Bibliography: Tom Stoppard

1. INTERVIEWS

"Playwrights and Professors." Times Literary Supplement 13.10.1973. 1219.

"Ambushes for the Audience: Towards a High Comedy of Ideas." Theatre Quarterly 4 (1974) No. 14. 2-17.

Hardin, Nancy Shields. "An Interview with Tom Stoppard." Contemporary Literature 22 (1981). 153-166.

Delaney, Paul (Ed.). Tom Stoppard in Conversation.. Ann Arbor: The University of Michigan Press, 1994.

Kelley, Katherine E. und William W. Demastes. "The Playwright and the Professors: An Interview with Tom Stoppard." South Central Review 11 (1994). 1-14.

Gussow, Mel: Conversation with Stoppard. London: Nick Herne, 1995.

2. GENERAL

Ahrens, Rüdiger. "Invertierte Welten bei William Shakespeare und Tom Stoppard: Das Beispiel Hamlet." in: Bernd Engler and Kurt Müller (eds.), Exempla: Studien zur Bedeutung und Funktion exemplarischen Erzahlens. Berlin: Duncker & Humblot, 1995. 425-48.

Bareham, T., ed. Tom Stoppard: Rosencrantz and Guildenstern are Dead, Jumpers, Travesties. A Casebook. London, Basingstoke: Macmillan, 1990.

Barth, Adolf. Moderne englische Gesellschaftskomödie. Von Oscar Wilde zu Tom Stoppard. München, Zürich, 1986.

Bigsby, C.W.E. Tom Stoppard. Writers and Their Works 250. Harlow, Essex: Longman, 1976.

Billington, Michael. Stoppard the Playwright. London, New York, 1987.

Blüggel, Beate. Tom Stoppard - Metadrama und Postmoderne. Frankfurt a.M.: Lang, 1992.

Böhm, Rudolf: "Shakespeare 'Reformed and Made Fit': Tom Stoppard" in: Jürgen Kamm (ed.), Twentieth-Century Theatre and Drama in English. Festschrift for Heinz Kosok on the Occasion of his 65th Birthday. Trier: WVT, 1999, 341-362.

Boireau, Nicole. "Marginalising the Centre: the Case of Tom Stoppard." Centres and Margins. Contemporary Drama in English 2. Ed. Bernhard Reitz. Trier: Wissenschaftlicher Verlag Trier, 1995. 99-108.

Boireau, Nicole. "Tom Stoppard's Metadrama: The Haunting Repetition." in: Nicole Boireau (ed.), Drama on Drama: Dimensions of Theatricality on the Contemporary British Stage. New York: St. Martin's, 1997. 136-51

Brassell, Tim. Tom Stoppard. An Assessment. London, Basingstoke: Macmillan, 1985.

Brater, Enoch. "Parody, Travesty, and Politics in the Plays of Tom Stoppard." in: Hedwig Bock, and Albert Wertheim (eds.), Essays on Contemporary British Drama. München: Hueber, 1981: 117-130.

Bratt, David: Tom Stoppard. A Reference Guide, Boston, 1982.

Broich, Ulrich. "Das englische historische Drama der Gegenwart." Anglia 98 (1980). 357-82.

--. "Dramatische Spiegelkabinette - Zum Motiv des Spiels im Spiel in den Dramen Tom Stoppards." in: Herbert Grabes (ed.), Anglistentag 1980 Giessen: Tagungsbeitrage und Berichte. Grossen-Linden: Hoffmann, 1981. 139-158.

Cahn, Victor L. Beyond Absurdity. The Plays of Tom Stoppard. Cranbury, NJ: Associated University Presses, 1979.

Carpenter, Charles A. (comp.) "Bond, Shaffer, Stoppard, Storey: An International Checklist of Commentary." Modern Drama 24 (1981). 546-556.

Chetta, Peter N. "Multiplicities of Illusion in Tom Stoppard's Plays." in: Patrick D. Murphy (ed.), Staging the Impossible: The Fantastic Mode in Modern Drama. Westport, CT: Greenwood, 1992. 127-36.

Cohn, Ruby. "Tom Stoppard: Light Drama and Dirges in Marriage." in: C. W. E. Bigsby and Malcolm Bradbury (eds.), Contemporary English Drama. New York: Holmes & Meier, 1981. 109-120.

