1. ‘It Is Written’: Tom Stoppard and the Drama of the Intertext
  2. Kinereth Meyer
  3. pp. 105-122
  4. DOI: 10.1353/cdr.1989.0024
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  1. Silent Women and Shrews: Eroticism and Convention in Epicoene and Measure for Measure
  2. Charles R. Lyons
  3. pp. 123-140
  4. DOI: 10.1353/cdr.1989.0027
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  1. The Imperial Play as Final Chapter in the Jesuit Theater in Austria
  2. Eugene J. Devlin
  3. pp. 141-155
  4. DOI: 10.1353/cdr.1989.0029
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  1. Theatrical Pragmatics: The Actor-Audience Relationship from the Mystery Cycles to the Early Tudor Comedies
  2. Hans-Jürgen Diller
  3. pp. 156-165
  4. DOI: 10.1353/cdr.1989.0031
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  1. Selected Letters of Eugene O’Neill ed. by Travis Bogard, Jackson R. Bryer (review)
  2. Michael Manheim
  3. pp. 179-181
  4. DOI: 10.1353/cdr.1989.0021
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  1. A Companion to Henslowe’s Diary by Neil Carson (review)
  2. Arthur F. Kinney
  3. pp. 181-184
  4. DOI: 10.1353/cdr.1989.0023
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  1. Peter Shaffer: Roles, Rites, and Rituals in the Theater by Gene A. Plunka (review)
  2. Dennis A. Klein
  3. pp. 188-191
  4. DOI: 10.1353/cdr.1989.0028
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  1. “Concord in Discord”: The Plays of John Ford 1586–1986 ed. by Donald K. Anderson, Jr. (review)
  2. Phoebe S. Spinrad
  3. pp. 191-192
  4. DOI: 10.1353/cdr.1989.0030
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  1. Tom Stoppard: The Artist as Critic by Neil Sammells (review)
  2. Katherine E. Kelly
  3. pp. 193-195
  4. DOI: 10.1353/cdr.1989.0032
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  1. Hamlet: Film, Television, and Audio Performance ed. by Bernice Kliman (review)
  2. Frances Teague
  3. pp. 195-197
  4. DOI: 10.1353/cdr.1989.0020
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  1. The Banished Prince: Time, Memory, and Ritual in the Late Plays of Eugene O’Neill by Laurin Porter (review)
  2. Michael Hinden
  3. pp. 197-198
  4. DOI: 10.1353/cdr.1989.0022
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  1. The Designs of Carolean Comedy by Eric Rothstein, Frances M. Kavenik (review)
  2. Christopher Spencer
  3. pp. 198-200
  4. DOI: 10.1353/cdr.1989.0025
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