Endgame | Copyright

These eNotes are an offprint from Drama For Students: Presenting Analysis, Context, and Criticism on Commonly Studied Dramas.

Drama For Students

Project Editor David Galens

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Acknowledgments

The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of Drama for Students (DfS). Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIALS IN DfS, VOLUME 18, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

African American Review, v. 26, summer 1992. Copyright © 1992 by the author. Reproduced by permission.—Comparative Drama, v. 3, spring 1969. © copyright 1969, by the Editors of Comparative Drama. Reproduced by permission.—Great Lakes Review: A Journal of Midwest Culture, v. 6, summer 1979. Reproduced by permission.—Journal of Dramatic Theory and Criticism, v. 15, fall 2000 for “Susan Glaspell’s The Verge: A Socratic Quest to Reinvent Form and Escape Plato’s Cave” by Julia Galbus. Reproduced by permission of the author.— Markham Review, v. 5, winter 1976. Reproduced by permission.—Modern Drama, February 1970. Reproduced by permission.—Modern Language Notes, v. 90, April 4, 1975. © The Johns Hopkins University Press. Reproduced by permission.—Review of English Studies, v. 16, February 1965. Reproduced by permission.—Studies in American Drama, 1945–Present, v. 2, 1987 for “Keep Tightly Closed in a Cool Dry Place: Megan Terry’s Transformational Drama and the Possibilities of Self” by June Schlueter; v. 6, 1991 for an interview with Neil Simon by Jackson R. Bryer. Reproduced by permission of the respective authors.—Theatre Topics, v. 8, September 1998. © The Johns Hopkins University Press. Reproduced by permission.—Times Literary Supplement, v. 4348, August 1, 1986. © Times Literary Supplement, 1986. Reproduced by permission.

COPYRIGHTED MATERIALS IN DfS, VOLUME 18, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Barksdale, Richard K. From “Miscegenation on Broadway: Hughes’s Mulatto and Edward Sheldon’s ‘The Nigger’,” in Critical Essays on Langston Hughes. Edited by Edward J. Mullen. G. K. Hall and Co., 1986. Copyright © 1986 by Edward J. Mullen. All rights reserved. Reproduced by permission.— Carr, Virginia Spencer. From “The Square Root of Wonderful,” in Understanding Carson McCullers. University of Southern Carolina Press, 1990. Copyright © 1990 by University of Southern Carolina. All rights reserved. Reproduced by permission.— Chatterji, Ruby. From “Theme, Imagery, and Unity in A Chaste Maid in Cheapside,” in Renaissance Drama VIII. Edited by S. Schoenbaum. Northwestern University Press, 1965. Copyright © 1965 by Northwestern University Press. All rights reserved. Reproduced by permission.—Fletcher, John, and John Spurling. From “Son of Oedipus,” in Beckett: The Playwright. Hill and Wang, 1985. Chronology, Chapters 3, 5, 7, 8, 11 copyright © 1972 by John Fletcher. Chapters 1, 2, 4, 6, 9, 10 copyright © 1972 by John Spurling. All rights reserved. Reproduced by permission of Hill and Wang, a division of Farrar, Straus and Giroux, LLC.—Homan, Sidney. From “Endgame: The Playwright Completes Himself,” in Samuel Beckett’s Endgame. Chelsea House Publishers, 1988. Copyright © 1988 by Chelsea House Publishers, a division of Chelsea House Educational Communications, Inc. Reproduced by permission of Sidney Homan.—Kenner, Hugh. From “Life in the Box,” in Samuel Beckett’s Endgame. Chelsea House Publishers, 1988. Copyright © 1988 by Chelsea House Publishers, a division of Chelsea House Educational Communications, Inc. Reproduced by permission of Hugh Kenner.—Keyssar, Helene. “Megan Terry: Mother of American Feminist Drama,” in Feminist Theatre. Macmillan Press, 1984. Reproduced by permission of Macmillan, London and Basingstoke.—Kolin, Philip C. From “‘Sentiment and Humor in Equal Measure’: Comic Forms in The Rose Tattoo,” in Tennessee Williams: A Tribute. Edited by Jac Tharpe. University of Mississippi, 1977. Copyright © 1977 by University of Mississippi. All rights reserved. Reproduced by permission.— Walker, Hallam. From Molière. Twayne Publishers, 1990. The Gale Group. Reproduced by permission of the Gale Group.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN DfS, VOLUME 18, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Beckett, Samuel, photograph by Jerry Bauer. © by Jerry Bauer. Reproduced by permission.— Gardner, Herb, photograph. AP/Wide World Photos. Reproduced by permission.—Glaspell, Susan, photograph. AP/Wide World Photos. Reproduced by permission.—Hughes, Langston, photograph. The Bettmann Archive/Newsphotos, Inc./Corbis- Bettmann. Reproduced by permission.—Hwang, David Henry, 1988, photograph by Rick Maiman. AP/Wide World Photos. Reproduced by permission.— McCullers, Carson, photograph. AP/Wide World Photos. Reproduced by permission.— Middleton, Thomas, engraving. Archive Photos, Inc. Reproduced by permission.—Molière, engraving. The Library of Congress.—Muel, Jean-Paul, in a scene from the Ramatuelle Festival production of Molière’s play Le Tartuffe, directed by Jean-Claude Brialy, Ramatuelle, Provence Cote d’Azur, France, August 9, 2001, photograph. © Roncen Patrick/Co. Reproduced by permission.—Scene from the play Endgame by Samuel Beckett, performed by students performing at the Playhouse Theatre on the campus of the University of California at Berkeley, October 1986, photograph by Jim Sugar. Jim Sugar Photography/Corbis. Reproduced by permission.— Scene from the play Tartuffe by Molière, performance at the Theatre Antoine, Paris, France, September 6, 1994, photograph. Cardinale Stephane/Corbis Sygma. Reproduced by permission.—Simon, Neil, photograph. AP/Wide World Photos. Reproduced by permission.—Stewart, William, Frances Cuka, and Jack Shepard, 1966, photograph. Hulton-Deutsch Collection/Corbis. Reproduced by permission.— Synge, John Millington, drawing. Irish Tourist Board.—Williams, Tennessee, 1955, photograph. AP/Wide World Photos. Reproduced by permission.— Woman holding broom over her head, scene from a stage adaptation of Playboy of the Western World by J. M. Synge, photograph by John Springer. Corbis. Reproduced by permission.

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