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題名 <<史威尼論爭>>與<<家園重聚>>中嘉年華的現象:以巴赫汀的理論閱讀艾略特的詩劇
Carnivalization in Sweeney Agonistes and The Family Reunion: A Bakhtinian Reading of T. S. Eliot`s Poetic Drama
作者 許靜婷
Hsu, Ching-ting
貢獻者 楊麗敏
Carol L. M. Yang
許靜婷
Ching-ting Hsu
關鍵詞 巴赫汀
嘉年華
艾略特
詩劇
Bakhtin
carnivalization
T. S. Eliot
poetic drama
日期 1999
上傳時間 20-四月-2016 13:42:19 (UTC+8)
摘要 艾略特經常被視為高蹈派的現代主義作家,他的主要任務是捍衛精英藝術的純粹性,以對抗大眾文化的入侵。這樣的看法加深現代精英藝術和通俗大眾文化之間的分野。將艾略特歸類於屬於現代精英藝術作家的陣營,簡化了其作品的深刻性。在後現代的年代中, 精英藝術和大眾文化之間的分野逐漸糢糊。採後現代主義的觀點來閱讀艾略特的作品,批評家發現艾略特熱愛大眾文化的一面。跟隨前人研究的腳步,本論文主要工作之一,即是探討艾略特兩部詩劇--史威尼論爭與家園重聚中大眾文化的成份。
T. S. Eliot is usually considered by critics as a representative of the high modernist writer whose mission is to protect the purity of high art from the contamination of the popular culture. Such an opinion is to underpin the dichotomy between high modernist art and low popular culture. By taking Eliot on the side of high modernism, critics tend to simplify the profundity of Eliot’s works.
參考文獻 Bibliography
     Bakhtin, M. M. The Dialogic Imagination: Four Essays. Trans. Caryl Emerson and Michael Holquist. Ed. Michael Holquist. Austin: Texas UP, 1981.
     ---. Problems of Dostoevsky’s Poetics. Trans. And Ed. Caryl Emerson. Minneapolis: Minnesota UP, 1984.
     ---. Rabelais and His World. Trans. Helene Iswolsky. Indiana: Indiana UP, 1984.
     ---. Art and Answerability: Early Philosophical Esays by M. M. Bakhtin. Trans. Vadmin Liapunov. Supplement Trans. Kenneth Brostrom. Ed. Michael Holquist and Vadmin Liapunov. Austin: Texas UP, 1990.
     Barber, C. L. “Strange Gods at T. S. Eliot’s ‘The Family Reunion.’” from The Southern Review 6.2 (1940). Reprinted here in T. S. Eliot: A Selected Critique. Ed. Leonard Unger. New York: Rinehart, 1948. 415-43.
     Beehler, Michael. “Troping the Topic: Dis-Closing the Circle of The Family Reunion.” Boundary 2: A Journal of Postmodern Literature 8.3 (1980): 19-42.
     Berry, E. Ellen. “Modernism / Mass Culture / Postmodernism: The Case of Gertrude Stein.” Rereading the New: A Backward Galnce at Modernism. Ed. Kevin J. H. Dettmar. Ann Arbor: Michigan UP, 1992, 167-89.
     Bodkin, Maud. “The Eumenides and Present-Day Consciousness.” CA Vol. III. Ed. Graham Clarke. London: Christopher Helm, 1990. 337-9.
     Brooker, Jewel Spears, ed. The Placing of T. S. Eliot. Columbia: Missouri UP,
      1991.
     ---. Approaches to Teaching Eliot’s Poetry and Plays. New York: The Modern Association of America, 1988.
     Brown, E. Martin. The Making of T. S. Eliot’s Plays. London: Cambridge UP, 1969.
     Bush, Ronald, ed. T. S. Eliot: The Modernist in History. Cambridge: Cambridge UP, 1993.
