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Drama Criticism, Vol. 25

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COPYRIGHTED MATERIAL IN DC, VOLUME 25, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

Comparative Drama, v. 33, summer, 1999. Copyright © 1999 by the Editors of Comparative Drama. Reproduced by permission.—Consciousness, Literature, and the Arts, v. 3, August, 2002 for “Mirroring the Split Subject: Jean Genet’s The Balcony” by Christine Boyko-Head. Reproduced by permission of the author.—Dalhousie French Studies,v.44, 1998. Reproduced by permission.—The French Review, v. 63, May, 1990. Copyright © 1990 by the American Association of Teachers of French. Reproduced by permission.—French Studies, v. 50, October, 1996 for “Confused? You Will Be: Genet’s Les Nègres and the Art of Upsetting the Audience” by Derek Connon. Copyright © The Society for French Studies 1996. All rights reserved. Reproduced by permission of Oxford University Press Journals and the author.—Guardian (Manchester), April 17, 1987. Copyright Guardian Newspapers Limited 1987. Reproduced by permission.—Medieval and Renaissance Drama in England, v. 5, 1991. Reproduced by permission.—Modern Drama, v. 35, December, 1992. Copyright © 1992 by the University of Toronto, Graduate Centre for Study of Drama. Reproduced by permission.— Modern Language Review, v. 62, 1967. Copyright © Modern Humanities Research Association 1967. Reproduced by permission of the publisher and the author.—Notes on Contemporary Literature, v. 21, September, 1991. Copyright © 1991 by William S. Doxey. Reproduced by permission.—Raritan, v. 16, fall, 1996. Copyright © 1996 by Raritan: A Quarterly Review. Reproduced by permission.—Renaissance Drama, v. 9, 1966. Copyright © 1967 by Northwestern University Press. Reproduced by permission.—Restoration and Eighteenth Century Theatre Research, v. 11, winter, 1996. Copyright © 1996 Loyola University Chicago. Reproduced by permission./v. 16. 2003. Copyright © 2003 University of Denver. Reproduced by permission.—Romance Notes, v. 36, spring, 1996. Reproduced by permission.—SEL: Studies in English Literature, 1500-1900, v. 43, summer, 2003. Copyright © 2003 William Marsh Rice University. All rights reserved. Reproduced by permission of the Johns Hopkins University Press.—The Seventeenth Century, v. 2, July, 1987. Reproduced by permission.—Studies in the Humanities, v. 24, June-December, 1997. Copyright © 1997 by Indiana University Press of Pennsylvania. Reproduced by permission.—Studies in the Literary Imagination, v. 32, fall, 1999. Copyright © 1999 Department of English, Georgia State University. Reproduced by permission.—Studies in Twentieth Century Literature,v. 26, summer, 2002. Copyright © 2002 by Studies in Twentieth Century Literature. Reproduced by permission.—Times Literary Supplement, May 1, 1987. Copyright © 1987 by The Times Supplements Limited. Reproduced from The Times Literary Supplement by permission.—The Wall Street Journal, July 13, 1987 for “Shirley and Shakespeare” by Edwin Wilson. Copyright © 1987 Dow Jones & Company, Inc. All rights reserved. Reproduced by permission of the publisher and the author.—Women’s Writing, v. 6, 1999 for “Too Theatrical? Female Subjectivity in Caroline and Interregnum Drama” by Sophie Eliza Tomlinson; v. 7, 2000 for “Is There a Whig Canon? The Case of Susanna Centlivre” by Brean S. Hammond. Copyright © Triangle Journals Ltd., 1999, 2000. All rights reserved. Both reproduced by permission of the publisher and the author.

COPYRIGHTED MATERIAL IN DC, VOLUME 25, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Bateson, F. W. From English Comic Drama 1700-1750. Oxford at Clarendon Press, 1929. Reproduced by permission of Oxford University Press.—Belsey, Catherine. From “Tragedy, Justice, and the Subject,” in 1642: Literature and Power in the Seventeenth Century. Edited by Francis Barker. Department of Literature, University of Essex, 1981. Reproduced by permission of the author.—Bradby, David. From “Blacking up—Three Productions by Peter Stein,” in A Radical Stage: Theatre in Germany in the 1970s and 1980s. Edited by W. G. Sebald. Copyright © Berg Publishers Limited 1988. All rights reserved. Reproduced by permission.—Bratton, Jacky. From “Reading the Intertheatrical, or, the Mysterious Disappearance of Susanna Centlivre,” in Women, Theatre, and Performance: New Histories, New Historiographies. Edited by

