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| Essay | Author | Location |
| Gadshill, Hotspur, and the Design of Proleptic Parody |
Robert P. Merrix and Arthur Palacas |
Volume 14, Issue 4 Winter 1980-81 |
| Garbled Martyrdom in Christopher Marlowe's The Massacre at Paris |
Kristen Elizabeth Poole | Volume 32, Issue 1 Spring 1998 |
| G. B. Shaw’s Heartbreak House and Harold Pinter’s The Homecoming: Comedies of Implosion view abstract |
Emil Roy | Volume 41, Issue 3 Fall 2007 |
| Generic Complexity in Ibsen's An Enemy of the People |
Thomas F. Van Laan | Volume 20, Issue 2 Summer 1986 |
| Genet's The Blacks and The Screens: Dialectic of Refusal and Revolutionary Consciousness |
W. F. Sohlich | Volume 10, Issue 3 Fall 1976 |
| ‘Gentleness’ and Social Class in The Merry Wives of Windsor read first pargraph |
Maurice Hunt | Volume 42, Issue 4 Winter 2008 |
| Gimcrack’s Legacy: Sex, Wealth, and the Theater of Experimental Philosophy view 1st paragraph |
Tita Chico | Volume 42, Issue 1 Spring 2008 |
| Giulio Camillo's Idea of the Theatre: The Enigma of the Renaissance |
Albert R. Cirillo | Volume 1, Issue 1 Spring 1967 |
| The Globalization of Beckett's Godot read first paragraph |
Enoch Brater | Volume 37, Issue 2 Summer 2003 |
| Goodnight Desdemona (Good Morning Juliet): From Shakespearean Tragedy to Postmodern Satyr Play read first paragraph |
Igor Djordjevic | Volume 37, Issue 1 Spring 2003 |
| Granville Barker's Production of The Winter's Tale (1912) |
Brian Pearce | Volume 30, Issue 3 Fall 1996 |
| The Great Calvaries of Brittany and the Medieval Breton Burzud braz Jezuz |
Stanley Damberger and Ellin M. Kelly |
Volume 25, Issue 1 Spring 1991 |
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