     Cappeluti, Jo-Anne. “Reaching Out of – or Into – Speech : The Stylistics of Voices in T. S. Eliot and M. M. Bakhtin.” Yeats Eliot Review 15.2 (1998): 2-12.
     Carpentier, Martha C. “Orestes in the Drawing Room: Aeschylean Parallels in T. S. Eliot’s ‘The Family Reunion.’” Twentieth Century Literature 35.1 (1989): 17-42.
     Chinitz, David. “T. S. Eliot and the Cultural Divide.” PMLA 110:2 (1995): 236-47.
     Clarke, Graham, ed. T. S. Eliot: Critical Assessments. Vol. III. London: Christopher Helm, 1990. 275-84, 321-56.
     Cooper, John Xiros. T. S. Eliot and the Ideology of Four Quartets. Cambridge: Cambridge UP, 1995.
     Cornford, Francis M. The Origin of Attic Comedy. Ann Arbor: Michigan UP, 1993.
     Crawford, Robert. The Savage and the City in the Work of T. S. Eliot. Oxford: Oxford UP, 1987. 103-90.
     Cunliffe, Robert. “Charmed Snakes and Little Oedipuses: The Architectonics of Carnival and Drama in Bakhtin, Artaud, and Brecht.” Bakhtin: Carnival and Other Subjects: Selected Papers from the Fifth Internatio nal Bakhtin Conference University of Manchester, July 1991. Ed. David Shepherd. Critical Studies Vol3.2-4.1/2, 48-69.
     Eliot, T. S. Selected Essays. London: Faber and Faber, 1969.
     ---. On Poetry and Poets. London: Faber and Faber, 1957.
     ---. The Complete Poems and Plays of T. S. Eliot. London: Faber and Faber, 1969.
     ---. To Criticize The Critic. London: Faber and Faber, 1965.
     ---. “The Possibility of a Poetic Drama.” The Dial November 1920: 441-447.
     ---. “Eeldrop and Appleplex.” The Little Review May 1917: 7-11.
     ---. “Shakepearean Criticism: I. From Dryden to Coleridge.”
     A Companion to Shakespeare Studies. Ed. Harley Granville and
     G. B. Harrison. Cambridge: Cambridge UP, 1934. 287-99.
     Everett, Barbara. “The New Style of Sweeney Agonites.” English Satire and Satiric Tradition. Ed. Claude Rawson. Oxford: Basil Blackwell, 1984. 243-63.
     Galef, David. “Fragments of A Journey: The Drama in T. S. Eliot’s Sweeney Agonistes.” English Studies 69.6 (1988): 497-508.
     Gallup, Donald. T. S. Eliot: A Bibliography. Rev. ed. New York: Harcourt Brace and World, 1969.
     Gardener, Helen. “The Language of Drama.” The Art of T. S. Eliot. London: Faber and Faber, 1991. 127-57.
     Gendron, Bernard. “Jamming at Le Boeuf: Jazz and the Paris Avant-Garde.” Discourse 12.1 (1989-90): 3-27.
     Gordon, Lyndall. Eliot’s New Life. Oxford: Oxford UP, 1988.
     Griffin, Ernest G. “Sweeney, Becket, and the ‘Marina
     Figure’ in Eliot’s Modern Plays.” Modern Drama 36.4 (1993): 569-77.
     Grove, Robin. “Pereira and After: The Cures Of Eliot’s Theatre.” The Cambridge Companion to T. S. Eliot. Ed. A
     David Moody. Cambridge: Cambridge UP, 1996. 158-75.
     Hamalian, Leo. “The Figures in the Window: Design in T. S. Eliot’s The Family Reunion.” College Literature 4 (1977): 107-21.
     Hinchliffe, Arnold P. A Case Book: T. S. Eliot: Sweeney Agonistes, The Rock, Murder in the Cathedral, The Confidential Clerk, The Elder Statesman. London: Macmillan, 1985.