Corballis, Richard. Stoppard. The Mystery and the Clockwork. Oxford, New York, 1984.

Davidson, Mary R. "Transcending Logic: Stoppard, Wittgenstein, and Aristophanes." in: Kenneth S. White (ed.), Alogical Modern Drama. Amsterdam: Rodopi, 1982. 39-60.

Dean, Joan Fitzpatrik. Tom Stoppard. Comedy as a Moral Matrix, Columbia, London, 1981.

Delaney, Paul. Tom Stoppard: The Moral Vision of the Plays. London, Basingstoke: Macmillan, 1990.

Doll, Mary A. "Stoppard's Theatre of Unknowing." in: James Acheson (ed.), British and Irish Drama since 1960. Houndmills: Macmillan, 1993. 117-29.

Dutton, Richard. Modern Tragicomedy and the British Tradition. Norman: U of Oklahoma P, 1986.

Feeney, Joseph J. (SJ). "Fantasy in Structure: Layered Metaphor in Stoppard; Sel. Essays from 3rd Internat. Conf. on Fantastic in Lit. & Film." in: Jan Hokenson and Howard D. Pearce (eds.), Forms of the Fantastic. Westport, CT: Greenwood, 1986. 232-239.

Forsyth, Neil. "Rewriting Shakespeare: Travesty and Tradition." in: Margaret Bridges (ed.), On Strangeness. Tübingen: Narr, 1990. 113-32.

Gabbard, Lucina Paquet: The Stoppard Plays. Troy (NY), 1982.

Gussow, Mel. Conversations with Stoppard. London: Nick Herne Books, 1995.

Hark, Ina Rae. "Finding Somewhere to Stand: Tom Stoppard and the Rules of the Play." Review 15 (1993): 93-101.

Harty, John III. Tom Stoppard: A Casebook. New York: Garland, 1988.

Hayman, Ronald. Tom Stoppard. London: Heinemann, 1977.

Hinden, Michael. "After Beckett: The Plays of Pinter, Stoppard, and Shepard." Contemporary Literature 27 (1986). 400-408.

Hu, Stephen. Tom Stoppard's Stagecraft. American University Studies 4: 78. New York: Lang, 1989.

Huber, Werner: "Tom Stoppard and the English Disease" in: Fritz Wilhelm Neumann and Sabine Schülting (eds.), Anglistentag 1998 Erfurt, Trier: WVT, 1999. 457-466.

Hunter, Jim. Tom Stoppard's Plays. London: Faber and Faber, 1982.

James, Clive. "Count Zero Splits the Infinitive." in: Anthony Jenkins (ed.), Critical Essays on Tom Stoppard. Boston: Hall, 1990. 27-34.

Jenkins, Anthony. The Theatre of Tom Stoppard. Cambridge: Cambridge U P, 21989.

Jenkins, Anthony (Ed.). Critical Essays on Tom Stoppard. Boston: Hall, 1990.

Kelly, Katherine E. "Tom Stoppard Journalist: Through the Stage Door." Modern Drama 33 (1990). 380-393.

Kelly, Katherine E. Tom Stoppard and the Craft of Comedy. Ann Arbor: The University of Michigan Press, 1991.

Kelly, Katherine E. "Staging Repetition: Parody in Postmodern British and American Theater." in: Barbara Johnstone (ed.), Repetition in Discourse: Interdisciplinary Perspectives, I & II. Norwood, NJ : Ablex, 1994. 55-67.

Kennedy, Andrew. "Natural, Mannered, and Parodic Dialogue." Yearbook of English Studies 9 (1979). 28-54.

--. "Tom Stoppard's Dissident Comedies." Modern Drama 25 (1982): 469-476.

Levenson, Jill L. "Hamlet Andante/Hamlet Allegro: Tom Stoppard's Two Versions." Shakespeare Survey 36 (1983). 21-28.

Londré, Felicia. Tom Stoppard. New York: Ungar, 1981.

MacKenzie, Ian. "Tom Stoppard: The Monological Imagination." Modern Drama 32 (1989): 574-586.

Meyer, Kinereth. "'It Is Written': Tom Stoppard and the Drama of the Intertext." Comparative Drama 23 (1989). 105-22.

Neumeier, Beate. Spiel und Politik. Aspekte der Komik bei Tom Stoppard. München: Fink, 1986.

