1. Building a Scene: The Text and Its Representation in The Atheist’s Tragedy
  2. Willia E. Gruber
  3. pp. 193-208
  4. DOI: 10.1353/cdr.1985.0002
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  1. Mythic Structure in Hedda Gabler: The Mask Behind the Face
  2. Elinor Fuchs
  3. pp. 209-221
  4. DOI: 10.1353/cdr.1985.0004
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  1. The Incest Motif in Shelley’s The Cenci
  2. Barbara Groseclose
  3. pp. 222-239
  4. DOI: 10.1353/cdr.1985.0006
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  1. The King’s Play: Censorship and the Politics of Performance in Moliere’s Tartuffe
  2. Michael Spingler
  3. pp. 240-257
  4. DOI: 10.1353/cdr.1985.0008
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  1. Can We Define the Nature of Shakespearean Tragedy?
  2. Robert Ornstein
  3. pp. 258-269
  4. DOI: 10.1353/cdr.1985.0010
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  1. Correction
  2. p. 269
  3. DOI: 10.1353/cdr.1985.0012
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  1. Renaissance Drama, New Seres XIV: Relations and Influences ed. by Leonard Barkan (review)
  2. William Godshalk
  3. pp. 270-274
  4. DOI: 10.1353/cdr.1985.0001
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  1. The Idea of the Actor: Drama and the Ethics of Performance by William B. Worthen (review)
  2. Tom Small
  3. pp. 274-276
  4. DOI: 10.1353/cdr.1985.0003
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  1. Musical Design in Aeschylean Theater by William C. Scott (review)
  2. David Sider
  3. pp. 277-278
  4. DOI: 10.1353/cdr.1985.0005
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  1. Masques in Jacobean Tragedy by Sarah P. Sutherland (review)
  2. Elise Bickford Jorgens
  3. pp. 279-281
  4. DOI: 10.1353/cdr.1985.0007
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  1. Shakespeare’s Analogical Scene by Joan Hartwig (review)
  2. William M. Jones
  3. pp. 281-282
  4. DOI: 10.1353/cdr.1985.0009
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  1. Correspondence
  2. James R. Sıemon
  3. pp. 284-288
  4. DOI: 10.1353/cdr.1985.0000
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