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  Volume 43, Number 2, Summer 2000

Table of Contents

The Question of Liz: Staging the Prisoner in Our Country's Good

pp. 147-156
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Tom Stoppard and the Invention of Biography

pp. 157-170
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Dancing at Lughnasa: Unexcused Absence

pp. 171-181
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Splitting Images: Samuel Beckett's Nacht und Träume

pp. 182-191
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Camusian Existentialism in Arthur Miller's After the Fall

pp. 192-203
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Black Cats and Green Trees: The Art of Maria Irene Fornes

pp. 204-215
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"So entirely unexpected": The Modernist Dramaturgy of Marjorie Pickthall's The Wood Carver's Wife

pp. 216-246
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Introduction: Remaking Modern Classics

pp. 248-251
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Lulu: pantomime in one act by Félicien Champsaur

pp. 252-264
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Challenging Myth and Tradition: National/Cultural Identity and the Irish Theatrical Canon

pp. 265-275
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Deconstruction and Development of the Opera Carmen

pp. 276-287
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Suzuki Tadashi's "The Chekhov": Three Sisters, The Cherry Orchard, and Uncle Vania

pp. 288-299
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The Snark and the Orchard: A Polemical Afterword

pp. 300-310
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Reviews

No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider ed. by Maurice Harmon (review)

pp. 311-312
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Studies in Strindberg by Michael Robinson (review)

pp. 312-313
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Tragedy and Comedy: A Systematic Study and a Critique of Hegel by Mark William Roche (review)

pp. 314-315
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Understanding August Wilson by Mary L. Bogumil, and: "I Ain't Sorry for Nothin' I Done": August Wilson's Process of Playwriting by Joan L. Herrington (review)

pp. 315-318
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Pirandello and His Muse: The Plays For Marta Abba by Daniela Bini (review)

pp. 318-320
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Edges of Loss: From Modern Drama to Postmodern Theory by Mark Pizzato (review)

pp. 320-322
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Contributors

pp. 323-326
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Research Areas

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