--. "Stoppards Komödien: Zwischen epistemologischemSpiel und ethischem Engagement." anglistik&englischunterricht 45 (1991): 117-137.

Page, Malcolm, ed. File on Stoppard. London, New York: Methuen, 1986.

Rabinowitz, Peter J. "'What's Hecuba to Us?' The Audience's Experience of Literary Borrowing." in: Susan R. Suleiman and Inge Crosman (eds.), The Reader in the Text: Essays on Audience and Interpretation. Princeton: Princeton UP, 1980. 241-63.

Robinson, Gabrielle. "Leapfrog and Ambush in Stoppard; Sel. Essays from 3rd Internat. Conf. on Fantastic in Lit. & Film." in: Jan Hokenson and Howard D. Pearce (eds.), Forms of the Fantastic. Westport, CT: Greenwood, 1986. 241-250.

--. "The Stereotype Betrayed: Tom Stoppard's Farce." in: James Redmond (ed.), Farce. Cambridge: Cambridge UP, 1988 237-250.

Rusinko, Susan. Tom Stoppard. Boston, 1986.

Ruskin, Phyllis und John H. Lutterbie "Balancing the Equation." Modern Drama 26 (1983). 543-554.

Sammels, Neil. Tom Stoppard: The Artist as Critic. London, Basingstoke: Macmillan, 1988.

Schlueter, June. Metafictional Characters in Modern Drama. New York: Columbia UP, 1979.

Schwanitz, Dietrich. "The Method of Madness. Tom Stoppards Theatrum Logico-Philosophicum." in: Hedwig Bock and Albert Wertheim (eds.), Essays on Contemporary British Drama, München: Hueber, 1981: 131-154.

Sinfield, Alan. "Making Space: Appropriation and Confrontation in Recent British Plays." in: Graham Holderness, Jonathan Dollimore, Alan Sinfield and Terry Eagleton (eds.), The Shakespeare Myth. Manchester: Manchester UP, 1988. 128-144.

Tandello, Emmanuela. "Characters with(out) a Text: Script as Destiny in Stoppard and Pirandello." The Yearbook of the Society for Pirandello Studies 13 (1993). 35-45.

Thompson, Doreen. "Stoppard's Idea of Woman: 'Good, Bad or Indifferent?'" in: Anthony Jenkins (ed.), Critical Essays on Tom Stoppard. Boston: Hall, 1990. 194-203.

Weikert, Heidrun-Edda. Tom Stoppards Dramen. Untersuchungen zu Sprache und Dialog. Tübingen: Narr, 1982.

Whitaker, Thomas R. Tom Stoppard. London, Basingstoke: Macmillan, 1983.

Wilcher, Robert. "Tom Stoppard and the Art of Communication." Journal of Beckett Studies 8 (1982). 105-123.

Wolf, Werner. "Spiel im Spiel und Politik: Zum Spannungsfeld literarischer Selbst - und Fremdbezüglichkeit im zeitgenössischen englischen Drama." Poetica 24 (1992). 163-94.

Zeifman, Hersh. "Tomfoolery: Stoppard's Theatrical Puns." Yearbook of English Studies 9 (1979). 204-220.

3. ON INDIVIDUAL PLAYS

ROSENCRANTZ AND GUILDENSTERN ARE DEAD

Ahrens, Rüdiger. "Invertierte Welten bei William Shakespeare und Tom Stoppard: Das Beispiel Hamlet" in: Bernd Engler and Kurt Müller (eds.), Exempla: Studien zur Bedeutung und Funktion exemplarischen Erzahlens. Berlin: Duncker & Humblot, 1995. 425-48.

Babula, William. "The Play-Life Metaphor in Shakespeare and Stoppard." Modern Drama 15 (1972). 279-81.

Baumgart, Wolfgang. "Hamlet's Excellent Good Friends: Beobachtungen zu Shakespeare und Stoppard." in: Rudolf Sühnel and Dieter Riesner (eds.), Englische Dichter der Moderne:Ihr Leben und Werk. Berlin: Schmidt, 1971. 588-98.

Berlin, Normand. "Rosencrantz and Guildenstern Are Dead: Theatre of Criticism." Modern Drama 16 (1973): 269-277.

