1. “A somber passion strengthens her voice”: The Stage as Public Platform in British Women’s Suffrage Drama
  2. Rebecca Cameron
  3. pp. 293-316
  4. DOI: 10.1353/cdr.2016.0024
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  1. “I Knew Not How to Call Her Now”: The Bigamist’s Second Wife in The Witch Of Edmonton and All’s Lost By Lust
  2. David Nicol
  3. pp. 317-339
  4. DOI: 10.1353/cdr.2016.0025
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  1. The Late Work of Sam Shepard by Shannon Blake Skelton (review)
  2. Susan C. W. Abbotson
  3. pp. 407-410
  4. DOI: 10.1353/cdr.2016.0028
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  1. The Hand on the Shakespearean Stage: Gesture, Touch and the Spectacle of Dismemberment by Farah Karim-Cooper (review)
  2. Vanessa I. Corredera
  3. pp. 410-413
  4. DOI: 10.1353/cdr.2016.0029
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  1. Queer Philologies: Sex, Language, and Affect in Shakespeare’s Time by Jeffrey Masten (review)
  2. John Garrison
  3. pp. 413-416
  4. DOI: 10.1353/cdr.2016.0030
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  1. Shakespeare’s Extremes: Wild Man, Monster, Beast by Julián Jiménez Heffernan (review)
  2. Scott Maisano
  3. pp. 416-419
  4. DOI: 10.1353/cdr.2016.0031
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  1. The Theatre of David Henry Hwang by Esther Kim Lee (review)
  2. Deborah Ross
  3. pp. 419-422
  4. DOI: 10.1353/cdr.2016.0032
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  1. Mermaids and the Production of Knowledge in Early Modern England by Tara E. Pedersen (review)
  2. Katherine Walker
  3. pp. 422-425
  4. DOI: 10.1353/cdr.2016.0033
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  1. Brief Notices
  2. pp. 427-431
  3. DOI: 10.1353/cdr.2016.0034
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  1. Contributors
  2. pp. 433-434
  3. DOI: 10.1353/cdr.2016.0035
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