This is a major interpretation of Goethe's Faust, the most challenging and innovative one since Stuart Atkins's 1958 analysis, at least in English, if not in any language. The author accomplishes her goals well: to show that Faust belongs to the genre of non-Aristotelian, illusionist drama; to locate the work within the European literary tradition; and to pursue its epistemological concerns by taking it up scene by scene and act by act.(Journal of English and Germanic Philology)

This is a major interpretation of Goethe's Faust, the most challenging and innovative one since Stuart Atkins's 1958 analysis, at least in English, if not in any language. The author accomplishes her goals well: to show that Faust belongs to the genre of non-Aristotelian, illusionist drama; to locate the work within the European literary tradition; and to pursue its epistemological concerns by taking it up scene by scene and act by act.(Journal of English and Germanic Philology)

This is a major interpretation of Goethe's Faust, the most challenging and innovative one since Stuart Atkins's 1958 analysis, at least in English, if not in any language. The author accomplishes her goals well: to show that Faust belongs to the genre of non-Aristotelian, illusionist drama; to locate the work within the European literary tradition; and to pursue its epistemological concerns by taking it up scene by scene and act by act.(Journal of English and Germanic Philology)