Last Updated on June 7, 2022, by eNotes Editorial. Word Count: 500
Bechtel, Roger. “P. C. Power Play: Language and Representation in David Mamet's Oleanna.” Theatre Studies 41 (1996): 29-48.
Examines the importance of intent behind language and explores the power of words to bond and destroy in Oleanna.
Garner, Jr., Stanton B. “Framing the Classroom: Pedagogy, Power, Oleanna.” Theatre Topics 10, no. 1 (March 2000): 39-52.
Documents Garner's use of Oleanna as part of the curriculum for his college drama course. Garner discusses the reactions of his students to the play and his perspective as a professor.
Gidmark, Jill B. “Violent Silences in Three Works of David Mamet.” MidAmerica: The Yearbook of the Society for the Study of Midwestern Literature 25 (1998): 184-92.
Probes the power in the unspoken words and silent actions of the characters in Oleanna, Cryptogram, and Passover.
Heller, Janet Ruth. “David Mamet's Trivialization of Feminism and Sexual Harassment in Oleanna.” MidAmerica: The Yearbook of the Society for the Study of Midwestern Literature 27 (2000): 93-105.
Rebukes Mamet's Oleanna as an anti-feminist play and misrepresentative of the realities and frequency of sexual harassment.
Holberg, Arthur. “The Language of Misunderstanding.” American Theatre 9, no. 6 (October 1992): 94-5.
Praises Mamet's adept use of dialogue in Oleanna, discusses the depiction of male/female relations, and highlights the miscommunication that occurs in the play.
Kane, Leslie. “The Humanist Fallacy.” In Weasels and Wisemen: Ethics and Ethnicity in the Works of David Mamet, pp. 141-84. New York: St. Martin's Press, 1999.
Interprets Oleanna as metaphorically tracing the struggle between Jews and society, treating issues of blame, power, and persecution.
MacLeod, Christine. “The Politics of Gender, Language and Hierarchy in Mamet's Oleanna.” Journal of American Studies 29, no. 2 (August 1995): 199-213.
Argues that Oleanna is more than merely about male/female relations, but an important study of each gender's use and control of language and how this claiming of language equates to power.
Russo, Francine. “Mamet's Traveling Cockfight.” Village Voice 38, no. 26 (29 June 1993): 96-7.
Negative review in which Russo claims that through his one-sided development of Carol in Oleanna Mamet reveals his misogynist views.
Ryan, Steven. “Oleanna: David Mamet's Power Play.” Modern Drama 39, no. 3 (fall 1996): 392-403.
Examines the theme of control and domination in Oleanna and elaborates on the production techniques used to reinforce this theme in the play.
Sauer, David Kennedy. “Oleanna and The Children's Hour: Misreading Sexuality on the Post/Modern Realistic Stage.” Modern Drama 43, no. 3 (fall 2000): 421-41.
Outlines the similarities of theme and characterization in Mamet's Oleanna and Lillian Hellman's The Children's Hour.
Additional coverage of Mamet's life and career is contained in the following sources published by Thomson Gale: Authors and Artists for Young Adults, Vol. 3; Contemporary American Dramatists; Contemporary Authors, Vols. 81-84; Contemporary Authors Bibliographical Series, Vol. 3; Contemporary Authors New Revision Series, Vols. 15, 41, 67, 72; Contemporary Dramatists, Ed. 5; Contemporary Literary Criticism, Vols. 9, 15, 34, 46, 91, 166; Dictionary of Literary Biography, Vol. 7; DISCovering Authors 3.0; DISCovering Authors Modules: Dramatists; Drama Criticism, Vol. 4; Drama for Students, Vols. 2, 3, 6, 12, 15; Encyclopedia of World Literature in the 20th Century, Ed. 3; The International Dictionary of Films and Filmmakers: Writers and Production Artists, Ed. 4; Literature Resource Center; Major 20th-Century Writers, Eds. 1, 2; and Reference Guide to American Literature, Ed. 4.