     Hirsch, Foster. “The Hearth and the Journey: The Mingling of Orders in The Drama of Yeats and Eliot.” Arizona Quarterly 27 (1971): 293-307.
     Holt, Charles L. “On Structure and Sweeney Agonistes.” Modern Drama 10 (1967): 43-47.
     Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana UP, 1986.
     Jain, Manju. A Critical Reading of the Selected Poems of T. S. Eliot. Oxford: Oxford UP, 1991. 103-5, 115-23.
     Jay, Gregory S. “Entre Deux Guerres.” T. S. Eliot and the Poetics of Literary History. Louisana: Louisana State UP, 1983. 199-212.
     ---. “Postmodernism in The Waste Land: Women, Mass Culture, and Others.” Rereading the New: A Backward Glance at Modernism. Ann Arbor: Michigan UP, 1992, 221-46.
     Kenner, Hugh. “Sweeney and the Voice.” The Invisible Poet: T. S. Eliot. London: Methuen, 1985. 191-202.
     Kershner, R. B. Joyce, Bakhtin, and Popular Literature: Chronicles of Disorder. Chapel Hill: North Carolina UP, 1989.
     Leavell, Linda. “Nietsche’s Theory of Tragedy in the Plays of T. S. Eliot.” Twentieth Century Literature 31.1 (1985): 111-26.
     Leeming, Glenda. Poetic Drama. London: Macmillan, 1989. 1-22, 102-37.
     Lightfoot, Marjorie J. “Purgatory and The Family Reunion: In Pursuit of Prosodic Description.” Modern Drama 7 (1964): 256-66.
     Malamud, Randy. Where the Words Are Valid: T. S. Eliot’s Communities of Drama. Westport, Connecticut: Greenwood Press, 1994.
     March, R., ed. T. S.Eliot: A Symposium. Henry Regnery Company, 1949.
     Matthiessen, F. O. The Achievement of T. S. Eliot: An Essay on the Nature of Poetry. Oxford: Oxford UP, 1976.
     Michael, Goldman. “Fear in the Way: The Design of Eliot’s Drama.” Eliot in His Time: Essays on the Occasion of the
     Fiftieth Anniversary of The Waste Land. Ed. Walton A. Litz. Princeton, New Jersey: Princeton UP.
     Moody, A David. Thomas Stearns Eliot: Poet. Cambridge: Cambridge UP, 1994. 64-5, 116-7, 172-80.
     Naik, M. K. “Religion and Literature: The Failure of The Family Reunion.” Twentieth Century American Criticism: Interdisciplinary Approaches. Ed. Rajnath. New Delhi: Gulab Vazirani for Arnold Heinemann, 1977.
     Patrides, C. A. “T. S. Eliot: Alliances of Levity and Seriousness.” Sewanee Review 96.1 (1988): 77-94.
     Pinkney, Tony. Women in the Poetry of T. S. Eliot: A Psychoanalytic Approach. London: Macmillan, 1984.
     Reckford, Kenneth J. “Eliot’s Cocktail Party and Plato’s Symposium.” Classical and Modern Literature 11.4 (1991): 303-12.
     Roberson, Susan L. “T. S. Eliot’s Symbolical Woman: From Temptress to Priestess.” Midwest Quarterly: A Journal of Contemporary Thought 27.4 (1986): 476-86.
     Roby, Kinley E., ed. Critical Essays on T. S. Eliot: The Sweeney Motif. Boston:G. K. Hall&Co.
     Rude, Ronald W. “Mr. Eliot Looks Into Chapman’s Homer: A Possible Source For Sweeney Erect.” Classical and Modern Literature: A Quarterly 11.1 (1990): 55-58.
     Spanos, William V. “’Wanna Go Home, Baby?’: Sweeney Agonistes as Drama of the Absurd.” PMLA 85 (1970): 8-20.
     Scrimgeour, C. A. “The Family Reunion.” Essays in Criticism 13 (1963): 104-6.
