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Table of Contents

  1. “The Naked Fellow”: Performing Feral Reversion in King Lear
  2. Julián Jiménez Heffernan
  3. pp. 133-162
  4. DOI: https://doi.org/10.1353/cdr.2015.0023
  5. restricted access
  1. Law, Farce, and Counter-Kingship in the Semur Fall of Lucifer
  2. Nicole R. Rice
  3. pp. 163-189
  4. DOI: https://doi.org/10.1353/cdr.2015.0025
  5. restricted access
  1. Gender, Authenticity, and Diasporic Identities in Adebayo’s Moj of the Antarctic and Iizuka’s 36 Views
  2. Ellen Moll
  3. pp. 191-224
  4. DOI: https://doi.org/10.1353/cdr.2015.0014
  5. restricted access
  1. Emulation on the Shakespearean Stage by Vernon Guy Dickson (review)
  2. Marissa Greenberg
  3. pp. 225-228
  4. DOI: https://doi.org/10.1353/cdr.2015.0016
  5. restricted access
  1. Dark Matter: Invisibility in Drama, Theater, and Performance by Andrew Sofer (review)
  2. Fran Teague
  3. pp. 228-230
  4. DOI: https://doi.org/10.1353/cdr.2015.0018
  5. restricted access
  1. Domesticating Ibsen for Italy: Enrico and Icilio Polese’s Ibsen Campaign by Giuliano D’Amico (review)
  2. Patricia Gaborik
  3. pp. 230-233
  4. DOI: https://doi.org/10.1353/cdr.2015.0020
  5. restricted access
  1. Caryl Churchill by Mary Luckhurst (review)
  2. Verna A. Foster
  3. pp. 233-236
  4. DOI: https://doi.org/10.1353/cdr.2015.0022
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  1. Brief Notices
  2. pp. 251-254
  3. DOI: https://doi.org/10.1353/cdr.2015.0019
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  1. The Cambridge Introduction to Tom Stoppard by William W. Demastes (review)
  2. David Kornhaber
  3. pp. 246-249
  4. DOI: https://doi.org/10.1353/cdr.2015.0017
  5. restricted access
  1. Contributors
  2. pp. 255-257
  3. DOI: https://doi.org/10.1353/cdr.2015.0021
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