1. Madonna, Whore: Mary’s Sexuality in the N-Town Plays
  2. Emma Maggie Solberg
  3. pp. 191-219
  4. DOI: 10.1353/cdr.2014.0016
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  1. Antonio’s (Happy) Ending: Queer Closure in All-Male Twelfth Night
  2. Chad Allen Thomas
  3. pp. 221-240
  4. DOI: 10.1353/cdr.2014.0018
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  1. Tyrants, Tudors, and the Digby Mary Magdalen
  2. Heather S. Mitchell-Buck
  3. pp. 241-259
  4. DOI: 10.1353/cdr.2014.0020
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  1. From Pain, Poetry: Howard Barker’s Blok/Eko and the Poetics of Plethoric Theater
  2. Matthew Roberts
  3. pp. 261-276
  4. DOI: 10.1353/cdr.2014.0022
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  1. The Country Wife, Dance of the Cuckolds
  2. David Gelineau
  3. pp. 277-305
  4. DOI: 10.1353/cdr.2014.0024
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Reviews

  1. Five Words: Critical Semantics in the Age of Shakespeare and Cervantes by Roland Greene (review)
  2. Gabriela Carrión
  3. pp. 307-309
  4. DOI: 10.1353/cdr.2014.0013
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  1. Tom Stoppard: Bucking the Postmodern by Daniel Keith Jernigan (review)
  2. William W. Demastes
  3. pp. 312-315
  4. DOI: 10.1353/cdr.2014.0017
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  1. Bernard Kops: Fantasist, London Jew, Apocalyptic Humorist by William Baker and Jeanette Roberts Shumaker (review)
  2. Laini Kavaloski
  3. pp. 315-318
  4. DOI: 10.1353/cdr.2014.0019
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  1. Modernity, Community, and Place in Brian Friel’s Drama by Richard Rankin Russell (review)
  2. Rhona Trench
  3. pp. 318-321
  4. DOI: 10.1353/cdr.2014.0021
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  1. The Theater of Terrence McNally: A Critical Study by Peter Wolfe (review)
  2. James Marland
  3. pp. 321-324
  4. DOI: 10.1353/cdr.2014.0023
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  1. Brief Notices
  2. pp. 327-329
  3. DOI: 10.1353/cdr.2014.0012
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  1. Contributors
  2. pp. 331-332
  3. DOI: 10.1353/cdr.2014.0014
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