     Smith, Grover. T. S. Eliot’s Poetry and Plays: A Study in Sources and Meaning. Second Edition. Chicago: Chicago UP, 1974. 43-8, 110-18, 196-213.
     Smith, Carol H. T. S. Eliot’s Dramatic Theory and Practice: From Sweeney Agonistes to The Elder Statesman. New York: Gordian Press, 1977.
     Timmerman, John H. T. S. Eliot’s Ariel Poems. London and Toronto: Associated UP, 1994.
     Towner, Theresa. M. “From Romance to Ritual: The Evidence of The Family Reunion.” South Central Review: The Journal of the South Central Modern Language 6.1 (1989): 62-74.
     Unger, Leonard. “Intertextual Eliot.” The Southern Review 21.4 (1985): 1094-1109.
     Ward, Anne. “Speculations on Eliot’s Time World: An Analysis of The Family Reunion in Relation to Hulme and Bergson.” American Literature XXI (1949): 18-34.
     Ward, David. “’Strife With Shadows’: The Plays.” T. S. Eliot Between Two Worlds: A Reading of T. S. Eliot’s Poetry and Plays. London: Routledge & Kagan Paul, 1973.
     Wertheim, Albert. “The Modern British Homecoming Play.” Modern Drama 19.2 (1985): 151-65.
描述 碩士
國立政治大學
英國語文學系
84551011
資料來源 http://thesis.lib.nccu.edu.tw/record/#B2002000944
資料類型 thesis
dc.contributor.advisor 楊麗敏zh_TW
dc.contributor.advisor Carol L. M. Yangen_US
dc.contributor.author (作者) 許靜婷zh_TW
dc.contributor.author (作者) Ching-ting Hsuen_US
dc.creator (作者) 許靜婷zh_TW
dc.creator (作者) Hsu, Ching-tingen_US
dc.date (日期) 1999en_US
dc.date.accessioned 20-四月-2016 13:42:19 (UTC+8)-
dc.date.available 20-四月-2016 13:42:19 (UTC+8)-
dc.date.issued (上傳時間) 20-四月-2016 13:42:19 (UTC+8)-
dc.identifier (其他 識別碼) B2002000944en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/85624-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 英國語文學系zh_TW
dc.description (描述) 84551011zh_TW
dc.description.abstract (摘要) 艾略特經常被視為高蹈派的現代主義作家,他的主要任務是捍衛精英藝術的純粹性,以對抗大眾文化的入侵。這樣的看法加深現代精英藝術和通俗大眾文化之間的分野。將艾略特歸類於屬於現代精英藝術作家的陣營,簡化了其作品的深刻性。在後現代的年代中, 精英藝術和大眾文化之間的分野逐漸糢糊。採後現代主義的觀點來閱讀艾略特的作品,批評家發現艾略特熱愛大眾文化的一面。跟隨前人研究的腳步,本論文主要工作之一,即是探討艾略特兩部詩劇--史威尼論爭與家園重聚中大眾文化的成份。zh_TW
dc.description.abstract (摘要) T. S. Eliot is usually considered by critics as a representative of the high modernist writer whose mission is to protect the purity of high art from the contamination of the popular culture. Such an opinion is to underpin the dichotomy between high modernist art and low popular culture. By taking Eliot on the side of high modernism, critics tend to simplify the profundity of Eliot’s works.en_US
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#B2002000944en_US
dc.subject (關鍵詞) 巴赫汀zh_TW
dc.subject (關鍵詞) 嘉年華zh_TW
dc.subject (關鍵詞) 艾略特zh_TW
dc.subject (關鍵詞) 詩劇zh_TW
dc.subject (關鍵詞) Bakhtinen_US
dc.subject (關鍵詞) carnivalizationen_US
dc.subject (關鍵詞) T. S. Elioten_US
dc.subject (關鍵詞) poetic dramaen_US
dc.title (題名) <<史威尼論爭>>與<<家園重聚>>中嘉年華的現象:以巴赫汀的理論閱讀艾略特的詩劇zh_TW
dc.title (題名) Carnivalization in Sweeney Agonistes and The Family Reunion: A Bakhtinian Reading of T. S. Eliot`s Poetic Dramaen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) Bibliography
     Bakhtin, M. M. The Dialogic Imagination: Four Essays. Trans. Caryl Emerson and Michael Holquist. Ed. Michael Holquist. Austin: Texas UP, 1981.
