LEADER 04413oam 2200685I 450 001 9910807923403321 005 20240402053534.0 010 $a1-317-84280-4 010 $a1-315-82708-5 010 $a1-317-84281-2 024 7 $a10.4324/9781315827087 035 $a(CKB)2670000000518607 035 $a(EBL)1619056 035 $a(SSID)ssj0001108394 035 $a(PQKBManifestationID)12461624 035 $a(PQKBTitleCode)TC0001108394 035 $a(PQKBWorkID)11085662 035 $a(PQKB)11701359 035 $a(OCoLC)874172852 035 $a(MiAaPQ)EBC1619056 035 $a(Au-PeEL)EBL1619056 035 $a(CaPaEBR)ebr10836691 035 $a(CaONFJC)MIL573445 035 $a(OCoLC)870226837 035 $a(OCoLC)870272390 035 $a(FINmELB)ELB138290 035 $a(EXLCZ)992670000000518607 100 $a20180331d2002 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aJohn Osborne, vituperative artist $ea reading of his life and work /$fby Luc Gilleman 205 $a1st ed. 210 1$aNew York :$cRoutledge,$d2002. 215 $a1 online resource (273 p.) 225 0 $aStudies in modern drama 300 $aDescription based upon print version of record. 311 $a1-138-88406-5 311 $a0-8153-2201-1 320 $aIncludes bibliographical references and index. 327 $aCover; 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; Appendix 327 $a4. 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; Reception 327 $aThe 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; Reception 327 $aThe Problem of GenreRhetoric and Authenticity; A Peculiar Economy; The Decline of Imagination; A Necessary Failure; 12. De?ja?vu (1992): Elegy for Lost Origins; Reception; Thatcherism; Newspeak; Lost Origins; A Note on Further Reading; Notes; Index 330 $aFor British playwright, John Osborne, there are no brave causes; only people who muddle through life, who hurt, and are often hurt in return. This study deals with Osborne's complete oeuvre and critically examines its form and technique; the function of the gaze; its construction of gender; and the relationship between Osborne's life and work. Gilleman has also traced the evolution of Osborne's reception by turning to critical reviews at the beginning of each chapter. 410 0$aStudies in Modern Drama 606 $aInvective in literature 615 0$aInvective in literature. 676 $a822/.914 676 $a822.914 700 $aGilleman$b Luc M$g(Luc Maurice),$01656955 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910807923403321 996 $aJohn Osborne, vituperative artist$94010108 997 $aUNINA