M
|
| Essay |
Author |
Location |
Macbeth and Hercules:
The Hero Bewitched
|
Elizabeth Truax |
Vol 23, No 4
Winter 1989-90 |
Machines for the Supression of Time:
Statues in Suor Angelica, The Winter's
Tale, and Alcestis
|
Robert C. Ketterer |
Vol 24, No 1
Spring 1990 |
Mactacio Desdemonae: Medieval Scenic
Form in the Last Scene of Othello
|
Cherrell Guilfoyle |
Vol 19, No 4
Winter 1985-86 |
Madhouse Optics: The Changeling
|
Joseph M. Duffy |
Vol 8, No 2
Summer 1974 |
Madness and Memory: Shakespeare's
Hamlet and King Lear
|
Jerome Mazzaro |
Vol 19, No 2
Summer 1985 |
Magic Mirrors in Richard II
read first paragraph
|
Robert Schuler |
Vol 38, No 2,3
Summer/Fall 2004 |
Mankind and Its Audience
|
Lawrence M. Clopper |
Vol 8, No 4
Winter 1974-75 |
Mapping Jouissance: Insights from
a Case Study in the Schizophrenia
of Canadian Drama
read first paragraph
|
Gregory Reid |
Vol 35, No 3,4
Fall/Winter 2001-02 |
Marlowe's Edward II and the
Medieval Passion Play
|
Patrick Ryan |
Vol 32, No 4
Winter 1998-99 |
Marlowe's Travesty of Virgil: Dido
and Elizabethan Dreams of Empire
read first paragraph
|
Donald Stump |
Vol 34, No 1
Spring 2000 |
Marriage in Late Medieval German Easter
and Shrovetide Plays
view abstract
|
Albrecht Classen |
Volume 40, Issue 1
Spring 2006 |
Martin Walser's Sauspiel and the
Contemporary German History Play
|
Gerald A. Fetz |
Vol 12, No 3
Fall 1978 |
| The Marxist Theater of Amiri Baraka |
W. D. E. Andrews |
Vol 18, No 2
Summer 1984
|
Mary's Obedience and Power in
the Trial of Joseph and Mary
|
Cindy L. Carlson |
Vol 29, No 3
Fall 1995 |
| The Masks of Cupid and Death |
Judith Dundas |
Vol 29, No 1
Spring 1995
|
Masking Becomes Electra: O'Neill,
Freud, and the Feminine
|
S. Georgia Nugent |
Vol 22, No 1
Spring 1988 |
Masks of the Empress: Polyphony
of Personae in Catherine the Great's
Oh, These Times!
|
Lurana Donnels O'Malley |
Vol 31, No 1
Spring 1997 |
The Masque of Hymen
in As You Like It
|
Marilyn L. Williamson |
Vol 2, No 4
Winter 1968-69 |
| The Mass on the English Stage |
Lynette R. Muir |
Vol 23, No 4
Winter 1989-90
|
"Master Harold" and the Bard:
Education and Succession in Fugard
and Shakespeare
|
David E. Hoegberg |
Vol 29, No 4
Winter 1995-96 |
Material Economy, Spiritual Economy,
and Social Critique in Everyman
view abstract
|
Elizabeth Harper
and Britt Mize |
Vol 40, No 3
Fall 2006 |
Mathematical Certainty and Pirandello's
Così è (se vi pare)
|
Jerome Mazzaro |
Vol 28, No 4
Winter 1994-95 |
Matthew Parker's Pastoral Training
and Marlowe's Doctor Faustus
|
Celia Barnes |
Vol 15, No 3
Fall 1981 |
Maturation and Political Upheaval
in Lloyd Fernando's Scorpion Orchid
and Robert Yeo's The Singapore Trilogy
read first paragraph
|
Catherine Diamond |
Vol 36, No 1,2
Spring/Summer 2002 |
"The meanest man . . . Shall be
permitted freely to accuse": The
Commoners in Woodstock
|
Alzada J. Tipton |
Vol 32, No 1
Spring 1998 |
Meanings of All for Love, 1677-1813
|
Tanya Caldwell |
Vol 38, No 2,3
Summer/Fall 2004 |
Measure for Measure and the
Unreconciled Virtues
|
Tom McBride |
Vol 8, No 3
Fall 1974 |
Measure for Measure, Montmorency
and Sardou's La Tosca
|
Mark Eccles |
Vol 14, No 1
Spring 1980 |
Medieval Drama: Diversity and Theatricality
|
Clifford Davidson |
Vol 8, No 1
Spring 1974 |
Medieval Korean Drama:
The Pongsan Mask Dance
view abstract
|
Dongchoon Lee |
Vol 39, No. 3,4
Fall/Winter 2005-06 |
The Medieval Plough Team on
Stage: Wordplay and Reality in
the Towneley Mactacio Abel
|
Margaret Rogerson |
Vol 28, No 2
Summer 1994 |
The Melodies of the Medieval
Church-Dramas and Their Significance
|
William L. Smolden |
Vol 2, No 3
Fall 1968 |
Memorial Reconstruction in
a Cornish Miracle Play
|
Paula Neuss |
Vol 5, No 2
Summer 1971 |
Memory and Madness in
Pirandello's Enrico IV
|
Jerome Mazzaro |
Vol 26, No 1
Spring 1992 |
Memory in Aeschylus'
Seven Against Thebes
|
Jerome Mazzaro |
Vol 18, No 2
Summer 1984 |
Memory, Composition, and the
Relationship of King John to The
Troublesome Raigne of King John