     ---. Problems of Dostoevsky’s Poetics. Trans. And Ed. Caryl Emerson. Minneapolis: Minnesota UP, 1984.
     ---. Rabelais and His World. Trans. Helene Iswolsky. Indiana: Indiana UP, 1984.
     ---. Art and Answerability: Early Philosophical Esays by M. M. Bakhtin. Trans. Vadmin Liapunov. Supplement Trans. Kenneth Brostrom. Ed. Michael Holquist and Vadmin Liapunov. Austin: Texas UP, 1990.
     Barber, C. L. “Strange Gods at T. S. Eliot’s ‘The Family Reunion.’” from The Southern Review 6.2 (1940). Reprinted here in T. S. Eliot: A Selected Critique. Ed. Leonard Unger. New York: Rinehart, 1948. 415-43.
     Beehler, Michael. “Troping the Topic: Dis-Closing the Circle of The Family Reunion.” Boundary 2: A Journal of Postmodern Literature 8.3 (1980): 19-42.
     Berry, E. Ellen. “Modernism / Mass Culture / Postmodernism: The Case of Gertrude Stein.” Rereading the New: A Backward Galnce at Modernism. Ed. Kevin J. H. Dettmar. Ann Arbor: Michigan UP, 1992, 167-89.
     Bodkin, Maud. “The Eumenides and Present-Day Consciousness.” CA Vol. III. Ed. Graham Clarke. London: Christopher Helm, 1990. 337-9.
     Brooker, Jewel Spears, ed. The Placing of T. S. Eliot. Columbia: Missouri UP,
      1991.
     ---. Approaches to Teaching Eliot’s Poetry and Plays. New York: The Modern Association of America, 1988.
     Brown, E. Martin. The Making of T. S. Eliot’s Plays. London: Cambridge UP, 1969.
     Bush, Ronald, ed. T. S. Eliot: The Modernist in History. Cambridge: Cambridge UP, 1993.
     Cappeluti, Jo-Anne. “Reaching Out of – or Into – Speech : The Stylistics of Voices in T. S. Eliot and M. M. Bakhtin.” Yeats Eliot Review 15.2 (1998): 2-12.
     Carpentier, Martha C. “Orestes in the Drawing Room: Aeschylean Parallels in T. S. Eliot’s ‘The Family Reunion.’” Twentieth Century Literature 35.1 (1989): 17-42.
     Chinitz, David. “T. S. Eliot and the Cultural Divide.” PMLA 110:2 (1995): 236-47.
     Clarke, Graham, ed. T. S. Eliot: Critical Assessments. Vol. III. London: Christopher Helm, 1990. 275-84, 321-56.
     Cooper, John Xiros. T. S. Eliot and the Ideology of Four Quartets. Cambridge: Cambridge UP, 1995.
     Cornford, Francis M. The Origin of Attic Comedy. Ann Arbor: Michigan UP, 1993.
     Crawford, Robert. The Savage and the City in the Work of T. S. Eliot. Oxford: Oxford UP, 1987. 103-90.
     Cunliffe, Robert. “Charmed Snakes and Little Oedipuses: The Architectonics of Carnival and Drama in Bakhtin, Artaud, and Brecht.” Bakhtin: Carnival and Other Subjects: Selected Papers from the Fifth Internatio nal Bakhtin Conference University of Manchester, July 1991. Ed. David Shepherd. Critical Studies Vol3.2-4.1/2, 48-69.