Böhm, Rudolf: "Shakespeare 'Reformed and Made Fit': Tom Stoppard" in: Jürgen Kamm (ed.),Twentieth-Century Theatre and Drama in English. Festschrift for Heinz Kosok on the Occasion of his 65th Birthday. Trier: WVT, 1999, 341-362.

Draudt, Manfred. "'Two Sides of the Same Coin, or . . . The Same of Two Coins': An Analysis of Tom Stoppard's Rosencrantz and Guildenstern Are Dead." English Studies 62 (1981). 348-357.

Egan, Robert. "A Thin Beam of Light: The Purpose of Playing in Rosencrantz and Guildenstern Are Dead." Theatre Journal 31 (1979). 59-69.

Easterling, Anja: Shakespearean Parallels and Affinities with the Theatre of the Absurd in Tom Stoppard's Rosencrantz and Guildenstern are Dead. Umea: Uni.Bib, 1982 (Dissertation)

Freeman, John: "Holding up the mirror to mind's nature: Reading Rosencrantz beyond absurdity." Modern Language Review 91 (1996): 20-39.

Geraths, Armin. "Rosenkranz und Guildenstern: 'Hamlet'-Varianten bei William Schwenck Gilbert und Tom Stoppard." in: Horst Prießnitz (ed.), Anglo-amerikanische Shakespeare-Bearbeitungen des 20. Jahrhunderts. Darmstadt: Wissenschaftliche Buchgesellschaft, 1980. 251-274.

Gruber, William E. "'Wheels within wheels, etcetera': Artistic Design in Rosencrantz and Guildenstern Are Dead." Comparative Drama 15 (1981-1982). 291-310.

Holubetz, Margarete. "A Mocking of Theatrical Conventions: The Fake Death Scenes in The White Devil and Rosencrantz and Guildenstern Are Dead." English Studies 63 (1982). 426-429.

Makowski, Ilse: Stoppards Rosencrantz and Gulidenstern are Dead und sein Bezugzu Shakespeares Hamlet: Eine Untersuchung der Bedeutungsschichten, insbesondere der Ebene der Fiktionserzeugung und -durchbrechung. Hannover: Diss. phil., 1980.

Mehl, Dieter. "Stoppard: Rosencrantz and Guildenstern Are Dead." in: Dieter Mehl (ed.), Das englische Drama II. Düsseldorf: Bagel, 1970, 336-346.

Perlette, John M. "Theatre at the Limit: Rosencrantz and Guildernstern Are Dead." Modern Drama 28 (1985). 659-669.

Sales, Roger.Tom Stoppard: Rosencrantz and Guildenstern are Dead. London, 1988.

Rojahn-Deyk, Barbara. "Tod ohne Verklärung - Zur Todesthematik in Tom Stoppards Rosencrantz and Guildenstern Are Dead." anglistik & englischunterricht 7 (1979): 61-73.

Thomsen, Christian W. "Tom Stoppard, Rosencrantz and Guildenstern Are Dead: Spiel vom Sterben, Spiel vom Tod, Spiel vom Tod im Leben." Maske und Kothurn 24 (1978): 230-243.

Zeh, Dieter. "Tom Stoppard: Rosencrantz and Guildenstern Are Dead." in: Klaus-Dieter Fehse and Norbert H. Platz (eds.), Das zeitgenössische englische Drama. Frankfurt/M: Athenäum Fischer, 1975. 229-246.

Zimmermann, Heinz. "T. Stoppards Publikumsverwirrung: Zur Rezeption und Sinn von Rosencrantz and Guildenstern Are Dead." Jahrbuch der Deutschen Shakespeare-Gesellschaft West 1978/1979: 184-200.

THE REAL INSPECTOR HOUND

Carlson, Marvin. "Is There a Real Inspector Hound? Mousetraps, Deathtrps, and the Disappearing Detective." Modern Drama 36 (1993). 431-42.

Crossley, Brian M. "An Investigation of Stoppard's 'Hound' and 'Foot'." Modern Drama 20 (1977). 77-86.

Goreau, Angeline: "Is The Real Inspector Hound a Shaggy Dog Story?" in: Paul Delaney (ed.), Tom Stoppard in Cinversation, Ann Arbor: U of Michigan P, 1994. 256-260.

Erben, Rudolf. "Traum oder Wirklichkeit: Tom Stoppards Jumpers und The Real Inspector Hound." LWU 20 (1987). 451-459.

