Renaissance Drama 33
Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theatre, and performance.
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How to Do Things with Othello and Desdemona
The Social Logic of Ben Jonsons Epicoene
Ben Jonson Makes His Excuses
Braving It in The Taming of the Shrew
King Lear Feminism and Performance
The Epicenotaph in Timon of Athens
Marston Collaboration and Eastward Ho
Early Modern Cultural Semantics
Alcibiades Antony apparel apprentice associated audience authority authorship Barbarossa Barbary Coast barbering beard Ben Jonson Brabantio braving Cambridge University Press captives Cassio castration Chapman characters claims clothes collaboration conﬂation contemporary context Cordelia critical cultural Dauphine Dekker depilated Derrida Desdemona DiGangi discussion domestic dramatic Early Modern England Eastward Eastward Ho economic Elizabethan Emilia English Epicoene epitaph erotic essay eunuch excuse father’s feminist ﬁgure ﬁnal ﬁnd ﬁrst gelding gender Goneril Grumio Heywood’s Histriomastix household Iago Iago’s Ibid identiﬁed inﬂuence John Marston Jonson Judith Butler King Lear language Lear’s literary livery London male man’s Mark Thornton Marston master Moor notes one’s Othello Ottoman Oxford pathic performance Petruchio’s play play’s production reference reﬂected Regan Renaissance rhetorical Roderigo role Roman Routledge sartorial scene servants sexual Shakespeare shaving Shrew signiﬁcance soliloquy speciﬁc stage status subjectivity suggests texts theater Thomas Timon of Athens Tranio Truewit Turk women words writing York