Home > Shakespearean Criticism > Titus Andronicus (Vol. 62) - Copyright Page

Editor

COPYRIGHTED EXCERPTS IN SC, VOLUME 62, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

Bucknell Review, v. 17, December, 1969; v. 26, 1982. Both reproduced by permission.—Cahiers Élisabéthains, v. 52, October, 1997. Reproduced by permission.—College Literature, v. 23, June, 1996. Reproduced by permission.—Criticism,

v. 38, Summer, 1996. Reproduced by permission.—Journal of English and Germanic Philology, v. 83, October, 1984. Reproduced by permission.—Modern Language Review, v. 75, October, 1980. Reproduced by permission.—New Literary History,v. 29, 1998. Reproduced by permission.—Shakespeare Quarterly, v. 21, Winter, 1970; v. 41, Winter, 1990; v. 45, Fall, 1994; v. 49, Fall, 1998. All reproduced by permission.—Shakespeare Studies: The Annual Gathering of Research, Criticism, and Reviews, v. 8, 1976; v. 14, 1981; v. 18, 1986. Copyright © 1975, 1981, 1986 by The Council for Research in the Renaissance. All rights reserved. Reproduced by permission.—Style,v. 28, Spring, 1994. Reproduced by permission.—University of Toronto Quarterly, v. 49, Fall, 1979. Reproduced by permission.

COPYRIGHTED EXCERPTS IN SC, VOLUME 62, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Berry, Ralph. From “Richard III: Bonding the Audience,” in Mirror Up to Shakespeare: Essays in Honour of G. R. Hibbard. University of Toronto Press, 1984. Copyright © 1984 by University of Toronto Press. All rights reserved. Reproduced by permission.—Brown, Jane K. From “Double Plotting in Shakespeare’s Comedies: The Case of Twelfth Night,” in Aesthetic Illusion: Theoretical and Historical Approaches. Edited by Frederick Burwick and Walter Pape. Walter de Gruyter, 1990. Copyright © 1990 Walter de Gruyter. All rights reserved. Reproduced by permission.—Colie, Rosalie L. From “Criticism and the Analysis of Craft: The Sonnets,” in Shakespeare’s Living Art. Princeton University Press, 1974. Copyright © 1974 by Princeton University Press. All rights reserved. Reproduced by permission.—Duncan-Jones, Katherine. An excerpt from the Introduction to Shakespeare’s Sonnets. Thomas Nelson and Sons Ltd., 1997. Copyright © 1997 by Thomas Nelson and Sons Ltd. All rights reserved. Reproduced by permission.—Eaton, Sara. From “A Woman of Letters: Lavinia in Titus Andronicus,” in Shakespearean Tragedy and Gender. Indiana University Press, 1996. Copyright © 1996 by Indiana University Press. All rights reserved. Reproduced by permission.—Fraser, Russell. From “Shakespeare at Sonnets,” in Singing Masters: Poets in English 1500 to the Present. University of Michigan Press, 1991. Copyright © 1991 by University of Michigan Press. All rights reserved. Reproduced by permission.—Garber, Marjorie B. From “Dream and Plot,” in Dream in Shakespeare: From Metaphor to Metamorphosis. Yale University Press, 1974. Copyright © 1974 by Yale University Press. All rights reserved. Reproduced by permission.—Hasler, Jörg. From “The Dramaturgy of the Ending of Twelfth Night,” in Shakespeare’s Theatrical Notation: The Comedies. Cooper Monographs, 1974. Copyright © 1974 by Cooper Monographs. All rights reserved. Reproduced by permission.—Hughes, Alan. An excerpt from the Introduction to Titus Andronicus, by William Shakespeare. Edited by Alan Hughes. Cambridge University Press, 1994. Copyright © 1994 by Cambridge University Press. All rights reserved. Reproduced by permission.—Hunter, G. K. From “Sources and Meanings in Titus Andronicus,” in Mirror Up to Shakespeare: Essays in Honour of G. R. Hibbard. University of Toronto Press, 1984. Copyright © 1984 by University of Toronto Press. All rights reserved. Reproduced by permission.—Hunter, Robert G. From “Richard III,” in Shakespeare and the Mystery of God’s Judgement. University of Georgia Press, 1976. Copyright © 1976 by University of Georgia Press. All rights reserved. Reproduced by permission.— Jardine, Lisa. From “Twins and Travesties: Gender, Dependency and Sexual Availability in Twelfth Night,” in Erotic Politics: Desire on the Renaissance Stage. Routledge, 1992. Copyright © 1992 by Routledge. All rights reserved. Reproduced by permission.—Levin, Harry. From “The Underplot of Twelfth Night,” in Shakespeare and the Revolution of the Times. Oxford University Press, 1976. Copyright © 1976 by Oxford University Press. All rights reserved. Reproduced by permission.—Magan, Michael. From “Twelfth Night,” in A Preface to Shakespeare’s Comedies: 1594-1603. Longman,

