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  Volume 40, Number 1, Spring 1997

Table of Contents

Stoppard's Arcadia: Research, Time, Loss

pp. 1-10
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Coming Out in The Room: Joe Orton's Epigrammatic Re/Vision of Harold Pinter's Menace

pp. 11-22
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Nostalgic Rapture: Interpreting Moral Commitments in David Hare's Drama

pp. 23-37
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What is a Birth Astride a Grave?: Ohio Impromptu as Zen Koan

pp. 38-56
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Nowhere Man and the Twentieth-Century Cowboy: Images of Identity and American History in Sam Shepard's True West

pp. 57-73
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Looking into Black Skulls: Amiri Baraka's Dutchman and the Psychology of Race

pp. 74-85
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Beyond Poststructuralism: Theory of Character, the Personae of Modern Drama, and the Antinomies of Critical Theory

pp. 86-99
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Some Defining Characteristics of Australian Aboriginal Drama

pp. 100-110
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Scenes of the Crime: Returning to the Past

pp. 111-122
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The Daughter's Double Bind: The Single-parent Family as Cultural Analogue in Two Turn-of-the-Century Dramas

pp. 123-138
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Anarchy and Resistance in Tristan Tzara's The Gas Heart

pp. 139-148
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Three Tutorial Plays: The Lesson, The Prince of Naples and Oleanna

pp. 149-162
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Book Reviews

Beckett Writing Beckett: The Author in the Autograph by H. Porter Abbott (review)

pp. 163-164
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Shaw's People: Victoria to Churchill by Stanley Weintraub (review)

pp. 165-166
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The Death of Character: Perspective on Theater after Modernism by Elinor Fuchs (review)

pp. 166-169
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The Fate of the Object: From Modern Object to Postmodern Sign in Performance, Art and Poetry by Jon Erickson (review)

pp. 169-171
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Performance and Cultural Politics ed. by Elin Diamond, and: The Intercultural Performance Reader ed. by Patrice Davis (review)

pp. 171-174
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Theatre and Change in South Africa ed. by Geoffrey V. Davis and Anne Fuchs (review)

pp. 174-175
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Performing Brecht: Forty Years of British Performances by Margaret Eddershaw (review)

pp. 175-178
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The Feminist Possibilities of Dramatic Realism by Patricia R. Schroeder (review)

pp. 178-180
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Contributors

pp. 181-182
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Research Areas

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