In this Issue

Table of Contents

Madonna, Whore: Mary’s Sexuality in the N-Town Plays

Emma Maggie Solberg
pp. 191-219
DOI: https://doi.org/10.1353/cdr.2014.0016
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Antonio’s (Happy) Ending: Queer Closure in All-Male Twelfth Night

Chad Allen Thomas
pp. 221-240
DOI: https://doi.org/10.1353/cdr.2014.0018
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Tyrants, Tudors, and the Digby Mary Magdalen

Heather S. Mitchell-Buck
pp. 241-259
DOI: https://doi.org/10.1353/cdr.2014.0020
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From Pain, Poetry: Howard Barker’s Blok/Eko and the Poetics of Plethoric Theater

Matthew Roberts
pp. 261-276
DOI: https://doi.org/10.1353/cdr.2014.0022
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The Country Wife, Dance of the Cuckolds

David Gelineau
pp. 277-305
DOI: https://doi.org/10.1353/cdr.2014.0024
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Five Words: Critical Semantics in the Age of Shakespeare and Cervantes by Roland Greene (review)

Gabriela Carrión
pp. 307-309
DOI: https://doi.org/10.1353/cdr.2014.0013
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Performing Masculinity in English University Drama, 1598–1636. Studies in Performance and Early Modern Drama by Christopher Marlow (review)

Jeanne H. McCarthy
pp. 309-312
DOI: https://doi.org/10.1353/cdr.2014.0015
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Tom Stoppard: Bucking the Postmodern by Daniel Keith Jernigan (review)

William W. Demastes
pp. 312-315
DOI: https://doi.org/10.1353/cdr.2014.0017
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Bernard Kops: Fantasist, London Jew, Apocalyptic Humorist by William Baker and Jeanette Roberts Shumaker (review)

Laini Kavaloski
pp. 315-318
DOI: https://doi.org/10.1353/cdr.2014.0019
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Modernity, Community, and Place in Brian Friel’s Drama by Richard Rankin Russell (review)

Rhona Trench
pp. 318-321
DOI: https://doi.org/10.1353/cdr.2014.0021
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The Theater of Terrence McNally: A Critical Study by Peter Wolfe (review)

James Marland
pp. 321-324
DOI: https://doi.org/10.1353/cdr.2014.0023
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Brief Notices

pp. 327-329
DOI: https://doi.org/10.1353/cdr.2014.0012
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Contributors

pp. 331-332
DOI: https://doi.org/10.1353/cdr.2014.0014
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