Acknowledgements................................................................................................................ 3
Introduction ........................................................................................................................... 5
Theoretical Groundworks
1. Modern Drama as a Project of Enlightenment ................................................... 18
2. A Theoretical Excursion into the Postmodern Sublime ..................................... 45
Book I
I. Modern Drama of Enlightenment................................................................................. 86
1. The Plot Structure of Bernard Shaw's Didactic Drama ..................................... 86
2. he Dramatization of Habitus: A Bourdieun Reading of Pygmalion ............... 106
3. Eugene O'Neill's Dramatization of Nietzsche's Idea of
the Anti-Bourgeois Spirit ......................................................................................... 124
4. Political... Unconscious Staged in J. M. Synge's
The Playboy of the Western World......................................................................... 152
5. "Circe": A Modernist's Gesture to Stage the Sublime
in the Human Psyche................................................................................................ 176
Book II
II. Postmodern Drama of the Sublime......................................................................... 202
1. The Postmodern Drama as mise-en-sc?ne of the Sublime .......................... 202
2. The Postmodern Politico-technological Sublime Staged
in David Pledger's K................................................................................................. 217
3. The Textual Sublime: Samuel Beckett's Endgame as
A Postmodern Allegory on the Relationship between Man and Nature ...... 235
4. The Political Sublime Staged in Harold Pinter's Late Plays ......................... 257
5-1. The Sublime Universe of Simulation in Beckett's Stage:
Reflexivity as the Exchange of Signs within the Text ................................... 273
5-2. Theatereality as a Way of Simulating Virtual Reality on Stage.................. 286
III. Conclusion....................................................................................................................... 319
Select Bibliography............................................................................................................... 324
Index....................................................................................................................................... 354