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  Volume 39, Number 3, Fall 1996

Table of Contents

Politics over the Gulf: Trevor Griffiths in the Nineties

pp. 381-391 | DOI: 10.1353/mdr.1996.0014

Oleanna: David Mamet's Power Play

pp. 392-403 | DOI: 10.1353/mdr.1996.0030

Almost "Better to Be Nobody": Feminist Subjectivity, the Thatcher Years, and Timberlake Wertenbaker's The Grace of Mary Traverse

pp. 404-420 | DOI: 10.1353/mdr.1996.0045

Workers' Theatre and the "War of Position" in the 1930s

pp. 421-435 | DOI: 10.1353/mdr.1996.0060

Crommelynck and Meyerhold: Two Geniuses Meet on the Stage

pp. 436-447 | DOI: 10.1353/mdr.1996.0074

Observation as System in Eugene O'Neill's The Iceman Cometh

pp. 448-456 | DOI: 10.1353/mdr.1996.0089

Of Melons, Heads, and Blood: Psychosexual Fascism in Griselda Gambaro's Bad Blood

pp. 457-464 | DOI: 10.1353/mdr.1996.0008

Schizophrenia and the Politics of Experience in Three Plays by Brian Friel

pp. 465-474 | DOI: 10.1353/mdr.1996.0024

Blow the Witches Out: Gender Construction and the Subversion of Nationalism in Yeats's Cathleen ni Houlihan and On Baile's Strand

pp. 475-489 | DOI: 10.1353/mdr.1996.0039

Mourning and the Body: Heiner Müller's Fathers and The Foundling Son

pp. 490-506 | DOI: 10.1353/mdr.1996.0054

Storey's "Snare of Doubling"

pp. 507-517 | DOI: 10.1353/mdr.1996.0068

Book Reviews

Tennessee Williams: A Descriptive Bibliography by George W. Crandell, and: Tom: The Unknown Tennessee Williams by Lyle Leverich, and: Special Issue: Tennessee Williams. Mississippi Quarterly by Philip C. Kolin (review)

pp. 518-525 | DOI: 10.1353/mdr.1996.0083

Hot Irons by Howard Brenton, and: Letters I by Edward Bond, and: Letters II by Edward Bond (review)

pp. 525-529 | DOI: 10.1353/mdr.1996.0002

Theatre and Feminist Aesthetics ed. by Karen Laughlin and Catherine Schuler (review)

pp. 529-530 | DOI: 10.1353/mdr.1996.0018


pp. 531-532 | DOI: 10.1353/mdr.1996.0033

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