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Brief Notices GyörgyE.Szönyi andRowlandWymer,eds. TheIconographyofPower: Ideas and Images ofRulership on the English Renaissance Stage. Szeged: JATE Press, 2000. Pp. 214. $16.00. After a "Forward" by Rowland Wymer this volume contains the following essays : György E. Szönyi, "Matching the Falles ofPrinces and Machiavell: Tradition and Subversion in the Historiography and Iconography of Shakespeare's Histories" (pp. 5-31); Michael Pincombe, "Cupid and Eliza: Variations on a Virgilian Icon in PlaysbyGager, LyIy, and Marlowe" (pp. 33-52);Andreas Höfele: "'So Potent Art': Magic Power in Marlowe, Greene, and Shakespeare" (pp. 5372 ); Lisa Hopkins, "'Monstrous Regiment': Staging Female Rule" (pp. 73-88); Grace Tiffany, "Elizabetiian Constructions of Kingship and the Stage" (pp. 89115 ); Michele Stanco, "Historico-tragico-comical Kings: Genre Conventions and/as Emblems ofPower in Shakespeare's Histories" (pp. 1 17-45); Glen Mynott, "Chivalry, Monarchy, and Rebellion in Shakespeare's Henry IV, Parts One and Two" (pp. 147-60);András Kiséry,"Emblems ofthe Polity: TheWounds ofRhetoric and of the Body Politic in Shakespeare's Rome" (pp. 161-79); Clifford Davidson, "The Anxiety of Power and Shakespeare's Macbeth" (pp. 181-204); Attila Kiss, "The Semiotics of the Skull: Emblematic Agency in The Revenger's Tragedy" (pp. 205-14). Lisa S. Starks and Courtney Lehmann, eds. The Reel Shakespeare. Cranbury, N.J.: Fairleigh Dickinson University Press, 2002. Pp. 298. $45.50. Following an introduction by the editors ("Images ofthe'Reel' Shakespeare and the Art of Cinema" [9-22]), this volume contains these essays: Kenneth S. Rotiiwell,"Hamlet in Silence: Reinventing the Prince on Celluloid" (pp. 25-40); Peter S. Donaldson, "'Two of Both Kinds': Modernism and Patriarchy in Peter Hall's A Midsummer Night's Dream" (pp. 43-58); Alan Walworth, "Cinema Hysterica Passio: Voice and Gaze in Jean-Luc Godard's King Lear" (pp. 59-94); Lia M. Hotchkiss, "The Incorporation ofWord as Image in Peter Greenaways Prospero's BooL·" (pp. 95-117); Lisa S. Starks, "Cinema of Cruelty: Powers of Horror in JulieTaymor's Tifus" (pp. 121-42); Bryan Reynolds,"UntimelyRipped: 141 142Comparative Drama Mediating Witchcraft in Polanski and Shakespeare" (pp. 143-64); Kathy M. Howlett,"Utopian Revisioning ofFalstaff'sTavernWorld: OrsonWelles's Chimes at Midnight and Gus Van Sant's My Own Private Idaho" (pp. 165-88); Douglas E. Green, "Shakespeare, Branagh, and die 'Queer Traitor': Close Encounters in the Shakespearean Classroom" (pp. 191-211); John Brett Mischo,"The Screening ofthe Shrews: Teaching (against) Shakespeare's Author Function" (pp. 21228 ); José Ramón Díaz-Fernández,"The Reel Shakespeare: A Selective Bibliography of Criticism" (pp. 229-90). FrankOcchiogrosso,ed. Shakespearein Performance:A Collection of Essays. Newark: University of Delaware Press, 2003. Pp. 147. $37.50. Following an introduction by the editor (pp. 7-11), this volume contains the following essays: John Russell Brown, "Shakespeare in Performance, Study, and Criticism" (pp. 15-26); James C. Bulman, "Shylock, Antonio, and the Politics of Performance" (pp. 27-46); Ralph Berry, "The Merchant of Venice" (47-57); Jay L. Halio, "Romeo and Juliet in Performance" (pp. 58-70); James P. Lusardi and June Schlueter,"? have done the deed': Macbeth 2.2" (pp. 71-83); H. R. Coursen, "Disguise in Trevor Nunn's Twelfth Night"(pp. 84-92); Harry Keyishian,"Storm, Fire, and Blood: Patterns of Imagery in Stuart Burge's /«//«5 Caesar" (pp. 93103 );Alan C. Dessen,"TeachingWhats Not There" (pp. 104-12); Pauline Kiernan, "The New Globe" (pp. 113-22); Marvin Rosenberg, "Tracking Performance Criticism of Shakespeare" (pp. 123-136). Hardin L.Aasand,ed.StageDirections in Hamlet:NewEssaysandNew Directions. Cranbury,N.J.: Fairleigh Dickinson University Press, 2002. Pp. 234 + black-and-white illustrations. $44.50. Following an introduction by die editor (pp. 9-14), this volume contains these articles: Ann Thompson and Neil Taylor, "Variable Texts: Stage Directions in Arden 3 Hamlet" (pp. 19-32); June Schlueter and James P. Lusardi, "Offstage Noise and Onstage Action: Entrances in the Ophelia Sequence of Hamlet" (pp. 33-41); GeorgeWalton Williams,"Exit by Indirection, Finding Directions Out" (pp. 42-46); James Hirsh, "Hamlet's Stage Directions to die Players" (pp. 4773 ); BerniceW. Kliman,"Explicit Stage Directions (Especially Graphics) in Hamlet " (pp. 74-91); Pamela Mason: "'... and Laertes': The Case Against Tidiness" (pp. 92-98); David...


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