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EUGENE O’NEILL’S INNOVATIONS IN TRAGEDY ——FROM THE PERSPECTIVE OF TRIPLE WORLD OF MODERN TRAGEDY By Liu Liang Under the supervision of Associate Prof. Qi Tao A thesis Submitted in partial fulfilment Of the requirements for the degree of Master of Arts to the School of Foreign Studies Anhui University April 2009 Acknowledgements First and foremost, I would like to express my gratefulness to my supervisor, Associate Professor Qi Tao. He gave me many enlightening instructions, which reduced the mistakes in my dissertation and helped me to accumulate enough information for this paper. His profound knowledge enriched the connotation of my paper. I would also extend my heartfelt gratitude to Professor Hua Quankun, Professor Hong Zengliu, Professor Chen Zhengfa, Professor Chen Bing, and Professor Zhu Yue for their illuminating lectures and earnest suggestions. I would also thank my classmates who gave me insights, inspirations and other supports. Abstract Eugene O‘Neill is the founder of American drama. Before Eugene O‘Neill, American drama developed slowly and lagged behind European drama. Eugene O‘Neill took a serious and innovative attitude to drama and his achievement was remarkable. It is Eugene O‘Neill‘s emergence that accelerates the process of nativism of American drama and promotes its maturity. It is Eugene O‘Neill‘s emergence that alters the situation that there is no tragedy in America. However there is controversy over the existence of modern tragedy. This thesis finds out the common propositions of traditional tragic theories. They are having the function of catharsis, being tragic and concerning with human existential anxiety ,by which O‘Neill‘s Plays are proved to be tragedies. This thesis is based on Ren Shengming‘s new model explaining the nature of tragedy. His model highlights the role man‘s existential predicaments play in tragedy. For him, tragedy is the product of the contradictions between humans and factors that threatening man‘s existence—social,