| American Drama |
| Title | Subject | Authors |
|---|
| An interview with Caridad Svich.(Interview) | Literature/writing | Jenckes, Norma |
| An interview with Jose Rivera.(Interview) | Literature/writing | Jenckes, Norma |
| David Mamet's "A Wasted Weekend".(episode for the television program Hill Street Blues) | Literature/writing | Ryan, Steven |
| Differing dramatic dynamics in the stage and screen versions of 'Glengarry Glen Ross'. | Literature/writing | Lublin, Robert I. |
| Famous/last words: the disruptive rhetoric of historico-narrative 'finality' in Suzan-Lori Parks' 'The America Play'. | Literature/writing | Bullock, Kurt |
| 'Marisol,' angels, and apocalyptic migrations. | Literature/writing | Rossini, Jon D. |
| "More stories than the Devil got sinners": Troy's stories in August Wilson's 'Fences'.(Critical Essay) | Literature/writing | Blumenthal, Anna S. |
| Reworking the frontier captivity narratrive: William Vaughn Moody's 'The Great Divide'.(Critical Essay) | Literature/writing | Wattenberg, Richard |
| Staging a staged crisis in masculinity: race and masculinity in 'Six Degrees of Separation'.(Critical Essay) | Literature/writing | Gillian, Jennifer |
| Ten years of 'American Drama'. | Literature/writing | Jenckes, Norma |
| Theater as persuasion: the plays of Wallace Shawn. | Literature/writing | Post, Robert M. |
| The metaphysics of Tennessee Williams. | Literature/writing | Siegel, Robert |
| War of the Wests: Saroyan's dramatic landscape.(William Saroyan)(Critical Essay) | Literature/writing | Radavich, David |
| "You are always under attack": whiteness as law and terror in August Wilson's twentieth-century cycle of plays. | Literature/writing | Usekes, Cigdem |
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