ix

1996. Copyright © 1996 by Longman. All rights reserved. Reproduced by permission.—Marienstras, Richard. From “The Forest, Hunting and Sacrifice in Titus Andronicus,” in New Perspectives on the Shakespearean World. Translated by Janet Lloyd. Cambridge University Press, 1985. Copyright © 1985 by Cambridge University Press. All rights reserved. Reproduced by permission.—Rackin, Phyllis. “History into Tragedy: The Case of Richard III,” in Shakespearean Tragedy and Gender. Edited by Shirley Nelson Garner and Madelon Sprengnether. Indiana University Press, 1996. Copyright © 1996 by Indiana University Press. All rights reserved. Reproduced by permission.—Shapiro, Michael. From “Anxieties of Intimacy: Twelfth Night,” in Gender in Play on the Shakespearean Stage. University of Michigan Press, 1996. Copyright © 1996 by University of Michigan Press. All rights reserved. Reproduced by permission.—Smidt, Kristian. From “Plots and Prophecies —The Tragedy of King Richard the Third,” in Unconformities in Shakespeare’s History Plays. The Macmillian Press Ltd., 1982. Copyright © 1982 by The Macmillian Press Ltd. All rights reserved. Reproduced by permission.—Stamm, Rudolf. From “The Alphabet of Speechless Complaint: A Study of the Mangled Daughter in Shakespeare’s Titus Andronicus,” in The Triple Bond: Plays, Mainly Shakespearean, in Perfomance. The Pennsylvania State University Press, 1975. Copyright © 1975 by The Pennsylvania State University Press. All rights reserved. Reproduced by permission.—Vaughan, Virginia Mason. From “The Construction of Barbarism in Titus Andronicus,” in Race, Ethnicity, and Power in the Renaissance. Edited by Joyce Green MacDonald. Fairleigh Dickinson University Press, 1997. Copyright © 1997 by Fairleigh Dickinson University Press. All rights reserved. Reproduced by permission.—Wright, George T. From “The Silent Speech of Shakespeare’s Sonnets,” in Shakespeare and the Twentieth Century: The Selected Proceedings of the International Shakespeare Association World Congress, Los Angeles. Edited by Jonathan Bate, Jill L. Levenson, and Dieter Mehl. University of Delaware Press, 1996. Copyright © 1996 by University of Delaware Press. All rights reserved. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 62, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Baker, Bob as Dorset, and Maggie Smith as Queen Elizabeth, in the 1977 Stratford Festival production of Shakespeare’s Richard III, Act IV, Scene I, directed by Robin Phillips, designed by Daphne Dare. Courtesy of Stratford Festival Archives.—Bochner, Lloyd as Orsino, Siobhan McKenna as Viola, Frances Hyland as Olivia, Ted Follows as Sebastian, and members of the Company, in the 1957 Stratford Festival production of Shakespeare’s Twelfth Night, Act V, Scene I, directed by Tyrone Guthrie, designed by Tanya Moiseiwitch, photograph. The Stratford Festival. Reproduced by permission.—Chamberlain, Douglas as the Bishop of Ely, Geraint Wyn Davies as Henry, Earl of Richmond, William Needles as Lord Stanley, Roger Honeywell as George Stanley, and members of the Company, in the 1988 Stratford Festival production of Shakespeare’s Richard III, Act V, Scene V, directed by Brian Rintoul, designed by Sue LePage, photograph. The Stratford Festival. Reproduced by permission.—Christmas, Eric as Feste, Martha Henry as Viola, Christopher Newton as Orsino, and members of the Company, in the 1966 Stratford Festival production of Shakespeare’s Twelfth Night, Act II, Scene IV, directed by David William, designed by Brian Jackson. The Stratford Festival. Reproduced by permission.