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Dion

Overview page. Subjects: Classical Studies.

(c.408–353).

Son of Hipparinus, Dionysius I's father-in-law. A disciple of Plato from 388/7, married Dionysius' daughter Arete and became his most trusted minister and...

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Calthrop, Dion Clayton (1878–1937)

Sandra Kemp, Charlotte Mitchell and David Trotter.

in The Oxford Companion to Edwardian Fiction

January 1997; p ublished online January 2005 .

Reference Entry. Subjects: Literary Studies (20th Century onwards). 123 words.

(1878–1937) married (1898) Mary Violet—.

His father was an actor who died in 1888,

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Marilynn Richtarik.

in Stewart Parker

September 2012; p ublished online March 2015 .

Chapter. Subjects: Literary Studies (20th Century onwards). 15012 words.

This chapter shows that the mid-1980s was regarded as both the peak and the trough of Jamie Stewart Parker’s career as a dramatist. Happy in his personal life and at the height of his...

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Joyce’s Countergospel in II.4

David Spurr.

in Joyce's Allmaziful Plurabilities

December 2015; p ublished online September 2016 .

Chapter. Subjects: Literary Studies (20th Century onwards). 8608 words.

David Spurr’s analysis of II.4 focuses on the “joysis crisis” (395.32) at its center—the moment when Tristan French kisses Isolde. The kiss evokes others in the fictions of Joyce and those...

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The Cultural Work of Immigrant Melodrama

Stephen Watt.

in "Something Dreadful and Grand"

August 2015; p ublished online June 2015 .

Chapter. Subjects: Literary Studies (Plays and Playwrights); Literary Studies (20th Century onwards). 17784 words.

Juxtaposing one of America’s most celebrated modernist plays—John Howard Lawson’s Processional (1925)—to nineteenth-century melodrama from 1850 onward, this chapter argues for the various...

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The Inheritance of Melodrama

Stephen Watt.

in The Oxford Handbook of Modern Irish Theatre

July 2016; p ublished online September 2016 .

Article. Subjects: Literature; Literary Studies (Plays and Playwrights); Literary Studies (20th Century onwards). 8305 words.

Although many in the Irish national theatre movement rejected melodrama—‘we will show that Ireland is not the home of buffoonery and easy sentiment’, as Yeats put it—the form continued to...

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