Index to Volume VIII (1974)

Index to Volume V ili (1974) Baumgarten, Murray “Body’s Image”: Yerma, The Player Queen, and the Upright Posture . iii Brater, Enoch Noah, Not I, and Beckett’s “Incomprehensibly Sublime” . . iii Brawer, Robert A. The Middle English Resurrection Play and Its Dramatic Antecedents . . i Clopper, Lawrence M. Mankind and Its Audience iv Cutts, John P. Evidence for Ambivalence of Motives in Murder in the Cathedral ii Davidson, Clifford Medieval Drama: Diversity and T h eatricality........................................ Ì Dutka, JoAnna Mysteries, Minstrels, and Music i Edwards, Robert Techniques of Transcendence in Medieval Drama . . . . ii Flanigan, C. Clifford The Liturgical Context of the Quern Queritis Trope i Forker, Charles R. Wit Without Money: A Fletcherian Antecedent to Keep the Widow Waking . . . . ii Forrer, Richard Oedipus at Colonus: A Crisis in the Greek Notion of Deity . iv Friedenreich, Kenneth “You Talks Brave and Bold”: The Origins of an Elizabethan Stage D e v ic e ........................................ iii McBride, Tom Measure for Measure and the Unreconciled Virtues iii Meserve, Walter J. and Lao Sheh: From People’s Artist to Ruth I. “An Enemy of the People” ii 290 254 77 347 199 5 112 157 45 172 328 239 264 143 399 400 Comparative Drama Nelson, Alan H. “Of the seuen ages”: An Unknown Analogue of The Castle of Perseverance . . . . . i 125 Ogden, Dunbar H. The Use of Architectural Space in Medieval Music-Drama . i 63 Poteet, Daniel P. Time, Eternity, and Dramatic Form in Ludus Coventriae “Passion Play I” . iv 369 Rosen, Carol C. The Language of Cruelty in Ford’s ’Tis Pity She’s a Whore . . iv 356 Spingler, Michael Anouilh’s Little Antigone: Tragedy, Theatricalism, and the Romantic Self . . . . iii 228 Sticca, Sandro The Christos Paschon and the Byzantine Theater . i 13 Travis, Peter W. The Dramatic Strategies of Chester’s Passion Pagina . . . . . iii 275 Tyson, Cynthia Haldenby Noah’s Flood, the River Jordan, the Red Sea: Staging in the Towneley Cycle . . . . i 101 Wheeler, Richard P. The King and the Physician’s Daughter: All’s Well That Ends Well and the Late Romances . . . iv 311 REVIEWS: Summer—Robert Omstein, A Kingdom for a Stage: The Achieve­ ment of Shakespeare’s History Plays (Roy Battenhouse); Eugene Webb, The Plays of Samuel Beckett (Marilyn Gaddis Rose); Charles Lyons, Henrik Ibsen: The Divided Consciousness (James L. Larson); Alfred Harbage, Shakespeare Without Words and Other Essays (J. L. Styan); George E. Wellwarth, Spanish Underground Drama (George Woodyard); Mark Rose, Shakespearean Design (William M. Jones); David H. Hesla, The Shape of Chaos: An Interpretation of the Art of Samuel Beckett (Kenneth S. White). Fall—Moody E. Prior, The Drama of Power: Studies in Shakespeare’s History Plays (Michael Manheim); John P. Cutts, The Left Hand of God: A Critical Interpretation of the Plays of Christopher Marlowe (Cecile William­ son Cary); Kenneth Muir, ed., Shakespeare Survey, 26 (Robert Ornstein); Heinz Gerstinger, Lope de Vega and Spanish Drama (David H. Darst). Winter—Alan H. Nelson, The Medieval English Stage (Stanley J. Kahrl); John Loftis, The Spanish Plays of Neoclassical England (J. W. Johnson); Ruby Cohn, Back to Beckett (John D. Hurrell); Travis Bogard, Contour in Time (John H. Stroupe). ...