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540Comparative Drama Rituals in Greek Tragedy (David Konstan); Olga Anna Dull, Folie et Rhétorique dans la Sottie (Peter Happé); Richard Schechner, The Future ofRitual (Timothy Light); David R. B. Kimbell, Italian Opera (Bernard Zelechow); Enoch Brater, The Drama in the Text: Beckett's Late Fiction (Kristin Morrison); Annabelle Henkin Melzer, Dada and the Surrealist Performance (James M. Harding); Shadi Bartsch, Actors in the Audience: Theatricality and Doublespeakfrom Nero to Hadrian (M. K. Thornton); Charles Ganelin and Howard Mancing, eds., The Golden Age Comedia: Text, Theory, and Performance (Ricardo Arias); Bert O. States, 7"Ae Pleasure of the Play (James E. Robinson); David Bruce Kramer. The Imperial Dryden (Luis R. Gámez); Tetsuo Kishi, Roger Pringle, and Stanley Wells, eds., Shakespeare and Cultural Traditions (Cynthia Marshall). WINTER: Robert C. Evans, Jonson and the Contexts of his Time (Peter Happé); Michael Shapiro, Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages (Ralph Berry); Pat Gill, Interpreting Ladies: Women, Wit, and Morality in the Restoration Comedy ofManners (Claudia Newel Thomas); J. R. Mulryne and Margaret Shewring, eds., Theatre and Government under the Early Stuarts (Robert C. Evans); Roy Battenhouse, ed., Shakespeare's Christian Dimension: An Anthology of Commentary (Margaret J. Arnold); Alan C. Dessen, Recovering Shakespeare's Theatrical Vocabulary (Grace Tiffany); Moe Meyer, ed., The Politics and Poetics of Camp (David G. Bass). CORRECTION: In Vol. 29, No. !,photographie acknowledgments were inadvertently omitted in the article by Elizabeth K. Hill. Fig. 1, a page from Francis Quarles' Emblèmes (1635), is by permission of the Folger Shakespeare Library; figs. 2—4, emblems from Quarles' Emblèmes, are courtesy of the Newberry Library. ...


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