Brief Notices
This volume begins with acknowledgments (vii–viii) and an introductory essay by the editor, "Cross-Cultural Encounters: Arthur Miller and the International Theater Community" (1–14). The primary text contains the following essays: Linda Ben-Zvi, "Arthur Miller's Israel and Israel's Arthur Miller" (15–34); Belinda Kong, "Traveling Man, Traveling Culture: Death of a Salesman and Post-Mao Chinese Theater" (35–56); Mariagabriella Cambiaghi, "Directing Miller in Italy" (57–65); Robert Gordon, "Guilty Secrets and Cultural Blind Spots: Miller's Plays in South Africa" (66–77); Michael Raab, "Not All One Song: Arthur Miller in the German Theater" (78–86); Enoch Brater, "A Dominican View: An Interview with Darryl V. Jones" (87–98); Matthew Martin, "Arthur Miller's Dialogue with Ireland" (99–106); John T. Dorsey, "Miller, Mingei, and Japan" (107–13); Antonio R. Celada, "The Reception of Miller's Theater in Spain" (114–24); Laura Cerrato, "Arthur Miller in Buenos Aires" (125–35); Kirsten Herold, "Miller in Scandinavia: Focus on Denmark" (136–42); Louis Marks, "The Crucible: Three British Encounters" (143–52). The text concludes with contributor biographies (153–54).
Following a brief biography of Alexandra F. Johnston (3–8), this volume contains essays in three parts. Part 1, "The Records," includes Barbara D. Palmer, "Star Turns of Small Companies?" (9–40); Peter Meredith, "'Young men will do it': Fun, Disorder, and Good Government in York, 1555; Some Thoughts on House Book 21" (41–57); Sally-Beth Maclean, "The Southwest Entertains: Exeter and Local Performance" (58–76); Alan Somerset, "Coming Home: Provincial Gentry Families: Their Performers, Their Great Halls, Their Entertainments, [End Page 401] and REED" (77–90); Caroline M. Barron, "Pageantry on London Bridge in the Early Fifteenth Century" (91–104); Meg Twycross, "The Ordo paginarum Revisited, with a Digital Camera" (105–31); Margaret Rogerson, "REED York, Volume 3, The 'Revivals'" (132–64). Part 2, "Medieval Plays," includes Garrett P. J. Epp, "Doubting Thomas: 'Womans Witnes' and the Towneley Thomas Indie" (165–80), David N. Klausner, "The Modular Structure of Wisdom" (181–96); Chester Scoville, "On Bombshells and Faulty Assumptions: What the Digby Conversion of Saint Paul Really Did with the Acts of the Apostles" (197–211); David Mills, "Some Theological Issues in Chester's Plays" (212–29); K. Janet Ritch, "The Role of the Presenter in Medieval Drama" (230–70). Part 3, "Renaissance Plays," includes Karen Sawyer Marsalek, "'Awake your faith': English Resurrection Drama and The Winter's Tale" (271–91); David Bevington, "One Hell of an Ending: Staging Last Judgment in the Towneley Plays and in Doctor Faustus A and B" (292–310). The text concludes with a bibliography of Alexandra F. Johnston's Publications, 1967–2006 (311–18), contributor biographies (319–20), and an index (321–29).
Following an introduction by Laurie Postlewate (7–16), this volume contains essays in three parts. Part 1, "The Power of Performance," includes Dallas G. Denery II, "The Preacher and His Audience: Dominican Conceptions of the Self in the Thirteenth Century" (17–34); Joyce Coleman, "Public-Access Patronage: Book-Presentation from the Crowd at a Royal Procession" (35–62); Amy Schwarz, "Eternal Rome and Cola di Rienzo's Show of Power" (63–76); L. Caitlin Jorgensen, "Diversity in Unity: Elizabeth's Coronation Procession" (77–100); Alejandro Cañeque, "On Cushions and Chairs: The Ritual Construction of Authority in New Spain" (101–50). Part 2, "Performance and the Page," includes Adrian P. Tudor, "Taking Pictures: Performance on the Page" (151–82); Kathryn A. Duys, "Medieval Literary Performance: Gautier de Coinci's Guide for...