     Eliot, T. S. Selected Essays. London: Faber and Faber, 1969.
     ---. On Poetry and Poets. London: Faber and Faber, 1957.
     ---. The Complete Poems and Plays of T. S. Eliot. London: Faber and Faber, 1969.
     ---. To Criticize The Critic. London: Faber and Faber, 1965.
     ---. “The Possibility of a Poetic Drama.” The Dial November 1920: 441-447.
     ---. “Eeldrop and Appleplex.” The Little Review May 1917: 7-11.
     ---. “Shakepearean Criticism: I. From Dryden to Coleridge.”
     A Companion to Shakespeare Studies. Ed. Harley Granville and
     G. B. Harrison. Cambridge: Cambridge UP, 1934. 287-99.
     Everett, Barbara. “The New Style of Sweeney Agonites.” English Satire and Satiric Tradition. Ed. Claude Rawson. Oxford: Basil Blackwell, 1984. 243-63.
     Galef, David. “Fragments of A Journey: The Drama in T. S. Eliot’s Sweeney Agonistes.” English Studies 69.6 (1988): 497-508.
     Gallup, Donald. T. S. Eliot: A Bibliography. Rev. ed. New York: Harcourt Brace and World, 1969.
     Gardener, Helen. “The Language of Drama.” The Art of T. S. Eliot. London: Faber and Faber, 1991. 127-57.
     Gendron, Bernard. “Jamming at Le Boeuf: Jazz and the Paris Avant-Garde.” Discourse 12.1 (1989-90): 3-27.
     Gordon, Lyndall. Eliot’s New Life. Oxford: Oxford UP, 1988.
     Griffin, Ernest G. “Sweeney, Becket, and the ‘Marina
     Figure’ in Eliot’s Modern Plays.” Modern Drama 36.4 (1993): 569-77.
     Grove, Robin. “Pereira and After: The Cures Of Eliot’s Theatre.” The Cambridge Companion to T. S. Eliot. Ed. A
     David Moody. Cambridge: Cambridge UP, 1996. 158-75.
     Hamalian, Leo. “The Figures in the Window: Design in T. S. Eliot’s The Family Reunion.” College Literature 4 (1977): 107-21.
     Hinchliffe, Arnold P. A Case Book: T. S. Eliot: Sweeney Agonistes, The Rock, Murder in the Cathedral, The Confidential Clerk, The Elder Statesman. London: Macmillan, 1985.
     Hirsch, Foster. “The Hearth and the Journey: The Mingling of Orders in The Drama of Yeats and Eliot.” Arizona Quarterly 27 (1971): 293-307.
     Holt, Charles L. “On Structure and Sweeney Agonistes.” Modern Drama 10 (1967): 43-47.
     Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana UP, 1986.
     Jain, Manju. A Critical Reading of the Selected Poems of T. S. Eliot. Oxford: Oxford UP, 1991. 103-5, 115-23.
     Jay, Gregory S. “Entre Deux Guerres.” T. S. Eliot and the Poetics of Literary History. Louisana: Louisana State UP, 1983. 199-212.
     ---. “Postmodernism in The Waste Land: Women, Mass Culture, and Others.” Rereading the New: A Backward Glance at Modernism. Ann Arbor: Michigan UP, 1992, 221-46.
     Kenner, Hugh. “Sweeney and the Voice.” The Invisible Poet: T. S. Eliot. London: Methuen, 1985. 191-202.
     Kershner, R. B. Joyce, Bakhtin, and Popular Literature: Chronicles of Disorder. Chapel Hill: North Carolina UP, 1989.
     Leavell, Linda. “Nietsche’s Theory of Tragedy in the Plays of T. S. Eliot.” Twentieth Century Literature 31.1 (1985): 111-26.