— Chromolithograph of Malvolio, after an 1829 painting by Daniel Maclise, based on a character in Shakespeare’s play Twelfth Night. The Library of Congress.—Dedication page of the 1609 edition of Shakespeare’s Sonnets, text. The University of Michigan Library. Reproduced by permission.—Feste, conspiring with Maria in Illyrian palace, from “Shakespeare’s The Comedy of Twelfth Night or What You Will,” based on a scene from Shakespeare’s play Twelfth Night, illustration by W. Heath Robinson. The Library of Congress.—Frontispiece of Shakespeare’s Sonnets, lithograph by G. Greatbach, 19th century, photograph. Copyright © Historical Picture Archive/Corbis. Reproduced by permission.—Goodier, Robert as Richmond, Alec Guinness as Richard III, and members of the Company, in the 1953 Stratford Festival production of Shakespeare’s Richard III, Act V, Scene IV, directed by Tyrone Guthrie, designed by Tanya Moiseiwitsch, photograph. The Stratford Festival. Reproduced by permission.—Hamilton, Robert as Caius, Thom Mariott as Valentine, Peter Hutt as Marcus, Robert Benson as a Senator, Michael Wacholtz as a Saturninus Supporter, Scott Wentworth as Saturninus, Andy Pogson as a Saturninus Supporter, James Blendick as Titus, Timothy Askew as Bassianus, John Dolan as the Clown, Marion Day as Lavinia, Jerry Franken as Sempronius, Phillip Psutka as Young Lucius, Lewis Gordon as Aemilius, Michael Protti as a Bassianus Supporter, and Nicholas Van Burek as Publius, in the 2000 Stratford Festival production of Shakespeare’s Titus Andronicus, Act I, Scene I, directed by Richard Rose, set design by Teresa Przybylski, costume design by Charlotte Dean, photograph. Courtesy of Stratford Festival Archives.—Helpmann, Max as Marcus Andronicus, William Hutt as Titus Andronicus, Jennifer Phipps as Tamora, Robert Selkirk as Alarbus, Stephen Russell as Demetrius, and members of the Company, in the 1978 Stratford Festival production of Shakespeare’s Titus Andronicus, Act I, Scene I, directed by Brian Bedford, designed by Desmond Heeley, photograph. Courtesy of Stratford Festival Archives.—Hopkins, Anthony as Titus Andronicus, and Alan Cumming as Saturninus, in a scene from Titus, directed by Julie Taymor, photograph. Kobal Collection. Reproduced by permission.—Lennix, Harry J. as Aaron, in a scene from Titus, directed by Julie Taymor, photograph. Kobal Collection. Reproduced by permission.—Page H3 of the 1609 edition of Shakespeare’s Sonnets, text. The University of Michigan Library. Reproduced by permission.—Warde, Frederick as Richard III in a scene from the 1912 film version of Shakespeare’s Richard III, photograph. AP/Wide World Photos. Reproduced by permission.

Dr. Toby Burrows Patricia Sarles, MA, MLS

Principal Librarian Canarsie High School Library The Scholars’ Centre Brooklyn, New York University of Western Australia Library

Mark Schumacher Steven R. Harris

English Literature Librarian Jackson Library University of Tennessee University of North Carolina at Greensboro

Mary Jane Marden Gwen Scott-Miller

Literature and General Reference Librarian Humanities Department Manager St. Petersburg Jr. College Seattle Public Library

Catherine Palmer Instructional Services Librarian and English and Com-Ann Marie Wiescinski parative Literature Librarian Central High School Library University of California, Irvine Bay City, Michigan