Drew Eisenhauer is a lecturer for Coventry University abroad and a teacher of English at Lycée International Bossuet in Meaux, France. He has authored numerous articles on modern American drama. A recent recipient of the Mayor of Paris Research in Paris fellowship, he lives in Paris. Brenda Murphy is Board of Trustees Distinguished Professor of English at the University of Connecticut. She has published 16 books and a wide range of articles that reflect her interest in American drama, literature and culture. She lives in Windham, Connecticut.

• Table of ContentsIntroduction: What Is “Intertextuality” and Why Is the Term Important Today? deleteDrew EisenhauerPart I: Literary IntertextualitySection One: PoetsThe Ancient Mariner and O’Neill’s Intertextual Epiphany (Herman Daniel Farrell III)“Deep in my silent sea”: Eugene O’Neill’s Extended Adaptation of Coleridge’s The Ancient Mariner (Rupendra Guha Majumdar)A Multi-Faceted Moon: Shakespearean and Keatsian Echoes in Eugene O’Neill’s A Moon for the Misbegotten (Aurélie Sanchez)Trailing Clouds of Glory: Glaspell, Romantic Ideology and Cultural Conflict in Modern American Literature (Michael Winetsky)On Closets and Graves: Intertextualities in Susan Glaspell’s Alison’s House and Emily Dickinson’s Poetry (Noelia Hernando-Real)Section Two: Playwrights and Performance TextsThe Tragic Heroine: An Intertextual Study of Thornton Wilder’s Women in The Skin of Our Teeth, The Long Christmas Dinner, and Our Town (Kristin Bennett)“Cut Out the Town and You Will Cut Out the Poetry”: Thornton Wilder and Arthur Miller (Stephen Marino)“And I am changed too”: Irving’s Rip Van Winkle from Page to Stage (Jason Shaffer)Part II: Cultural IntertextualitySection Three: Cultural TextsLooking for Herland: Embodying the Search for UtopiaSusan Glaspell’s The Verge (Franklin J. Lasik)Intertextuality on the Frontier in Susan Glaspell’s Inheritors (Sarah Withers)Fighting Archangels: The Deus Absconditus in Eugene O’Neill’s Dialogue with the Bible, Nietzsche and Jung (Annalisa Brugnoli)Intertextual Insanities in Susan Glaspell’s The Verge (Emeline Jouve)Section Four: Cultural ContextFemale Playwrights, Female Killers: Intersecting Texts of Crime and Gender in Glaspell, Watkins and Treadwell (Lisa Hall Hagen)A “Psalm” for Its Time: History, Memory and NostalgiaThornton Wilder’s Our Town (Jeffrey Eric Jenkins)Rain in an Actually Strange City: Translating and Re-Situating the Universality of Arthur Miller’s Death of a Salesman (Ramón Espejo Romero)“Doorways” and “Blank Spaces”: Intertextual ConnectionJohn Guare’s Six Degrees of Separation (Graham Wolfe)“What there is behind us”: Susan Glaspell’s Challenge to Nativist Discourse in Stage Adaptations of Her Harper’s Monthly Fiction (Sharon Friedman)About the Contributors Index

Drew Eisenhauer is a lecturer for Coventry University abroad and a teacher of English at Lycée International Bossuet in Meaux, France. He has authored numerous articles on modern American drama. A recent recipient of the Mayor of Paris Research in Paris fellowship, he lives in Paris. Brenda Murphy is Board of Trustees Distinguished Professor of English at the University of Connecticut. She has published 16 books and a wide range of articles that reflect her interest in American drama, literature and culture. She lives in Windham, Connecticut.

