Index to Volume 19 (1985)

Index to Volume 19 (1985) Becker, Barbara S., and Lyons, Charles R. Directing/Acting Beckett iv 289 Bevington, David “Blake and wyght, fowll and fayer”: Stage Picture in Wisdom Who Is C h r i s t ...................................... ii 136 Briscoe, Marianne G. Some Clerical Notions of Dramatic Decorum in Late Medieval England . i 1 Doebler, John When Troy Fell: Shakespeare’s Icono­ graphy of Sorrow and Survival iv 321 Dundas, Judith “To See Feelingly”: The Language of the Senses and the Language of the H e a r t ...................................... i 49 Frazier, Harriet C. “Like a Liar Gone to Burning Hell”: Shakespeare and Dying D eclarations............................... ii 166 Fuchs, Elinor Mythic Structure in Hedda Gabler: The Mask Behind the Face iii 209 Gibson, Gail McMurray The Play of Wisdom and the Abbey of St. Edmund . ii 117 Groseclose, Barbara The Incest Motif in Shelley’s The C e n c i .............................................. iii 222 Gruber, William E. The Actor in the Script: Affective Strategies in Shakespeare’s Antony and Cleopatra . i 30 Gruber, William E. Building a Scene: The Text and Its Representation in The Atheists Tragedy . iii 193 Guilfoyle, Cherrell Mactacio Desdemonae: Medieval Scenic Form in the Last Scene of O t h e l l o ............................... iv 305 Hinden, Michael Trying to Like Shaffer i 14 Mazzaro, Jerome Madness and Memory: Shakespeare’s Hamlet and King Lear . ii 97 Munns, Jessica ‘The Dark Disorders of a Divided State”: Otway and Shakespeare’s Romeo and J u l i e t ............................... iv 347 Ornstein, Robert Can We Define the Nature of Shakespearean Tragedy? . iii 258 391 392 Comparative Drama Spingler, Michael Stokes, James Watt, Stephen Wertheim, Albert The King’s Play: Censorship and the Politics of Performance in Moliere’s Tartuffe The Wells Cordwainers Show: New Evidence Concerning Guild Entertainments in Somerset . Shaw’s Saint Joan and the Modem History Play The Modem British Homecoming Play iii 240 iv 332 i 58 ii 151 REVIEWS SPRING: Opera: The Extravagant Art, by Herbert Lindenberger (Gary Schmidgall ); Shakespeare and the Emblem: Studies in Renaissance Iconography and Iconology , ed. Tibor Fabiny (Roland Mushat Frye); Chekhov: A Study of the Four Major Plays, by Richard Peace (E. J. Czerwinski); Eugene O’Neill’s Critics: Voices from Abroad, ed. Horst Frenz and Susan Tuck (John H. Stroupe); Serf Actor: The Life and Art of Mikhail Shchepkin, by Laurence Senelick (Spencer Golub); Marlowe’s “Dr. Faustus” and “Tamburlaine": Theological and Theatrical Perspectives, by Johannes H. Birringer (Cecile Williamson Cary). SUMMER: On the Art of the No Drama: The Major Treatises of Zeami, trans. J. Thomas Rimer and Yamazaiki Masakazu (Leonard C. Pronko); Two Tudor Inter­ ludes: Nice Wanton and Impatient Poverty, ed. Leonard Tennenhouse (John Wasson); Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries, by Jonathan Dollimore (Rolf Soellner); Plays of Impasse: Contem­ porary Drama Set in Confining Institutions, by Carol Rosen (Marilyn Gaddis Rose); Shakespearean Iconoclasm, by James Siemon (Clifford Davidson). FALL Renaissance Drama. New Series XIV, ed. Leonard Barkan (William Godshalk ); The Idea of the Actor: Drama and the Ethics of Performance, by William B. Worthen (Tom Small); Musical Design in Aeschylean Theater, by William C. Scott (David Sider); Masques in Jacobean Tragedy, by Sarah P. Sutherland (Elise Bickford Jorgens); Shakespeare’s Analogical Scene, by Joan Hartwig (William M. Jones); The London Stage 1920-1929: A Calendar of Plays and Players, compiled by J. P. Wearing (Ralph Berry). WINTER: The Profession of Player in Shakespeare’s Time, 1590-1642, by Gerald Eades Bentley (Ejner J. Jensen); From Creation to Doom: The York Cycle of Mys­ tery Plays, by Clifford Davidson (J. W. Robinson); William Archer on Ibsen: The Major Essays, 1889-1919, ed. Thomas Postlewait (Thomas F. Van Laan); Elizabethan Stage Conventions and ¡Modern Interpreters, by Alan C. Dessen (W. L. Godshalk); Shakespeare’s Art of Orchestration: Stage Technique and Audience Response, by Jean E. Howard (James Coakley); Disjecta. Miscellaneous Writings and a Dramatic Frag­ ment, by Samuel Beckett; and Samuel Beckett, by Charles R. Lyons (Marilyn Gaddis Rose); Ben Jonson: To the First Folio, by Richard Dutton (Clifford J. Ronan); Antony and Cleopatra: Text and Performance, by Michael Scott; Hamlet: Text and Performance, by Peter Davison; Henry...