Brief Notices
- Brief Notices
Following a forward by Tom Clayton (9-10), acknowledgments (11-12), and an introduction (13-18), the primary text includes the parallel texts of Q1 and Q2 Romeo and Juliet on opposite pages (19-118). The volume also includes the appendices: "Handy-Dandy: Q1/Q2 Romeo and Juliet" (119-46); "Romeo and Juliet in Performance" (147-60); "Glossary" (161-68). The text concludes with a bibliography (169-72) and an index (173-75).
This volume begins with a list of figures (ix-x), notes on contributors (xi-xiv), acknowledgments (xv), and an introduction by Robert Henke (1-18). The primary text includes essays in five parts. Part 1, "Traveling Actors," includes Robert Henke, "Border Crossing in the Commedia dell'Arte" (19-34); M. A. Katrizky, "English Troupes in Early Modern Germany: The Women" (35-48). Part 2, "Transportable Units," includes Richard Andrews, "A Midsummer Night's Dream and Italian Pastoral" (49-62); Melissa Walter, "Dramatic Bodies and Novellesque Spaces in Jacobean Tragedy and Tragicomedy" (63-80). Part 3, "The Question of the Actress: Moral and Theoretical Transnationalisms," includes Eric Nicholson, "Ophelia Sings like a Prima Donna Innamorata: Ophelia's Mad Scene and the Italian Female Performer" (81-98); Jane Tylus, "Theorizing Women's Place: Nicholas Poussain, The Rape of the Sabines, and the Early Modern Stage" (99-118). Part 4, "Performing Alterity: Doubled National Identity," includes Christian M. Billing, "The Dutch Diaspora in English Comedy: 1598 to 1618" (119-40); Susanne L. Wofford, "Foreign Emotions on the Stage of Twelfth Night" (141-58); Jacques Lezra, "Translated Turks on the Early Modern Stage" (159-80). Part 5, "Performing a Nation: Transregional Exchanges," includes Clare McManus, "Epicene in Edinburgh (1672): City Comedy beyond the London Stage" (181-96); David Schalkwyk, "Proto-nationalist Performatives and Trans-theatrical Displacement in Henry V" (197-214); Shormishtha Panja, "Shakespeare on the Indian [End Page 285] Stage: Resistance, Recalcitrance, Recuperation" (215-24). The text concludes with an epilogue by Mace Perlman, "Reading Shakespeare, Reading the Masks of the Italian Commedia: Fixed Forms and the Breath of Life" (225-38), a select bibliography (239-60), and an index (261-64).
Following a list of illustrations (xi), acknowledgments (xiii), and an introduction by Karen Bamford (xii-xv), this volume contains essays in three parts. Part 1, "Contexts for Shakespeare's Comedies of Love," includes Anne Lancashire, "The Comedy of Love and the London Lord Mayor's Show" (3-29); Philip D. Collington, "A 'Pennyworth' of Marital Advice: Bachelors and Ballad Culture in Much Ado About Nothing" (30-54); Katherine West Scheil, "Shakespeare's Comedies and American Club Women" (55-66). Part 2, "Love in Shakespeare's Comedies," includes John H. Astington, " 'Five thousand year a boy': Love as Arrested Development" (67-79); David Bevington, "Love's Labour's Lost and Won" (80-97); Paul Budra, "Affecting Desire in Shakespeare's Comedies of Love" (98-109); Alan L. Ackerman, Jr., "A Spirit of Giving in A Midsummer Night's Dream" (110-25); Suzanne Westfall, "Love in the Contact Zone: Gender, Culture, and Race in The Merchant of Venice" (126-54); Arthur F. Kinney, "The Unity of Twelfth Night" (155-74); Alan Somerset, "The Baby in the Handbag: 'Family Matters' in Shakespeare" (175-92). Part 3, "Shakespeare's Comedies of Love on the Contemporary Stage," includes R. B. Parker, " 'Songs of Apollo': Love's Labour's Lost in 1961" (193-212); C. E. McGee, "Smitten: Staging Love at First Sight at the Stratford Festival" (213-27); G. B. Shand, "Romancing The Shrew: Recuperating a Comedy of Love" (228-45); Jill L. Levenson, "Love in a Naughty World: Modern Dramatic Adaptations of The Merchant of Venice" (246-61); Helen Ostovich, "Staging the Jew: Playing with the Text of The Merchant of Venice" (262-72). The...
