-317-84280-41-315-82708-51-317-84281-210.4324/9781315827087 (CKB)2670000000518607(EBL)1619056(SSID)ssj0001108394(PQKBManifestationID)12461624(PQKBTitleCode)TC0001108394(PQKBWorkID)11085662(PQKB)11701359(OCoLC)874172852(MiAaPQ)EBC1619056(Au-PeEL)EBL1619056(CaPaEBR)ebr10836691(CaONFJC)MIL573445(OCoLC)870226837(OCoLC)870272390(FINmELB)ELB138290(EXLCZ)99267000000051860720180331d2002 uy 0engur|n|---|||||txtccrJohn Osborne, vituperative artist a reading of his life and work /by Luc Gilleman1st ed.New York :Routledge,2002.1 online resource (273 p.)Studies in modern dramaDescription based upon print version of record.1-138-88406-5 0-8153-2201-1 Includes bibliographical references and index.Cover; Half Title; Title Page; Copyright Page; Table of Contents; Preface; Acknowledgments; References to Osborne's Works; 1. Osborne's Phallic Art; Politics; Self-Image; Friend and Foe; Gender Politics and Aesthetics; ""O Happy Poet! By No Critic Vext!""; Genesis; Phallic Art; Part I; 2. Rise to the Top, 1956-1963; Royal Court Theatre; Tom Jones; Epitaph for George Dillon; Minor Work; Angry Young Men; 3. Look Back in Anger (1956): Of Bears and Traps; Reception; Language and Energy; The Welfare State; The Quest for Certainty; Double-Binding Relationships; The End of All Certainties; Appendix4. The Entertainer (1957): The Use of DespairReception; Characters; Conflicts; Past Glory, Present Pain; ""Toward a Sentimental Theatre""; ""A Pure, Just Natural Noise""; ""What's The Use of Despair?""; 5. Luther (1961): The Negative Way of Anger; Reception; Continuity and Contrast; The Knife and the Body; The Cone and the Bagpipe; The Child in the Cone; God's Eyes and the Devil's Organ; The Negative Way of Anger; Part II; 6. At the Top, 1964-1971; Death of the Fathers; Minor Work; Angry Woman; Work for Television; 7. Inadmissible Evidence (1964): The Birthing of the Self; ReceptionThe TrialThe Crime; Deceptive Symmetries; Birthing the Self; ""Himself Purely""; 8. A Patriot for Me (1965): Society and the Hidden Self; Production; Reception; Structure; The Duel; The Gaze; ""The Dual Body Functioning""; Society and the Hidden Self; Part III; 9. The Long Descent, 1972-1994; Adaptations; Television Plays; Autobiographies; 10. A Sense of Detachment (1972): The Limits of Authenticity; Reception; The Ruse of Anti-Theatre; Theatre Exorcism; The Roots of Theatre; The Author Detached; Conclusion: Theatre Arena; 11. Watch It Come Down (1976): A Most Necessary Failure; ReceptionThe Problem of GenreRhetoric and Authenticity; A Peculiar Economy; The Decline of Imagination; A Necessary Failure; 12. Déjàvu (1992): Elegy for Lost Origins; Reception; Thatcherism; Newspeak; Lost Origins; A Note on Further Reading; Notes; IndexFor British playwright, John Osborne, there are no brave causes; only people who muddle through life, who hurt, and are often hurt in return. This study deals with Osborne's complete oeuvre and critically examines its form and technique; the function of the gaze; its construction of gender; and the relationship between Osborne's life and work. Gilleman has also traced the evolution of Osborne's reception by turning to critical reviews at the beginning of each chapter.Studies in Modern DramaInvective in literatureInvective in literature.822/.914822.914Gilleman Luc M(Luc Maurice),1656955MiAaPQMiAaPQMiAaPQBOOK9910807923403321John Osborne, vituperative artist4010108UNINA