Further Reading
- Cory, Mark E., "Shakespeare and Dürrenmatt: From Tragedy to Tragicomedy," Comparative Literature 32, No. 3 (Summer 1980): 253-73. (Examines Dürrenmatt's adaptations and how they reveal his political motivations as well as his mastery of tragicomedy.)
- Geldrich-Leffman, Hanna, "Vision and Blindness in Dürrenmatt, Buero Vallejo and Lenz," MLN 97, No. 3 (April 1982): 671-93. (Explores the use of blindness and its two-sided nature of impairment and link to subconscious, creative powers.)
- Masuzawa, Tomoko, "Behind the Law: Staging of Guilt in Kafka via Dürrenmatt," Journal of the American Academy of Religion LX, No. 1 (Spring 1992): 35-55. (Masuzawa looks at Dürrenmatt, especially his earlier works, as creating variations of Kafkan themes.)
- Reid, J. H., "Dürrenmatt in the GDR: The Dramatist's Reception up to 1980," The Modern Language Review 79, Part 2 (April 1984): 356-371. (Provides an historical review of Dürrenmatt's reception in the former East Germany.)
- Robinson, Gabrielle, "Nothing Left but Parody: Friedrich Dürrenmatt and Tom Stoppard," Theatre Journal 32, No. 1 (March 1980): 85-94. (Compares Dürrenmatt's and Tom Stoppard's adaptations of Shakespeare's works. Robinson notes the common use of parody by both writers in dealing with Shakespeare's plays.)
- Steer, Alun, "Delusion and Reality in Friedrich Dürrenmatt's Romulus the Great," Journal of European Studies 18, Part 4, No. 72 (December 1988): 233-51. (Establishes the connection between the comedy of the first three acts with Romulus's error and the tragedy of the end.)
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