     Leeming, Glenda. Poetic Drama. London: Macmillan, 1989. 1-22, 102-37.
     Lightfoot, Marjorie J. “Purgatory and The Family Reunion: In Pursuit of Prosodic Description.” Modern Drama 7 (1964): 256-66.
     Malamud, Randy. Where the Words Are Valid: T. S. Eliot’s Communities of Drama. Westport, Connecticut: Greenwood Press, 1994.
     March, R., ed. T. S.Eliot: A Symposium. Henry Regnery Company, 1949.
     Matthiessen, F. O. The Achievement of T. S. Eliot: An Essay on the Nature of Poetry. Oxford: Oxford UP, 1976.
     Michael, Goldman. “Fear in the Way: The Design of Eliot’s Drama.” Eliot in His Time: Essays on the Occasion of the
     Fiftieth Anniversary of The Waste Land. Ed. Walton A. Litz. Princeton, New Jersey: Princeton UP.
     Moody, A David. Thomas Stearns Eliot: Poet. Cambridge: Cambridge UP, 1994. 64-5, 116-7, 172-80.
     Naik, M. K. “Religion and Literature: The Failure of The Family Reunion.” Twentieth Century American Criticism: Interdisciplinary Approaches. Ed. Rajnath. New Delhi: Gulab Vazirani for Arnold Heinemann, 1977.
     Patrides, C. A. “T. S. Eliot: Alliances of Levity and Seriousness.” Sewanee Review 96.1 (1988): 77-94.
     Pinkney, Tony. Women in the Poetry of T. S. Eliot: A Psychoanalytic Approach. London: Macmillan, 1984.
     Reckford, Kenneth J. “Eliot’s Cocktail Party and Plato’s Symposium.” Classical and Modern Literature 11.4 (1991): 303-12.
     Roberson, Susan L. “T. S. Eliot’s Symbolical Woman: From Temptress to Priestess.” Midwest Quarterly: A Journal of Contemporary Thought 27.4 (1986): 476-86.
     Roby, Kinley E., ed. Critical Essays on T. S. Eliot: The Sweeney Motif. Boston:G. K. Hall&Co.
     Rude, Ronald W. “Mr. Eliot Looks Into Chapman’s Homer: A Possible Source For Sweeney Erect.” Classical and Modern Literature: A Quarterly 11.1 (1990): 55-58.
     Spanos, William V. “’Wanna Go Home, Baby?’: Sweeney Agonistes as Drama of the Absurd.” PMLA 85 (1970): 8-20.
     Scrimgeour, C. A. “The Family Reunion.” Essays in Criticism 13 (1963): 104-6.
     Smith, Grover. T. S. Eliot’s Poetry and Plays: A Study in Sources and Meaning. Second Edition. Chicago: Chicago UP, 1974. 43-8, 110-18, 196-213.
     Smith, Carol H. T. S. Eliot’s Dramatic Theory and Practice: From Sweeney Agonistes to The Elder Statesman. New York: Gordian Press, 1977.
     Timmerman, John H. T. S. Eliot’s Ariel Poems. London and Toronto: Associated UP, 1994.
     Towner, Theresa. M. “From Romance to Ritual: The Evidence of The Family Reunion.” South Central Review: The Journal of the South Central Modern Language 6.1 (1989): 62-74.
     Unger, Leonard. “Intertextual Eliot.” The Southern Review 21.4 (1985): 1094-1109.
     Ward, Anne. “Speculations on Eliot’s Time World: An Analysis of The Family Reunion in Relation to Hulme and Bergson.” American Literature XXI (1949): 18-34.
     Ward, David. “’Strife With Shadows’: The Plays.” T. S. Eliot Between Two Worlds: A Reading of T. S. Eliot’s Poetry and Plays. London: Routledge & Kagan Paul, 1973.
     Wertheim, Albert. “The Modern British Homecoming Play.” Modern Drama 19.2 (1985): 151-65.		zh_TW