Editor

COPYRIGHTED EXCERPTS IN SC, VOLUME 55, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

English Language Notes, v. xxix, September, 1991. Reproduced by permission.—English Literary History, v. 52, Fall, 1985, for “All’s Well That Ends Well and the Limits of Comedy” by David Scott Kastan. Copyright © 1985 by The Johns Hopkins University Press. Reproduced by permission of publisher and the author.—English Literary Renaissance,v.16, Winter, 1986. Copyright © 1986 by English Literary Renaissance. Reproduced by permission.—Essays in Criticism, v. vli, October, 1991. Reproduced by permission.—Essays in Literature, v. xvii, Fall, 1990. Copyright © 1990 by Western Illinois University. Reproduced by permission.—New Literary History, vol. 21, Spring, 1990, for “Shakespeare, Cultural Materialism, Feminism and Marxist Humanism” by Jonathan Dollimore. Copyright © 1990 by The University of Virginia. Reproduced by permission of The Johns Hopkins University Press.—PMLA, v. 103, March, 1988. Reprinted by permission of the Modern Language Association of America.—Renaissance Quarterly, v. 40, Winter, 1987; v. 46, Spring, 1993. Copyright © 1987, 1993 by Renaissance Society of America. Both reproduced by permission.—Renascence, v. xlvii, Fall, 1994. Copyright © 1995. Reproduced by permission.—Shakespeare Quarterly, v. 39, Fall, 1988; v. 45, Winter, 1994; v. 47, Summer, 1996. Copyright © The Folger Shakespeare Library, 1988, 1994, 1996. All reproduced by permission of publisher.—Shakespeare Studies, vol. xiii, 1980, for “All’s Well That Ends Well, and ‘All Seems Well’” by Richard A. Levin. Reproduced by permission of author.—Shakespeare Survey, v. 25, 1972. Copyright © Cambridge University Press, 1972. Reproduced by permission.—Shakespeare Yearbook, v. 2, Spring, 1991. Reproduced by permission.—Studies in English Literature: 1500-1900, v. 38, Spring, 1998, for “Children of the Mind: Miscarried Narratives in Much Ado about Nothing” by Stephen B. Dobranksi. Copyright © 1998 by Studies in English Literature, 1500-1900. Reproduced by permission of The Johns Hopkins University Press.—Studies in Philology, v. lxxxix, Spring, 1992. Copyright © 1992 by The University of North Carolina Press. Used by permission of the publisher.—Theatre Survey, v. 31, May, 1990. Reproduced by permission.—University of Toronto Quarterly, v. 60, Summer, 1991. Copyright © University of Toronto Press, 1991. All rights reserved. Reprinted by permission of University of Toronto Press Incorporated.—Women’s Studies, v. 18, 1990, for “Feminism and Shakespeare’s Cressida: ‘If I be False ©’” by Sharon M. Harris; v. 26, 1997, for “On the Origins of American Feminist Shakespeare Criticism” by Peter Erickson. Copyright © 1990, 1997 by Gordon and Breach Science Publishers S. A. Both reproduced by permission of the publisher and the authors.

COPYRIGHTED EXCERPTS IN SC, VOLUME 55, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Adelman, Janet. From “‘This Is and Is Not Cressid’: The Characterization of Cressida” in The Mother Tongue: Essays in Feminist Psychoanalytic Interpretation. Edited by Shirley Nelson Garner, Claire Kahane, and Madelon Sprengnether, Cornell University Press, 1985. Copyright © 1985 by Cornell University. All rights reserved. Used by permission of the publisher, Cornell University Press. Bretzius, Stephen. From Shakespeare in Theory: The Postmodern Academy and the Early Modern Theater. University of Michigan Press, 1997. Copyright © by the University of Michigan, 1997. All rights reserved. Reproduced by permission.—Dash, Irene G. From Women’s Worlds in Shakespeare’s Plays. University of Delaware Press, 1997. Reproduced by permission.—Erickson, Peter. From Rewriting Shakespeare, Rewriting Ourselves. University of California Press, 1991. Copyright © 1991 by The Regents of the University of California. Reproduced by permission.—Free, Mary. From “‘All’s Well That Ends Well’ as Noncomic Comedy” in Acting Funny: Comic Theory and Practice in Shakespeare’s Plays. Edited by Frances Teague, Fairleigh Dickinson University Press, 1994. Copyright © 1994 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Freedman, Barbara. From Staging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy. Cornell University Press, 1991. Copyright © 1991 by Cornell University. All rights reserved. Used by permission of the publisher, Cornell University Press.—Hall,

