Brief Notices

Brief Notices A. R. Braunmuller and Michael Hattaway, eds. The Cambridge Companion toEngltehRenaissanceDrama.Cambridge: Cambridge University Press, 2003. Pp. xviii + 463 + black-and-white illustrations . $65.00 casebound; $23.00 paperbound. This volume contains the following essays: R. A. Foakes, "Playhouses and Players"(l-52);A. R. Braunmuller,"TheArts ofthe Dramatist" (53-92); Michael Hattaway, "Drama and Society" (93-130); Martin Buder, "Private and Occasional Drama"(131-63); Margot Heinemann,"Political Drama" (164-96); Brian Gibbons,"Romance and the Heroic Play" (197-227); Lee Bliss,"Pastiche, Burlesque , Tragicomedy" (228-253); Jill Levenson,"Comedy" (254-91); Robert N. Watson, "Tragedy" (292-343); James Bulman, "Caroline Drama" (344-71). Dominique Goy-Blanquet, ed. Joan ofArc, A Saintfor All Reasons: Studies in Myth and Politics. Aldershot: Ashgate, 2003. Pp. xi + 180. $79.95. This volume contains the following essays: Dominique Goy-Blanquet, "Shakespeare and Voltaire Set Fire to History" (1-38); Françoise MichaudFr éjaville,"Person vs. Personage: Joan ofArc in Seventeenth-Century France" (39-58); Nadia Margolis,"Rewriting the Right: High Priests, Heroes and Hooligans in the Portrayal of Joan ofArc (1824-1945)" (59-104); Jacques Darras, "A Myth on Trial" (105-22); Claude Grimal, "The American Maid" (123-41); Robin Blaetz,"Joan of Arc and the Cinema" (143-74). Thomas Fahy and Kimball King, eds. Captive Audience: Prison and Captivity in Contemporary Theater. New York: Routledge, 2003. Pp. vii +196. $85.00. Following an introduction by Thomas Fahy (1-5), this volume contains the following essays: Rena Fraden, "The Confessional Voice: Medea's Brutal Imagination" (9-24); Tiffany Ana Lopez, "Emotional Contraband: Prison as Metaphor and Meaning in U.S. Latina Drama" (25-40); Fiona Mills, "Seeing 441 442Comparative Drama Ethnicity: The Impact of Race and Class on the Critical Reception of Miguel Pineros Short Eyes" (41-64); Harold Pinter, "On Prisons in the United States: Extract from a Speech Delivered to the Confederation ofAnalytical Psychologists ,London,25 June 1999" (67-68);Ann C. Hall,"Harold Pinter's Prison House: The Screenplay ofKafka's The Trial" (69-80); Christopher C. Hudgins,"Harold Pinter's The Handmaid's Tale: Freedom, Prison, and a Hijacked Script" (81108 ); Pamela Cooper, "A World of Bodies': Performing Flesh in Marat/Sade: (109-20); Robert F. Gross,"T7ie Disposal: William Inge's Abject Drama" (12135 ); Thomas Fahy, "'In Dark Corners': Masculinity and Art in Tennessee Williams's Not About Nightingales" (136-46); Claudia Barnett, "Physical Prisons : Naomi Wallace's Drama ofCaptivity" (147-65); Lois Gordon,"No Exit and Waitingfor Godot: Performances in Contrast" (166-88). PeterHolland,ed.ShakespeareSurvey56. Cambridge: CambridgeUniversity Press, 2003. Pp. ix + 369 + black-and-white illustrations. $85.00. This volume contains the following essays: Carol Chillington Rutter,"Looking Like a Child—or—Tiiws: The Comedy (1-26); Dympna Callaghan,"Comedy and Epyllion in Post-Reformation England" (27-38); Patricia Parker, "(Peter) Quince: Love Potions, Carpenter's Coigns and Athenian Weddings" (39-54);A. B.Taylor,"'When Everything Seems Double': Peter Quince,the Other Playwright in A Midsummer Night's Dream" (55-66); Alan Sinfield, "Cultural Materialism and Intertexuality: The Limits ofQueer Reading in A Midsummer Night's Dream and The Two Noble Kinsmen" (67-78); Robert N. Watson, "As You Liken It: Simile in the Wilderness" (79-92); Ann Thompson,"Infinite Jest: The Comedy of Hamlet, Prince ofDenmark" (93-104): Stephen Orgel,"Othello and the End of Comedy" (105-16); Michael Dobson, "Shakespeare as a Joke: The English Comic Tradition, A Midsummer Night's Dream and Amateur Performance " (1 17-25);Adrian Poole,"Falstaff's Belly, Bertie's Kilt, Rosalind's Legs: Shakespeare and the Victorian Prince" (126-36); Maud ElImann,"The Sixth Act: Shakespeare after Joyce" (137-45); Sarah Annes Brown, "The Return of Prospero's Wife: Mother Figures in The Tempest's Afterlife" (146-60); Declan Donnellan, "Directing Shakespeare's Comedies: In Conversation with Peter Holland" (161-66); Michael Cordner,"'To Show Our Simple Skill': Scripts and Performances in Shakespearean Comedy" (167-83); Robert Bearman, "John Shakespeare's 'Spiritual Testament': A Reappraisal" (184-202); Peter Holbrook, "Shakespeare as a Force for Good" (203-14); Andrew Hadfield, "Timon of Athens and Jacobean Politics" (215-26); Andreas Höfele, "Man, Woman and Beast in Timon's Athens" (227-35); Carol Chillington Rutter, "Rough Magic...