OOIR: Observatory of International Research

Papers

(The TQCC of Comparative Drama is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-04-01 to 2024-04-01.)

Article	Citations
Staging the Market Mechanisms of Medieval Mating in Den utro hustru	2
From Wilder’s Our Town (1938) to Churchill’s Escaped Alone (2016): Mediatization and the Collapse of the Large Into the Local	1
Between the Rainbow Nation and the Melting Pot: Troubling Reconciliation with The Fall	1
Longing to Stay Tied: Maggie O'Farrell's Hamnet as a Work of Creative Criticism	1
Mother Medea and Her Children: Maternal Ambivalence in the Medean Plays of Marina Carr, Cherríe Moraga, and Rachel Cusk	1
Shadows of the Enlightenment: Tragic Drama during Europe's Age of Reason ed. by Blair Hoxby	0
The Theatre of Sa’dallah Wannous: A Critical Study of the Syrian Playwright and Public Intellectual ed. by Sonja Mejcher-Atassi and Robert Myers	0
"The world's a theatre of theft": Islamic Imposture in Tomkis' Albumazar	0
Afterword	0
"In this show let me an actor be": Joining in with Doctor Faustus	0
Paul Griffiths's let me tell you, Hamlet , and the Intertextual Mode of Literary Adaptation	0
Queering The Winter's Tale in Jeanette Winterson's The Gap of Time	0
Performing Commedia dell'Arte, 1570-1630 by Natalie Crohn Schmitt	0
Introduction: Chaucerian Resonances in Early Modern Drama, Shakespeare and Beyond	0
Tennessee Williams, T-shirt Modernism and the Refashionings of Theater by S. E. Gontarski	0
Contributors	0
Arthur Miller's Suicidology of the Stage: Suicide and Dramatic Form in Death of a Salesman	0
Gaming the Stage: Playable Media and the Rise of the English Commercial Theater by Gina Bloom	0
High Rise eState of Mind: Love and Honesty in the Midst of London's Neoliberal Housing Crisis	0
Law as Performance: Theatricality, Spectatorship and the Making of Law in Ancient, Medieval and Early Modern Europe by Julie Stone Peters (review)	0
King Lear 'After' Auschwitz: Shakespeare, Appropriation and Theatres of Catastrophe in Post-War British Drama by Richard Ashby	0
Introduction: There's No Place Like London: Theatrical Landscapes of a City in Recovery	0
Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain by Dian Fox	0
Introduction: Shakespeare and Contemporary Fiction	0
Living with Shakespeare: Saint Helen's Parish, London, 1593-1598 by Geoffrey Marsh	0

Making a Play for God: The Sacre Rappresentzioni of Renaissance Florence by Nerida Newbigin	0
Noël Coward: The Playwright's Craft in a Changing Theatre by Russell Jackson, and: Masquerade: The Lives of Noël Coward by Oliver Soden (review)	0
The Resistible Rise of Isli-Crouch Upon-Thames: New Metropolitanism in New British Drama	0
"The world to me is but a ceaseless storm": Pericles, The Porpoise , and the Resistance of Exile	0
Introduction: Text & Presentation	0
Laughter and Civility: the Theater of Emma Gad by Lynn R. Wilkinson	0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry	0
Euphoria in Unhappiness: Technology and Revelation in Jennifer Haley's Neighborhood 3: Requisition of Doom and The Nether	0
The Framing of the Shrews: Dream Skepticism from The House of Fame to The Taming of the Shrew	0
Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theatre by Susan Blakely Klein	0
Horses and Harries: Medieval Depictions of Virtue and Vice in 1 Henry IV	0
"I am underneath and oxygen is running out": Suicide as Genetically Inherited or as the Melancholy Identification with the Suicidal Mother in Alice Birch's Anatomy of a Suicide	0
The Winter’s Tale: Decorum, Distinction, and Shakespeare’s Chaucer	0
Contributors	0
Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta	0
Under the Influence: Adaptation, Adultery, and Acceptance in Anton Chekhov's Uncle Vanya and Ryusuke Hamaguchi's Drive My Car	0
Contributors	0
“Home Away from Home”: Diasporic Consciousness and Everyday Third Places in Tom Murphy’s Conversations on a Homecoming (1985) and Inua Ellams’ Barber Shop Chronicles (2017)	0
What Kind of Cosmopolitanism? Transplantation and Displacement in the (Re)construction of Theatrical Nationality in Early Twentieth-Century China and Japan	0
Rita, Sue and #Metoo: The Royal Court Theatre, London, and Liberalism	0
Torvald's Question: Italo Svevo and James Joyce Stage Modern Masculinity	0
Stages of Loss: The English Comedians and Their Reception by George Oppitz-Trotman	0
Institutionalized Violence and Oppression: Ambiguity, Complicity and Resistance in El Campo and The Conduct of Life	0
Coronada y el toro by Francisco Nieva	0
Chaucer, Shakespeare, and the Lost Friendship Plays of the Admiral’s Men	0
“Thou shalt knowen of oure privetee / Moore than a maister of dyvynytee”: Devils and Damnation in Chaucer’s Canterbury Tales and Marlowe’s Doctor Faustus	0
Vows, Veils, and Masks: The Performance of Marriage in the Plays of Eugene O'Neill by Beth Wynstra (review)	0
Shaping Dance Canons: Criticism, Aesthetics, and Equity by Kate Mattingly (review)	0
Brechtian AlienAsian: Socialist ex Machina from Brecht's The Good Woman of Setzuan and David Hare's Fanshen	0
'Be Yourself, Inasmuch as it Suits the Job': "Authenticity" in Practice at Berlin's Maxim Gorki and London's Royal Court	0
The Prospero of Wonderland; or, Miranda Carroll, Author of Station Eleven	0
Theatre and Knowledge by David Kornhaber	0
Forty Years On: The Funding Conundrum at The Finborough	0
Staging America: The Artistic Legacy of the Provincetown Players by Jeffery Kennedy (review)	0
Comedy and Crisis: Pieter Langendijk, the Dutch, and the Speculative Bubbles of 1720 by Joyce Goggin and Frans De Bruyn	0
Flexibility, Abstraction, Orthodoxy: The Lehman Trilogy and (the) British Capital	0
"Only Write the Good Parts": Playwright Lucas Hnath in Conversation with Jay Malarcher	0
The Word of Apollo: Prophecy and Vatic Poetry in Geoffrey Chaucer’s Troilus and Criseyde and William Shakespeare’s Troilus and Cressida	0
Chaucerian Topoi and Topography in Thomas Dekker’s (and John Webster’s) Westward Ho (1605) and Northward Ho (1607)	0
Decommissioning the Bard: Chloe Gong's These Violent Delights as Anticolonial Edutainment	0
Cultures of Witnessing: Law and the York Plays by Emma Lipton (review)	0
Diversifying Greek Tragedy on the Contemporary US Stage by Melinda Powers	0
Le Théâtre du Soleil: The First Fifty-Five Years by Béatrice Picon-Vallin	0
Contributors	0
Stealing Shives: Titus Andronicus as Chaucerian Anti-Romance	0
Contributors	0
To Remind You Of My Love: London's Love Affair With The American Musical	0
“I am not against your faith yet I continue mine”: Virginal Vocation in The Two Noble Kinsmen	0
Contributors	0
Theatres of Feeling: Affect, Performance, and the Eighteenth-Century Stage by Jean I. Marsden	0

Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye (review)	0
Watching Chekhov in Tehran: From Superfluous Men to Female Revolutionaries	0
“It’s only a play”: Ibsen’s A Doll’s House (1879), Adamson’s Wife (2019), and the Relevance of Historical Theatre	0
The Paracelsan Philosophy and Plot in Romeo and Juliet	0
Reading at the Seams in Titus Andronicus: Shakespeare’s “House of Fame” and its Virgilian-Ovidian-Chaucerian Resonances	0
Contributors	0
From R.U.R. to Westworld: Personal Revolt, Digital Technology, and the Making of a New Robot Ur-text	0
Let the Right One In by Jack Thorne (review)	0
Keeping the Violence Out of Sight: Representing Systems of Oppression with Offstage Violence	0
1619: The Dramatic Performance Traditions of North America's First Enslaved Africans	0
Building Character: The Art and Science of Casting by Amy Cook	0
Bad Blood: Staging Race Between Early Modern England and Spain by Emily Weissbourd (review)	0
Communal Justice in Shakespeare's England: Drama, Law, Emotion by Penelope Geng	0
Practical Cues and Social Spectacle in the Chester Plays by Matthew Sergi	0
Thomas, Lord Cromwell Recontextualized: An Economic Fable in Response to The Merchant of Venice	0
"The Isle Is Full of Noises": the Many Tempests of Margaret Atwood's Hag-Seed	0
The Nervous Stage: Nineteenth-Century Neuroscience and the Birth of Modern Theatre by Matthew Wilson Smith	0
Playing Chaucer at the Early Elizabethan Inns of Court	0
Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest by Peter Platt (review)	0
Contributors	0
Anxious Masculinity in the Drama of Arthur Miller and Beyond: Salesmen, Sluggers and Big Daddies by Claire Gleitman (review)	0
The Perfect Joke: Autopathography and Humor in Sarah Ruhl's The Clean House	0
Reading Drama in Tudor England by Tamara Atkin	0
Contributors	0
"Old Words into Something New": David Bowie and Enda Walsh's Lazarus	0
'Creating Change Where it Matters the Most': Artistic Directorship and Representation in the London Theatre	0
Cold War Femininities in China and America: National Ideals and Uncontainable Performances in Tennessee Williams's A Streetcar Named Desire and Yang Lüfang's Cuckoo Sings Again	0
Tom Stoppard: A Life by Hermione Lee	0
A Credible Debt: Dekker as Host to Chaucer’s Franklin	0
The Theatre of Anthony Neilson by Trish Reid	0
Afterword	0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s by Siyuan Liu	0
Art Acts: Reframing the White Gaze in Claudia Rankine's The White Card	0