• Table of ContentsIntroduction: What Is “Intertextuality” and Why Is the Term Important Today? deleteDrew EisenhauerPart I: Literary IntertextualitySection One: PoetsThe Ancient Mariner and O’Neill’s Intertextual Epiphany (Herman Daniel Farrell III)“Deep in my silent sea”: Eugene O’Neill’s Extended Adaptation of Coleridge’s The Ancient Mariner (Rupendra Guha Majumdar)A Multi-Faceted Moon: Shakespearean and Keatsian Echoes in Eugene O’Neill’s A Moon for the Misbegotten (Aurélie Sanchez)Trailing Clouds of Glory: Glaspell, Romantic Ideology and Cultural Conflict in Modern American Literature (Michael Winetsky)On Closets and Graves: Intertextualities in Susan Glaspell’s Alison’s House and Emily Dickinson’s Poetry (Noelia Hernando-Real)Section Two: Playwrights and Performance TextsThe Tragic Heroine: An Intertextual Study of Thornton Wilder’s Women in The Skin of Our Teeth, The Long Christmas Dinner, and Our Town (Kristin Bennett)“Cut Out the Town and You Will Cut Out the Poetry”: Thornton Wilder and Arthur Miller (Stephen Marino)“And I am changed too”: Irving’s Rip Van Winkle from Page to Stage (Jason Shaffer)Part II: Cultural IntertextualitySection Three: Cultural TextsLooking for Herland: Embodying the Search for UtopiaSusan Glaspell’s The Verge (Franklin J. Lasik)Intertextuality on the Frontier in Susan Glaspell’s Inheritors (Sarah Withers)Fighting Archangels: The Deus Absconditus in Eugene O’Neill’s Dialogue with the Bible, Nietzsche and Jung (Annalisa Brugnoli)Intertextual Insanities in Susan Glaspell’s The Verge (Emeline Jouve)Section Four: Cultural ContextFemale Playwrights, Female Killers: Intersecting Texts of Crime and Gender in Glaspell, Watkins and Treadwell (Lisa Hall Hagen)A “Psalm” for Its Time: History, Memory and NostalgiaThornton Wilder’s Our Town (Jeffrey Eric Jenkins)Rain in an Actually Strange City: Translating and Re-Situating the Universality of Arthur Miller’s Death of a Salesman (Ramón Espejo Romero)“Doorways” and “Blank Spaces”: Intertextual ConnectionJohn Guare’s Six Degrees of Separation (Graham Wolfe)“What there is behind us”: Susan Glaspell’s Challenge to Nativist Discourse in Stage Adaptations of Her Harper’s Monthly Fiction (Sharon Friedman)About the Contributors Index

Drew Eisenhauer is a lecturer for Coventry University abroad and a teacher of English at Lycée International Bossuet in Meaux, France. He has authored numerous articles on modern American drama. A recent recipient of the Mayor of Paris Research in Paris fellowship, he lives in Paris. Brenda Murphy is Board of Trustees Distinguished Professor of English at the University of Connecticut. She has published 16 books and a wide range of articles that reflect her interest in American drama, literature and culture. She lives in Windham, Connecticut.

• Table of ContentsIntroduction: What Is “Intertextuality” and Why Is the Term Important Today? deleteDrew EisenhauerPart I: Literary IntertextualitySection One: PoetsThe Ancient Mariner and O’Neill’s Intertextual Epiphany (Herman Daniel Farrell III)“Deep in my silent sea”: Eugene O’Neill’s Extended Adaptation of Coleridge’s The Ancient Mariner (Rupendra Guha Majumdar)A Multi-Faceted Moon: Shakespearean and Keatsian Echoes in Eugene O’Neill’s A Moon for the Misbegotten (Aurélie Sanchez)Trailing Clouds of Glory: Glaspell, Romantic Ideology and Cultural Conflict in Modern American Literature (Michael Winetsky)On Closets and Graves: Intertextualities in Susan Glaspell’s Alison’s House and Emily Dickinson’s Poetry (Noelia Hernando-Real)Section Two: Playwrights and Performance TextsThe Tragic Heroine: An Intertextual Study of Thornton Wilder’s Women in The Skin of Our Teeth, The Long Christmas Dinner, and Our Town (Kristin Bennett)“Cut Out the Town and You Will Cut Out the Poetry”: Thornton Wilder and Arthur Miller (Stephen Marino)“And I am changed too”: Irving’s Rip Van Winkle from Page to Stage (Jason Shaffer)Part II: Cultural IntertextualitySection Three: Cultural TextsLooking for Herland: Embodying the Search for UtopiaSusan Glaspell’s The Verge (Franklin J. Lasik)Intertextuality on the Frontier in Susan Glaspell’s Inheritors (Sarah Withers)Fighting Archangels: The Deus Absconditus in Eugene O’Neill’s Dialogue with the Bible, Nietzsche and Jung (Annalisa Brugnoli)Intertextual Insanities in Susan Glaspell’s The Verge (Emeline Jouve)Section Four: Cultural ContextFemale Playwrights, Female Killers: Intersecting Texts of Crime and Gender in Glaspell, Watkins and Treadwell (Lisa Hall Hagen)A “Psalm” for Its Time: History, Memory and NostalgiaThornton Wilder’s Our Town (Jeffrey Eric Jenkins)Rain in an Actually Strange City: Translating and Re-Situating the Universality of Arthur Miller’s Death of a Salesman (Ramón Espejo Romero)“Doorways” and “Blank Spaces”: Intertextual ConnectionJohn Guare’s Six Degrees of Separation (Graham Wolfe)“What there is behind us”: Susan Glaspell’s Challenge to Nativist Discourse in Stage Adaptations of Her Harper’s Monthly Fiction (Sharon Friedman)About the Contributors Index