Mason, Jeffrey D. "Footprints on the Moon: Detectives as Suspects in Hound and Magritte." in: John Harty (ed.), Tom Stoppard, A Casebook. New York: Garland, 1988. 105-119.

JUMPERS

Astington, John H. "The Clever Dog and the Problematic Hare." Modern Drama 36 (1993). 578-81.

Bas, Georges. "Jumpers, de Tom Stoppard, dystopie politique: L'avenir de la Grande-Bretagne et les avatars du radicalisme." in: Oliver Lutaud (ed.), Radicaux a l'anglaise. Paris: Centre d'Hist. des Idees dans les Iles Britanniques, Univ. de Paris IV-Sorbonne, 1984. 66-84.

Cooke, John William. "The Optical Allusion: Perception and Form in Stoppard's Travesties; Essays from Modern Drama." in: Hersh Zeifman and Cynthia Zimmerman (eds.), Contemporary British Drama, 1970-90. Toronto : U of Toronto P, 1993. 199-216.

Crump, G.B. "The Universe as Murder Mystery: Tom Stoppard's Jumpers." in: John Harty (ed.), Tom Stoppard. A Casebook. New York: Garland, 1988: 153-172. [first published in: Contemporary Literature 20 (1979): 354-386.]

Davidson, Mary R. "Historical Homonyms: A New Way of Naming in Tom Stoppard's Jumpers." Modern Drama 22 (1979). 305-13.

Delaney, Paul: "The Flesh and the Word in Jumpers." Modern Language Quarterly 42 (1981). 369-388.

Durham, Weldon B. "Symbolic Action in Tom Stoppard's Jumpers." Theatre Journal 32 (1980). 169-79.

Elam, Keir. "After Magritte, after Carroll, after Wittgenstein: What Tom Stoppard's Tortoise Taught Us; Essays from Modern Drama." in. Hersh Zeifman and Cynthia Zimmerman (eds.), Contemporary British Drama, 1970-90. Toronto : U of Toronto P, 1993. 184-98.

Erben, Rudolf. "Traum oder Wirklichkeit: Tom Stoppards Jumpers und The Real Inspector Hound." LWU 20 (1987). 451-459.

Gabbard, Lucinda P. "Stoppard's Jumpers: A Mystery Play." in: John Harty (ed.), Tom Stoppard. A Casebook. New York: Garland, 1988: 139-152.

Hinden, Michael. "Jumpers: Stoppard and the Theater of Exhaustion." Twentieth Century Literature 27 (1981). 1-15.

Kreps, Barbara. "How Do We Know That We Know What We Know in Tom Stoppard's Jumpers?" Twentieth Century Literature 32 (1986). 187-208.

Londre, Felicia Hardison. "Using Comic Devices to Answer the Ultimate Question: Tom Stoppard's Jumpers and Woody Allen's God." Comparative Drama 14 (1980-81). 346-54.

Omasreiter, Ria. "Tom Stoppards Jumpers: Das dramatische Spiel mit der Relativität." anglistik & englischunterricht 7 (1979). 75-87.

Riehle, Wolfgang. "Tom Stoppards Jumpers: Gedanken zu einer Interpretation." Archiv für das Studium der Neueren Sprachen und Literaturen 216 (1979). 280-90.

Shiner, Roger A. "Showing, Saying and Jumping." Dialogue: Canadian Philosophical Review Revue Canadienne de Philosophie 21 (1982). 625-646.

Thomson, Leslie. "'The Curve Itself' in Jumpers." Modern Drama 33 (1990). 470-485.

TRAVESTIES

Billman, Carol. "The Art of History in Tom Stoppard's Travesties." Kansas Quarterly 12 (1980). 47-52.

Brugiere, Bernard. "De la parodie a une esthetique de la duplication: Etude de Travesties de Tom Stoppard." Etudes Anglaises 36 (1983). 267-280.

Castrop, Helmut. "Tom Stoppard: Travesties - Kunst- und Weltrevolution im Vexierspiel literarischer Gattungen." in Heinrich F. Plett (ed.), Englisches Drama von Beckett bis Bond. München: Fink, 1982. 295-312.

Cooke, John William. "The Optical Allusion: Perception and Form in Stoppard's Travesties." Modern Drama 24 (1981): 525-539.