Maggie B. Gale and Viv Gardner. Manchester University Press, 2000. Reproduced by permission of Manchester University Press, Manchester, UK.—Burner, Sandra A. From James Shirley: A Study of Literary Coteries and Patronage in Seventeenth-Century England. University Press of America, 1988. Copyright © 1988 by University Press of America, Inc. All rights reserved. Reproduced by permission.—Butler, Douglas R. From “Plot and Politics in Susanna Centlivre’s A Bold Stroke for a Wife,” in Curtain Calls: British and American Women and the Theatre, 1660-1820. Edited by Mary Anne Schofield and Cecilia Macheski. Ohio University Press, 1991. Copyright © 1991 by Ohio University Press. All rights reserved. Reproduced by permission.—Butler, Martin. From Theatre and Crisis, 1632-1642. Cambridge University Press, 1984. Copyright © 1984 by Cambridge University Press. Reprinted with the permission of Cambridge University Press.— Centlivre, Susannah. From an introduction to A Bold Stroke for a Wife. Edited by Thalia Stathas. University of Nebraska Press, 1968. Copyright © 1968, renewed 1996 by the University of Nebraska Press. All rights reserved. Reproduced by permission of the University of Nebraska Press.—Clark, Ira. From Professional Playwrights: Massinger, Ford, Shirley, and Brome. University Press of Kentucky, 1992. Copyright © 1992 by The University Press of Kentucky. Reproduced by permission.—Day, Gary. From “Artaud and Genet’s The Maids: Like Father, Like Son?” in Twentieth-Century European Drama. Edited by Brian Docherty. St, Martin’s Press, 1994. Copyright © The Editorial Board, Lumière Cooperative Press Ltd., 1994. All rights reserved. Reproduced by permission of Palgrave Macmillan.—Forsythe, Robert S. From The Relations of Shirley’s Plays to Elizabethan Drama. Columbia University Press, 1914. Reissued by Benjamin Blom, Inc., 1965. Reproduced by permission.—Huebert, Ronald. From an introduction to The Lady of Pleasure. Edited by Ronald Huebert. Manchester University Press, 1986. Copyright © Introduction, Critical Apparatus, etc, by Ronald Huebert, 1986. All rights reserved. Reproduced by permission of the author.—Huebert, Ronald. From “The Staging of Shirley’s The Lady of Pleasure,”in The Elizabethan Theatre IX: Papers Given at the Ninth International Conference on Elizabethan Theatre Held at the University of Waterloo, in July 1981. Edited by G. R. Hibbard. P. D. Meany, 1981. Copyright © P. D. Meany Company Inc. All rights reserved. Reproduced by permission.—Kinney, Suz-Anne. From “Confinement Sharpens the Invention: Aphra Behn’s The Rover and Susanna Centlivre’s The Busie Body,”in Look Who’s Laughing: Gender and Comedy. Edited by Gail Finney. Gordon and Breach, 1994. Copyright © 1994 by OPA (Amsterdam) B. V. All rights reserved. Reproduced by permission of International Thomson Publishing Services Ltd. and the editor.—Kreis-Schink, Annette. From Women, Writing, and the Theatre in the Early Modern Period: The Plays of Aphra Behn and Susanne Centlivre. Fairleigh Dickinson University Press, 2001. Copyright © 2001 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Lock, F. P. From Susanna Centlivre. Twayne Publishers, 1979. Copyright © 1979 by G. K. Hall & Co. All rights reserved. Reproduced by permission of the Gale Group.—Loftis, John. From Comedy and Society from Congreve to Fielding. Stanford University Press, 1959. Copyright © 1959 by the Board of Trustees of the Leland Stanford Junior University. Renewed 1987 by John Clyde Loftis. Reproduced by permission of the author.—Lucow, Ben. From James Shirley. Twayne Publishers, 1981. Copyright © 1981 by G. K. Hall & Co. All rights reserved. Reproduced by permission of the Gale Group.—Orgel, Stephen. From The Illusion of Power: Political Theatre in the English Renaissance. University of California Press, 1975. Copyright © 1975, by Stephen Orgel. Reproduced by permission.—Rosenthal, Laura J. From Playwrights and Plagiarists in Early Modern England: Gender, Authorship, Literary Property. Cornell University Press, 1996. Copyright © 1996 by Cornell University. Used by permission of the publisher, Cornell University Press.—Sensabaugh, George F. From “Platonic Love in Shirley’s The Lady of Pleasure,”in A Tribute to George Coffin Taylor: Studies and Essays, Chiefly Elizabethan, by His Students and Friends. Edited by Arnold Williams. University of North Carolina Press, 1952. Copyright, 1952, renewed 1980 by the University of North Carolina Press. All rights reserved. Used by permission of the publisher.—Yearling, E. M. From an introduction to The Cardinal. Manchester University Press, 1986. Copyright © The Estate of E. M. Yearling, 1986. All rights reserved. Reproduced by permission of the Literary Estate of E. M. Yearling.

PHOTOGRAPHS APPEARING IN DC, VOLUME 25, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Centlivre, Susanna, photograph. National Portrait Gallery, London.—Genet, Jean, photograph. Getty Images.—Shirley, James, engraving. Getty Images.

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