In this Issue

Table of Contents

“A somber passion strengthens her voice”: The Stage as Public Platform in British Women’s Suffrage Drama

Rebecca Cameron
pp. 293-316
DOI: https://doi.org/10.1353/cdr.2016.0024
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“I Knew Not How to Call Her Now”: The Bigamist’s Second Wife in The Witch Of Edmonton and All’s Lost By Lust

David Nicol
pp. 317-339
DOI: https://doi.org/10.1353/cdr.2016.0025
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(Mis)reading Ibsen: Chinese Noras On and Off the Stage and Nora in Her Chinese Husband’s Ancestral Land of the 1930s as Reimagined for the Globalized World Today

Shouhua Qi
pp. 341-364
DOI: https://doi.org/10.1353/cdr.2016.0026
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Melancholy Ontology, Evental Ethics, and the Lost (m)Other in Howard Barker’s Theatre of Catastrophe: An Analysis of 13 Objects

Alireza Fakhrkonandeh
pp. 365-405
DOI: https://doi.org/10.1353/cdr.2016.0027
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Reviews

The Late Work of Sam Shepard by Shannon Blake Skelton (review)

Susan C. W. Abbotson
pp. 407-410
DOI: https://doi.org/10.1353/cdr.2016.0028
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The Hand on the Shakespearean Stage: Gesture, Touch and the Spectacle of Dismemberment by Farah Karim-Cooper (review)

Vanessa I. Corredera
pp. 410-413
DOI: https://doi.org/10.1353/cdr.2016.0029
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Queer Philologies: Sex, Language, and Affect in Shakespeare’s Time by Jeffrey Masten (review)

John Garrison
pp. 413-416
DOI: https://doi.org/10.1353/cdr.2016.0030
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Shakespeare’s Extremes: Wild Man, Monster, Beast by Julián Jiménez Heffernan (review)

Scott Maisano
pp. 416-419
DOI: https://doi.org/10.1353/cdr.2016.0031
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The Theatre of David Henry Hwang by Esther Kim Lee (review)

Deborah Ross
pp. 419-422
DOI: https://doi.org/10.1353/cdr.2016.0032
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Mermaids and the Production of Knowledge in Early Modern England by Tara E. Pedersen (review)

Katherine Walker
pp. 422-425
DOI: https://doi.org/10.1353/cdr.2016.0033
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Brief Notices

pp. 427-431
DOI: https://doi.org/10.1353/cdr.2016.0034
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Contributors

pp. 433-434
DOI: https://doi.org/10.1353/cdr.2016.0035
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