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Jonathan. From Anxious Pleasures: Shakespearean Comedy and the Nation-State. Fairleigh Dickinson University Press, 1995. Copyright © 1995 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Mangan, Michael. From A Preface to Shakespeare’s Comedies: 1594-1603. Longman, 1996. © Longman Group Limited, 1996. All rights reserved. Reproduced by permission.—McLuskie, Kathleen. From “The Patriarchal Bard: Feminist Criticism and Shakespeare: King Lear and Measure for Measure” in Political Shakespeare: New Essays in Cultural Materialism. Edited by Jonathan Dollimore and Alan Sinfield. Manchester University Press, 1985. Copyright © Manchester University Press 1985. Reproduced by permission.—Miller, Stephen. From “The Taming of a Shrew and the Theories; or, ‘Though this be badness, yet there is method in’t’” in Textual Formations and Reformations. Edited by Laurie E. Maguire and Thomas L. Berger, University of Delaware Press, 1998. Copyright © 1998 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Newman, Karen. From Shakepeare’s Rhetoric of Comic Character: Dramatic Convention in Classical and Renaissance Comedy. Methuen & Co., 1985. © 1985 by Karen Newman. Reproduced by permission.— Ornstein, Robert. From Shakespeare’s Comedies: From Roman Farce to Romantic Mystery. University of Delaware Press, 1986. Copyright © 1986 by Associated University Presses, Inc. Reproduced by permission.—Ouditt, Sharon. From “Explaining Woman’s Fraility: Feminist Readings of Gertrude” in Hamlet. Edited by Peter J. Smith and Nigel Wood, Open University Press, 1996. Copyright © The Editor and Contributors, 1996. All rights reserved. Reproduced by permission.— Rutter, Carol. From “Kate, Bianca, Ruth, and Sarah: Playing the Woman’s Part in The Taming of the Shrew” in Shakespeare’s Sweet Thunder: Essays on the Early Comedies. Edited by Michael J. Collins, University of Delaware Press, 1997. © 1997 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Thompson, Ann. From “Feminist Theory and the Editing of Shakespeare: The Taming of the Shrew Revisited” in The Margins of the Text. Edited by D. C. Greetham, University of Michigan Press, 1997. Copyright © by the University of Michigan, 1997. All rights reserved. Reproduced by permission.—Wheeler, Richard P. From Shakespeare’s Development and the Problem Comedies: Turn and Counter-Turn. University of California Press, 1981. © 1981 by The Regents of the University of California. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 55, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Act III, scene i, from William Shakespeare’s Much Ado About Nothing, engraving. Special Collections Library, University of Michigan. Reproduced by permission.—Act III, scene ii, from William Shakespeare’s The Taming of the Shrew, engraving. Special Collections Library, University of Michigan. Reproduced by permission.—Act V, scene iii, from William Shakespeare’s All’s Well That Ends Well, from Boydell-Shakespeare Gallery, Photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Act V, scene iv, from William Shakespeare’s Much Ado About Nothing, engraving. Special Collections Library, University of Michigan. Reproduced by permission.—Dogberry, Verges, Conrade, Borachio, Sexton and the Watch in Act IV, scene ii, from William Shakespeare’s Much Ado About Nothing, engraving. Special Collections Library, University of Michigan. Reproduced by permission.—Edward Atienza, Rodger Allan, Brian Gromoff, Scott Denton, Stanley Coles, and Edward Henry in a theatre production of William Shakespeare’s The Taming of the Shrew, 1973, Stratford Festival. Courtesy of the Stratford Festival Archives.—Emma Thompson as Beatrice and Kenneth Branaugh as Benedick in William Shakespeare’s Much Ado about Nothing, movie still. The Kobal Collection. Reproduced by permission.—Fiona Reed, John Novak, Cheryl Swarts, David Huband, Paul Massie, Diego Matamoros, Seana McKenna, and Lee J. Campbell in a theater production of William Shakespeare’s All’s Well That Ends Well, directed by Richard Cottrell, designed by Christina Poddubiuk, 1982, Stratford Festival. Courtesy of the Stratford Festival Archives.—Googie Withers as Gertude and Dorothy Tutin as Ophelia in a scene from William Shakespeare’s Hamlet. Reproduced by permission of Hulton-Deutsch Collection/CORBIS.—Helena, Parolles, and Bertram in Act II, scene v, from William Shakespeare’s All’s Well That Ends Well. Originally appeared in Shakespearean Scenes (1986), Photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Joseph Fiennes with Victoria Hamilton in a scene from William Shakespeare’s Troilus and Cressida. Reproduced by the permission of Robbie JackJ/CORBIS.— Kate Reid and John Colicos in a theater production of William Shakespeare’s The Taming of the Shrew, directed by Michael Langham, designed by Tanya Moiseiwitsch, 1962, Stratford Festival. Courtesy of the Stratford Festival Archives.— Max Helpmann, Barney O’Sullivan, Peter Hutt, and Ron Hastings in a theater production of William Shakespeare’s The Taming of the Shrew, directed by Peter Dews, designed by Susan Benson, 1981, Stratford Festival. Courtesy of the Stratford Festival Archives.—Tony Martin, Ted Atherton, John McPherson, Keith Thomas, Nigel Hamer, Bernard Hopkins, Eric McCormack, Antoni Cimolino, Michael Hanrahan, Robert Smith, and Alexandre Beaulieu in a theater production of William Shakespeare’s All’s Well That Ends Well, directed by Peter Moss, designed by Christina Poddubiuk, 1988, Stratford Festival. Courtesy of the Stratford Festival Archives.