1. An Editorial Farewell
  2. Andrew James Hartley
  3. p. 1
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  1. Thomas Middleton’s A Mad World, My Masters: From Script To Performance
  2. Michael Cordner
  3. pp. 3-28
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  1. Two “Jacobean” Malfis: Controversy and Reception in 1892 and 2010
  2. Jem Bloomfield
  3. pp. 29-40
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  1. “Look with Thine Ears:” Puns, Wordplay, and Original Pronunciation in Performance
  2. Laura A. Lodewyck
  3. pp. 41-61
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  1. Looking for Shakespeare: Taking Pacino’s Quest Seriously
  2. Jonathan Sircy
  3. pp. 63-78
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  1. “What’s this? Mutton?”: Food, Bodies, and Inn-Yard Performance Spaces in Early Shakespearean Drama
  2. Sally Templeman
  3. pp. 79-94
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  1. King John (review)
  2. Jami Rogers
  3. pp. 95-99
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  1. Troilus and Cressida (review)
  2. Johann Gregory
  3. pp. 99-104
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  1. Romeo Juliet (review)
  2. Paul Hecht
  3. pp. 104-106
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  1. Richard III, and: As You Like It (review)
  2. Sally Romotsky
  3. pp. 107-115
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  1. Cymbeline, and: Much Ado About Nothing (review)
  2. Dana E. Aspinall
  3. pp. 115-120
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  1. Much Ado About Nothing, and: Macbeth (review)
  2. N.R. Helms
  3. pp. 120-126
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  1. The Taming of the Shrew (review)
  2. Noel Sloboda
  3. pp. 126-130
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  1. The Merchant of Venice (review)
  2. Jemma Alix Levy
  3. pp. 130-132
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  1. Doctor Faustus (review)
  2. Molly Hand
  3. pp. 132-136
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  1. The Winter’s Tale (in Yoruba), and: The Taming of the Shrew (in Urdu), and: Antony and Cleopatra (in Turkish) (review)
  2. Mark Pizzato
  3. pp. 137-141
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  1. Henry V, and: Timon of Athens (review)
  2. Laura Grace Godwin
  3. pp. 141-152
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  1. Shakespeare in Kabul by Stephen Landrigan, Qais Akbar Omar (review)
  2. Patricia Lennox
  3. pp. 153-157
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  1. Shakespeare Closely Read; A Collection of Essays: Written and Performance Texts ed. by Frank Occhiogrosso (review)
  2. Angela Eward-Mangione
  3. pp. 157-162
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