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Contributors CLAS ZILLIACUS has studied in Strasbourg, Dublin, London and Salzburg and currently holds a Fulbright fellowship at Columbia University. He has been associated wtih the BBC, Radio Sweden, and the Finish Broadcasting Company and has taught at the Abo Akademi (Swedish University of Finland). His articles have ap­ peared in various Scandanavian, English, and American journals. R. J. KAUFMANN’S essays on the Elizabethan drama have appeared in earlier issues of Comparative Drama, and his “Tragedy and its Validating Conditions” (I, 3-18) will soon be published in Ger­ man translation. He is professor of English at the University of Texas, Austin. CLIFFORD J. RONAN, assistant professor of English at the Uni­ versity of Texas, Austin, combines an interest in drama and the classics in his forthcoming study of Elizabethan theatrical stereo­ types of Roman behavior. JOHN P. CUTTS, now professor of English at Wayne State Univeristy , will assume the chairmanship of the Department of Eng­ lish at Oakland University next fall. A frequent contributor to this journal, he is the author of two recent books, The Shattered Glass and Dark and Strange. AURELIU WEISS is the author of many studies in comparative literature and aesthetics, among them books on Luigi Pirandello, Michael de Ghelderode, and Henry de Montherlant. His posthu­ mous essay, “Mob Scenes: Their Generic Limitations,” appeared in the first volume of this journal. MARTIN B. FRIEDMAN, associate professor of English at the California State College at Hayward, has translated Paul Ginestier’s The Poet and the Machine and has edited Vigny’s Chatterton and Huxley’s Brave New World. ...


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