Corballis, Richard. "Wilde'Joyce'O'Brien'Stoppard: Modernism and Postmodernism in 'Travesties'." in: Janet E. Dunleavy, Melvin J. Friedman und Michael Patrick Gillespie (eds.), Joycean Occasions: Essays from the Milwaukee James Joyce Conference. Newark: U of Delaware P, 1991. 157-70

Fischer-Seidel, Therese. "Biography in Drama: Genre and Gender in Tom Stoppard's Travesties and Liz Lochhead's Blood and Ice." in: Rüdiger Ahrens and Laurenz Volkmann (eds.), Why Literature Matters: Theories and Functions of Literature. Heidelberg: Winter, 1996. 197-210.

Geraths, Arnim. "Geschichte und Geschichtskritik in Tom Stoppards 'Ideen-Komödie' Travesties." Modernes englisches Drama: anglistik&englischunterricht 7 (1979): 89-101.

Gold, Margaret. "Who Are the Dadas of Travesties?" Modern Drama 21 (1978): 59-66.

Nelson, Tim. "Tom Stoppards 'Travesties'. Die hohe Komödie der Ideen." in: Herbert Mainusch (ed.), Europäische Komödie. Darmstadt: Wissenschaftliche Buchgesellschaft, 1990: 121-138.

Plett, Heinrich F. "Tom Stoppard: Travesties." in: Rainer Lengeler (ed.), Englische Literatur der Gegenwart 1971-1975. Düsseldorf: Bagel, 1977, 81-93.

Rod, David K. "Carr's Views on Art and Politics in Tom Stoppard's Travesties." Modern Drama 26 (1983): 536-542.

Sammells, Neil. "Earning Liberties: Travesties and The Importance of Being Earnest." Modern Drama 29(1986): 376-387.

Werner, Craig: "Stoppard's Critical Travesty, Who Vindicates Whom and Why?" Arizona Quarterly 35 (1979). 228-236.

Wolf, Werner. "Geschichtsfiktion im Kontext dekonstruktivistischer Tendenzen in neuerer Historik und literarischer Postmoderne: Tom Stoppards Travesties." Poetica 18 (1986): 305-357.

DOGG'S HAMLET, CAHOOT'S MACBETH

Barth, Adolf. "Shakespeare ohne Tränen: Sprachstil und Tragödienparodie in Tom Stoppards Dogg's Hamlet, Cahoot's Macbeth." Maske und Kothurn: Internationale Beitrage zur Theaterwissenschaft 27 (1981). 250-267.

Diamond, Elin. "Stoppard's Dogg's Hamlet, Cahoot's Macbeth: The Uses of Shakespeare." Modern Drama 29 (1986). 593-600.

Gianakaris, C. J. "Stoppard's Adaptations of Shakespeare: Dogg's Hamlet, Cahoot's Macbeth." Comparative Drama 18 (1984). 222-240.

PROFESSIONAL FOUL

Bennison, Neil. "Discourse Analysis, Pragmatics and the Dramatic 'Character': Tom Stoppard's Professional Foul." Language and Literature: Journal of the Poetics and Linguistics Association 2 (1993). 79-99

Buhr, Richard J. "Epistemology and Ethics in Tom Stoppard's Professional Foul." Comparative Drama 13 (1979). 320-29.

Cobley, Evelyn. "Catastrophe Theory in Tom Stoppard's Professional Foul." Contemporary Literature 25 (1984). 53-65.

Eldridge, Michael. "Drama as Philosophy: Professional Foul Breaks the Rules." in: Redmond James (ed.), Drama and Philosophy. Cambridge : Cambridge UP, 1990. 199-208.

Thomasen, Christian W. "Does Every Good Boy Deserve a Professional Foul? Anmerkungen zu Sprache, Philosophie und Politik in Tom Stoppards Stücken Every Good Boy Deserves Favour und Professional Foul." in: Herbert Grabes (ed.), Anglistentag 1980 Giessen. Grossen-Linden: Hoffmann, 1981. 159-177.

EVERY GOOD BOY DESERVES FAVOUR

Geraths, Armin. "Farce und Philosophie: Melodramatisches Agit-Prop in Tom Stoppards Every Good Boy Deserves Favour." anglistik & englischunterricht 15 (1981). 103-121.

