1. To Dazzle as Macbeth: Bisociated Drama in Philip Roth's The Humbling
  2. James Duban
  3. pp. 1-16
  4. DOI: 10.1353/cdr.2012.0007
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  1. Lukács/Ibsen: Tragedy, Selfhood, and "Real Life" in The Master Builder and When We Dead Awaken
  2. William Storm
  3. pp. 17-39
  4. DOI: 10.1353/cdr.2012.0009
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  1. "I just die for some authority!": Barriers to Utopia in Howard Brenton's Greenland
  2. Siân Adiseshiah
  3. pp. 41-55
  4. DOI: 10.1353/cdr.2012.0011
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  1. "Where's my Fool?": Lear Motifs in Rigoletto
  2. Barbara Barry
  3. pp. 57-96
  4. DOI: 10.1353/cdr.2012.0001
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  1. Women and Revenge in Shakespeare: Gender, Genre, and Ethics (review)
  2. Lesley Kordecki
  3. pp. 97-99
  4. DOI: 10.1353/cdr.2012.0003
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  1. Susan Glaspell: The Complete Plays (review)
  2. Cheryl Black
  3. pp. 99-102
  4. DOI: 10.1353/cdr.2012.0005
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  1. The Sarah Siddons Audio Files: Romanticism and the Lost Voice (review)
  2. Amy Muse
  3. pp. 103-105
  4. DOI: 10.1353/cdr.2012.0006
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  1. Shakespeare and the Grammar of Forgiveness (review)
  2. Jan Frans van Dijkhuizen
  3. pp. 106-108
  4. DOI: 10.1353/cdr.2012.0008
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  1. Shakespeare's Great Stage of Fools (review)
  2. Robert Hornback
  3. pp. 108-111
  4. DOI: 10.1353/cdr.2012.0010
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  1. The Political Theatre of David Edgar: Negotiation and Retrieval (review)
  2. Yoo Kim
  3. pp. 111-114
  4. DOI: 10.1353/cdr.2012.0000
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  1. Manly Mechanicals on the Early Modern English Stage (review)
  2. Jennifer Low
  3. pp. 114-117
  4. DOI: 10.1353/cdr.2012.0002
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  1. Contributors
  2. pp. 119-121
  3. DOI: 10.1353/cdr.2012.0004
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