English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Nineteenth century America produced eminent prose writers and poets such as Hawthorne, Melville, Poe, Whitman, Emerson, Thoreau, and Mark Twain but none of comparable quality in the field of drama. The gap remained until after the First World War, the year 1920, to be exact, with O’Neill’s production of “Beyond the Horizon” and the inception of the “Theater Guild” which enabled him to face the challenge by refining the genre which had so far lagged behind in its development and maturity, as well as in form and content. Appreciating O’Neill’s contribution, this study aims is to highlight O’Neill’s craft in making drama a distinct literary genre with diversity of both form and technique. A thorough thematic analysis focuses primarily on the different forms and techniques which O’Neill has implicitly or explicitly employed in his short plays from the outset of his career until its end. O’Neill’s experimentation in form, including his use of multiple acts and scenes, makes him entirely a different dramatist. He was internationally recognized as a dramatist not because he used one or the other technique in his plays but because he blended all those techniques in his plays in a highly personalized manner.

O’Neill’s Diversity of Form and Technique: A Study of His Short Plays