NIGHT AND DAY

Lutz, Bruno von. "Night and Day: Der politische Tom Stoppard." Die Neueren Sprachen 83 (1984). 685-696.

THE REAL THING

Arndt, Susanne. "'We're All Free To Do as We're Told': Gender and Ideology in Tom Stoppard's The Real Thing." Modern Drama 40 (1997). 489-501.

Delaney, Paul. "Cricket Bats and Commitment: The Real Thing in Art and Life." Critical Quarterly 27 (1985). 45-60.

Thomson, Leslie. "The Subtext of The Real Thing: It's 'All Right'." Modern Drama 30 (1987). 535-548.

Zeifman, Hersh. "Comedy of Ambush: Tom Stoppard's The Real Thing; Essays from Modern Drama." in: Hersh Zeifman and Cynthia Zimmerman (ed.), Contemporary British Drama, 1970-90. Toronto : U of Toronto P, 1993. 217-31.

HAPGOOD

Innes, Christopher. "Hapgood - a Question of Gamesmanship?" Modern Drama 32 (1989). 315-317.

Jenkins, Anthony. "Moles and Molecules: Tom Stoppard's Hapgood" in: Jenkins, Anthony (ed.), Critical Essays on Tom Stoppard. Boston: Hall, 1990. 230 pp. 164-174.

Reitz, Bernhard. "'The act of observing determines the reality' - Darstellungskonventionen des thriller und die Rolle des Zuschauers in Tom Stoppards Hapgood", anglistik&englischunterricht 41 (1990): 125-137.

Zeifman, Hersh. "A Trick of the Light: Tom Stoppard's Hapgood and Postabsurdist Theater." in: Brater, Enoch und Ruby Cohn (eds.), Around the Absurd: Essays on Modern and Postmodern Drama. Ann Arbor: U of Michigan P. 1990. 175-201.

Zinman, Toby Silverman. "Blizintsy/Dvojniki Twins/Doubles Hapgood/Hapgood." Modern Drama 34 (1991). 312-21.

INDIAN INK

Andretta, Richard A. "'The Importance of Being Flora Crewe': The Artist's Way of Apprehending and Expressing Reality as Compared with the Critic's and the Scholar's in Tom Stoppard's In the Native State." Journal of King Saud University, Arts (Riyadh, Saudi Arabia) 6 (1994). 33-52

Berninger, Mark. "The Absence of the Intercultural? - The History of Anglo-Indian Relations in Ayub Khan-Din's Last Dance at Dum Dum and Tom Stoppard's Indian Ink." Crossing Borders: Intercultural Drama and Theatre at the Turn of the Millennium. Eds. Bernhard Reitz and Alyce von Rothkirch. Contemporary Drama in English 8. Trier: Wissenschaftlicher Verlag Trier, 2001. 39-48.

Innes, Christopher. "Cross-Cultural Connections - Indian Signs/English Conventions." Extending the Code: New Forms of Dramatic and Theatrical Expression. Contemporary Drama in English 11. Ed. Hans-Ulrich Mohr and Kerstin Mächler. Trier: Wissenschaftlicher Verlag Trier, 2004. 183-196.

Kaplan, Laurie: "In the Native State/Indian Ink: Footnoting the Footnotes on Empire", in: Modern Drama 41 (1998), 337-346.

ARCADIA

Antor, Heinz. "The Arts, the Sciences, and the Making of Meaning: Tom Stoppard's Arcadia as a Post-Structuralist Play." Anglia 118/III (1998). 326-354.

Butler, Marylin. "The starry Stoppard" (Review of Arcadia). Times Literary Supplement 23 (April 1993): 18.

Clinton, Craig. "[Review of] Arcdia." in Theatre Journal 46 (1994). 270ff.

Fischer-Seidel, Therese. "Chaos Theory, Landscape Gardening, and Tom Stoppard's Dramatology of Coincidence in Arcadia" in: Rudi Keller and Karl Menges (eds.), Emerging Structures in Interdisciplinary Perspective, Tübingen: Francke, 1997. 93-114.

Graham, Peter W. "Et in Arcadia Nos." Nineteenth Century Contexts 18 (1995). 311-19.

Huber, Werner, and Martin Middeke. "Biography in Contemporary Drama." Drama and Reality. Ed. Bernhard Reitz. Contemporary Drama in English 3. Wissenschaftlicher Verlag Trier, 1996. 133-43.

