George Mandelbaum
Biographic Data
| ID | 4055435 |
|---|---|
| NAME | George Mandelbaum |
| GIVEN NAMES | George |
| FAMILY NAME | Mandelbaum |
| SIGNATURE | MANDELBAUM G |
| AFFILIATIONS | 608 Fifth Avenue, STE 701, New York, NY 10020, USA |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 15 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1975 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 3 |
Chekhov’s Oedipal Journey
closet scene, in which Hamlet kills Polonius and upbraids his mother for having married Claudius. Chekhov eventually transformed that scene to embody his new post-oedipal vision of his parents and of himself. In the process, he created a new scenic structure for dramatizing oedipal strivings
Shakespeare at Work
Hamlet is the only Shakespeare play to have come down to us in three distinctly different versions. The three Hamlets (1603, 1604, 1623) embody different versions of the “closet scene,” in which Hamlet kills Polonius and takes Gertrude to task for having married Claudius. Shakespeare wrote a fourth closet scene in the climactic Othello “death scene,” which also depicts a man enraged at a woman to whom he is deeply attached and who he feels has be…
Two Psychotic Playwrights at Work
August Strindberg and Tennessee Williams both became severely deranged during their playwriting careers. Both emerged from the most intense form of their derangement and wrote plays afterward. Strindberg, however, wrote his greatest plays after his psychosis; Williams, before his. Strindberg's psychosis spurred his creativity; that of Williams severely damaged his. This paper proposes that Strindberg mastered his psychosis and that in his late pl…
O’Neill’s Journey
This paper considers some of the processes through which Eugene O'Neill (1888-1953) dramatically shaped his inner life and through which he created his plays. These processes at their finest are evident in his composition of Long Day's Journey into Night (1941a). During its 21-month composition, the play went through three different versions, as evidenced by the playwright's handwritten and typed materials (O'Neill, unpublished, a, b, c, d). This…
Some observations on value and greatness in drama
This paper argues that value in drama partly results from the nature of the resistance in a scene, resistance used in its common, everyday meaning. A playwright's ability to imagine and present such resistance rests on several factors, including his sublimation of the fantasies that underpin his work. Such sublimation is evident in Chekhov's continuing reworking in his plays of a fantasy that found its initial embodiment for him in one of the cen…
On Ben Jonson's Comedies
This paper examines Ben Jonson's comedies from the psychoanalytic point of view. The author argues that Jonson's comedies embody derivatives of his unconscious memories as well as of the fantasies they engendered. These derivatives appear in a recurrent sequential pattern of scenes in his work. Comedies embodying these patterns helped Jonson to keep his memories buried; when his effort at mastery broke down, he "acted out." The action and structu…
Shakespeare's Lusty Punning in Love's Labour's Lost
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
On Ben Jonson's Comedies
This paper examines Ben Jonson's comedies from the psychoanalytic point of view. The author argues that Jonson's comedies embody derivatives of his unconscious memories as well as of the fantasies they engendered. These derivatives appear in a recurrent sequential pattern of scenes in his work. Comedies embodying these patterns helped Jonson to keep his memories buried; when his effort at mastery broke down, he "acted out." The action and structu…
Some observations on value and greatness in drama
This paper argues that value in drama partly results from the nature of the resistance in a scene, resistance used in its common, everyday meaning. A playwright's ability to imagine and present such resistance rests on several factors, including his sublimation of the fantasies that underpin his work. Such sublimation is evident in Chekhov's continuing reworking in his plays of a fantasy that found its initial embodiment for him in one of the cen…
O’Neill’s Journey
This paper considers some of the processes through which Eugene O'Neill (1888-1953) dramatically shaped his inner life and through which he created his plays. These processes at their finest are evident in his composition of Long Day's Journey into Night (1941a). During its 21-month composition, the play went through three different versions, as evidenced by the playwright's handwritten and typed materials (O'Neill, unpublished, a, b, c, d). This…
Two Psychotic Playwrights at Work
August Strindberg and Tennessee Williams both became severely deranged during their playwriting careers. Both emerged from the most intense form of their derangement and wrote plays afterward. Strindberg, however, wrote his greatest plays after his psychosis; Williams, before his. Strindberg's psychosis spurred his creativity; that of Williams severely damaged his. This paper proposes that Strindberg mastered his psychosis and that in his late pl…
Shakespeare at Work
Hamlet is the only Shakespeare play to have come down to us in three distinctly different versions. The three Hamlets (1603, 1604, 1623) embody different versions of the “closet scene,” in which Hamlet kills Polonius and takes Gertrude to task for having married Claudius. Shakespeare wrote a fourth closet scene in the climactic Othello “death scene,” which also depicts a man enraged at a woman to whom he is deeply attached and who he feels has be…
Shakespeare's Lusty Punning in Love's Labour's Lost
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
On Ben Jonson's Comedies
This paper examines Ben Jonson's comedies from the psychoanalytic point of view. The author argues that Jonson's comedies embody derivatives of his unconscious memories as well as of the fantasies they engendered. These derivatives appear in a recurrent sequential pattern of scenes in his work. Comedies embodying these patterns helped Jonson to keep his memories buried; when his effort at mastery broke down, he "acted out." The action and structu…
Some observations on value and greatness in drama
This paper argues that value in drama partly results from the nature of the resistance in a scene, resistance used in its common, everyday meaning. A playwright's ability to imagine and present such resistance rests on several factors, including his sublimation of the fantasies that underpin his work. Such sublimation is evident in Chekhov's continuing reworking in his plays of a fantasy that found its initial embodiment for him in one of the cen…
O’Neill’s Journey
This paper considers some of the processes through which Eugene O'Neill (1888-1953) dramatically shaped his inner life and through which he created his plays. These processes at their finest are evident in his composition of Long Day's Journey into Night (1941a). During its 21-month composition, the play went through three different versions, as evidenced by the playwright's handwritten and typed materials (O'Neill, unpublished, a, b, c, d). This…
Two Psychotic Playwrights at Work
August Strindberg and Tennessee Williams both became severely deranged during their playwriting careers. Both emerged from the most intense form of their derangement and wrote plays afterward. Strindberg, however, wrote his greatest plays after his psychosis; Williams, before his. Strindberg's psychosis spurred his creativity; that of Williams severely damaged his. This paper proposes that Strindberg mastered his psychosis and that in his late pl…
Shakespeare at Work
Hamlet is the only Shakespeare play to have come down to us in three distinctly different versions. The three Hamlets (1603, 1604, 1623) embody different versions of the “closet scene,” in which Hamlet kills Polonius and takes Gertrude to task for having married Claudius. Shakespeare wrote a fourth closet scene in the climactic Othello “death scene,” which also depicts a man enraged at a woman to whom he is deeply attached and who he feels has be…
Chekhov’s Oedipal Journey
closet scene, in which Hamlet kills Polonius and upbraids his mother for having married Claudius. Chekhov eventually transformed that scene to embody his new post-oedipal vision of his parents and of himself. In the process, he created a new scenic structure for dramatizing oedipal strivings
Art (6 works) · History (5 works) · Literature (5 works) · Cultural Studies and Interdisciplinary Research (4 works) · Psychoanalysis (4 works) · Psychology (4 works) · Theatre and Performance Studies (4 works) · Shakespeare, Adaptation, and Literary Criticism (3 works) · Archaeology (2 works) · Closet (2 works)