view abstract
|
Beatrice Groves |
Vol 38, No 2,3
Summer/Fall 2004 |
Men Beware Men: Shakespeare's
Warnings for Unfair Husbands
|
Ruth Vanita |
Vol 28, No 2
Summer 1994 |
Menaechmi and the Renaissance Comedy
view abstract
|
Richard F. Hardin |
Vol 37, No 3,4
Fall/Winter 2003-04 |
The Merchant of Venice, the Arab-Israeli
Conflict, and the Perils of Shakespearean
Appropriation
view abstract
|
Mark Bayer |
Vol 41, No 4
Winter 2007-08 |
The Merry Wives of Windsor:
Classical and Italian Intertexts
|
Robert S. Miola |
Vol 27, No 3
Fall 1993 |
The Metamorphosis of Theseus
in Oedipus at Colonus
|
Brian Johnston |
Vol 27, No 3
Fall 1993 |
Metaphorical Obscenity in French
Farce, 1460-1560
|
Barbara C. Bowen |
Vol 11, No 4
Winter 1977-78 |
Metatheater, Gender, and Subjectivity
in Richard II and Henry IV, Part I
|
R. A. Martin |
Vol 23, No 3
Fall 1989 |
Methods of Dram Criticism
|
Roy Battenhouse |
Vol 14, No 3
Fall 1980 |
Meyerhold Meets Mei Lanfang: Staging
the Grotesque and the Beautiful
|
Min Tian |
Vol 33, No 2
Summer 1999 |
The Middle Cornish Interlude:
Genre and Tradition
|
Evelyn S. Newlyn |
Vol 30, No 2
Summer 1996 |
The Middle-Cornish
Play Beunans Meriasek
|
Robert T. Meyer |
Vol 3, No 1
Spring 1969 |
The Middle English Resurrection
Play and Its Dramatic Antecedents
|
Robert A. Brawer |
Vol 8, No 1
Spring 1974 |
Milton, Dryden, and the Ideology of Genre
|
D. M. Rosenberg |
Vol 21, No 1
Spring 1987 |
The Mirror as Stage Prop
in Modern Drama
|
Thomas P. Adler |
Vol 14, No 4
Winter 1980-81 |
"The Mirror up to Nature": Notes
on Kozintsev's Hamlet
|
Barbara Hodgdon |
Vol 9, No 4
Winter 1975-76 |
Mnema and Forgetting in
Euripides' The Bacchae
|
Jerome Mazzaro |
Vol 27, No 3
Fall 1993 |
Mob Scenes: Their Generic Limitations
|
Auréliu Weiss |
Vol 1, No 4
Winter 1967-68 |
Mocking Dead Bones: Historical
Memory and the Theater of the
Dead in Richard III
read first paragraph
|
Stephen Marche |
Vol 37, No 1
Spring 2003 |
Mocking the Meat It Feeds On:
Representing Sarah Churchill's
Hystericks in Addison's Rosamond
|
Luis Gámez |
Vol 29, No 2
Summer 1995 |
Modal and Motivic Coherence in the
Music of the Fleury Play Book
|
Clyde W. Brockett |
Vol 16, No 4
Winter 1982-83 |
Models and Memory in the
Comedy of Menander
|
Sander M. Goldberg |
Vol 27, No 3
Fall 1993 |
| The Modern British Homecoming Play |
Albert Wertheim |
Vol 19, No 2
Summer 1985
|
Money Changes Everything: Quarto and
Folio The Merry Wives of Windsor
and the Case for Revision
view abstract
|
Peter Grav |
Vol 40, No 2
Summer 2006 |
"Monsters in Love's Train": Euripides
and Shakespeare's Troilus and Cressida
|
Margaret J. Arnold |
Vol 18, No 1
Spring 1984 |
The Morality Play: Ancestor
of Elizabethan Drama?
|
John Wasson |
Vol 13, No 3
Fall 1979 |
The Morall as an Elizabethan Dramatic
Kind: An Exploratory Essay
|
Alan C. Dessen |
Vol 5, No 2
Summer 1971 |
More's Richard III and Jonson's
Richard Crookback and Sejanus
|
Robert C. Evans |
Vol 24, No 2
Summer 1990 |
| Music and the English Mystery Plays |
JoAnna Dutka |
Vol 7, No 2
Summer 1973
|
Musical Structure in the
Second Shepherds' Play |
Regula Meyer Evitt |
Vol 22, No 4
Winter 1988-89
|
"My charms crack not": The
Alchemical Structure of The Tempest
|
Peggy Muñoz Simonds |
Vol 31, No 4
Winter 1997-98 |
‘My condicion in mannes soule to
kill’—Everyman’s Mercantile Salvation
view abstract
|
Roger A. Ladd |
Volume 41.1
Spring 2007 |
"My naked weapon": Male Anxiety
and the Violent Courtship of the
Jacobean Stage Widow
view abstract
|
Jennifer Panek |
Vol 34, No 3
Fall 2000 |
The Mystère d'Adam
and Christian Memory
|
Jerome Mazzaro |
Vol 31, No 4
Winter 1997-98
|
Mysteries, Minstrels, and Music
|
JoAnna Dutka |
Vol 8, No 1
Spring 1974 |
Myth and Neurosis in
Ibsen's Mature Plays
|
Margot Norris |
Vol 10, No 1
Spring 1976 |
The Mythic Foundation of Ibsen's Realism
|
Brian Johnston |
Vol 3, No 1
Spring 1969 |
Mythic Structure in Hedda Gabler:
The Mask Behind the Face |
Elinor Fuchs |
Vol 19, No 3
Fall 1985 |