Kramer, Jeffrey. "Stoppard's Arcadia: Research, Time, Loss", Modern Drama 40 (1997). 1-10.

Melbourne, Lucy: "'Plotting the Apple of Knowledge': Tom Stoppard's Arcadia as Iterated Theatrical Algorithm", in: Modern Drama 41 (1998), 557-572.

Müller, Anja: "Komödie und Farce: Tom Stoppard." Das englische Drama der Gegenwart: Kategorien, Entwicklungen, Modelinterpretationen. Ed. Merle Tönnies. Trier: WVT, 2010. 249-263.

Müller-Muth, Anja. "Re-Presenting Representations: The Landscape Garden as a Sight/Site of Difference in Tom Stoppard's Arcadia". Word-and-Image 15 (1999). 97-106.

Reitz, Bernhard. "Beyond Newton's Universe: Science and Art in Tom Stoppard's Arcadia." Drama and Reality. Ed. Bernhard Reitz. Contemporary Drama in English 3. Wissenschaftlicher Verlag Trier, 1996. 165-77.

Schenkel, Elmar: "'The Attraction Newton Left Out': Science in Contemporary British Drama", in: Jürgen Kamm (ed.): Twentieth-Century Theatre and Drama in English. Festschrift for Heinz Kosok on the Occasion of his 65th Birthday. Trier: WVT, 1999, 325-340.

Stern, Guy. "Romantic vs. Postmodern Reality: An Examination of Tom Stoppard's Arcadia." Drama and Reality. Ed. Bernhard Reitz. Contemporary Drama in English 3. Wissenschaftlicher Verlag Trier, 1996. 155-64.

Vees-Gulani, Susanne: "Hidden Order in the 'Stoppard Set': Chaos Theory in the Content and Structure of Tom Stoppard's Arcadia, in: Modern Drama 42 (1999), 411-426.

THE INVENTION OF LOVE

Borgmeier, Raimund. "'Convergences of different threads'. Tom Stoppard's The Invention of Love (1997)." British Drama of the 1990s. Eds. Bernhard Reitz and Mark Berninger. Anglistik & Englischunterricht 64 (2002): 149-163

Collected reviews of the first production (October 1997), Theatre Record Vol. XVII, Issue 20. 1254-1261.

Seeber, Hans Ulrich: "The Invention of Love: Stoppard's Dramatic Elegy for A.E. Housman", in: Jürgen Kamm (ed.): Twentieth-Century Theatre and Drama in English. Festschrift for Heinz Kosok on the Occasion of his 65th Birthday. Trier: WVT, 1999, 363-380.

ADAPTATIONS

Schippers, J. G. "Stoppard's Nestroy, Schnitzler's Stoppard; Or, Humpty Dumpty im Wiener Wald." in: D'haen, Theo (ed.), Linguistics and the Study of Literature. Amsterdam: Rodopi, 1986. 245-267.

Stern, Guy. "From Austria to America via London: Tom Stoppard's Adaptations of Nestroy and Schnitzler." in: Elfe, Wolfgang, James Hardin und Günther Holst (eds.), The Fortunes of German Writers in America: Studies in Literary Reception. Columbia : U of South Carolina P, 1992. 167-83.

4. ON RADIO PLAYS

Kelly, Katherine E. "Tom Stoppard Radioactive: A Sounding of the Radio Plays." in Modern Drama 32 (1989): 440-452.

ALBERT'S BRIDGE

Groene, Horst. "The Radio Play in Language Teaching: Albert's Bridge by Tom Stoppard." Die Neueren Sprachen 80 (1981). 502-511.

ARTIST DESCENDING A STAIRCASE

Guralnick, Elissa S. "Artist Descending a Staircase: Stoppard Captures the Radio Station - and Duchamp." PMLA 105 (1990). 286-300.

Kelly, Katherine E. "Tom Stoppard's Artist Descending a Staircase: Outdoing the 'Dada' Duchamp." Comparative Drama 20 (1986). 191-200.

WHERE ARE THEY NOW?

Weber, Hans. "Tom Stoppard: Where are they now?" in: Prießnitz, Horst (ed.), Das englische Hörspiel. Düsseldorf: Bagel, 1977: 319-331.