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<p class="MsoPlainText"><b><i><span style="font-size:12.0pt">Modern Drama<o:p></o:p></span></i></b></p>
<p class="MsoPlainText"><span style="font-size:12.0pt">Volume 57, Number 4, Winter 2014<br>
<a href="http://bit.ly/MD574">http://bit.ly/MD574</a><o:p></o:p></span></p>
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<p><span style="font-family:"Calibri","sans-serif"">This issue contains: <o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></b></p>
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<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">Teacups and Butter: The Importance of Eating in Ibsen’s
<i>A Doll’s House</i> and <i>The Wild Duck</i><span style="color:#404040"><o:p></o:p></span></span></b></p>
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<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p> </o:p></span></b></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">Stephanie Pocock Boeninger<br>
</span><span style="font-family:"Calibri","sans-serif""><a href="http://bit.ly/MDonline574a">http://bit.ly/MDonline574a</a></span><span style="font-family:"Calibri","sans-serif";color:#006699"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif""><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif"">This article examines the significance of food and drink in Henrik Ibsen’s
<i>A Doll House</i> and <i>The Wild Duck</i>, arguing that Ibsen’s staging of physical consumption is an integral part of his innovative realistic dramatic technique. In both plays, food, literally incorporated into the bodies of the actors, functions as an
insistent reminder of physicality. <a href="http://bit.ly/MDonline574a">>> <i>Continue reading</i></a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/n2617g0050707023/">10.3138/CART.0666</a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">Aesthetic Radicalism: Langston Hughes’s Lost Translation of Federico García Lorca’s
<i>Bodas de sangre / Blood Wedding</i><span style="color:#404040"><o:p></o:p></span></span></b></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p> </o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">Michelle Woods, Sarah Wyman<br>
</span><span style="font-family:"Calibri","sans-serif""><a href="http://bit.ly/MDonline574b">http://bit.ly/MDonline574b</a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif""><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif"">Langston Hughes’s long-lost translation of Federico García Lorca’s play
<i>Bodas de sangre</i> / <i>Blood Wedding</i> (1933) – <i>Fate at the Wedding</i> (1938) – demonstrates a synchronicity between two 1930s aesthetic radicals who shared a transnational perspective.
<a href="http://bit.ly/MDonline574b">>> <i>Continue reading</i></a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/7213414313433763/">10.3138/MD.0663</a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">A Multiethnic
<i>Streetcar Named Desire:</i> We’ve Had This Date from the Beginning<span style="color:#404040"><o:p></o:p></span></span></b></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p> </o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">Virginia H. Cope<br>
</span><span style="font-family:"Calibri","sans-serif""><a href="http://bit.ly/MDonline574c">http://bit.ly/MDonline574c</a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif""><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif"">Stephen Byrd’s 2012 Broadway production of Tennessee Williams’s
<i>A Streetcar Named Desire</i>, with black and Hispanic actors, inspired the typical strong responses from critics, many of whom objected to the casting as historically improbable.
<a href="http://bit.ly/MDonline574c">>> <i>Continue reading</i></a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/7959m30543362562/">10.3138/MD.0653</a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></b></p>
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<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">Young Jean Lee’s Cruel Dramaturgy<span style="color:#404040"><o:p></o:p></span></span></b></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p> </o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">Patricia Ybarra<br>
</span><span style="font-family:"Calibri","sans-serif""><a href="http://bit.ly/MDonline574d">http://bit.ly/MDonline574d</a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif""><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif"">“Young Jean Lee’s Cruel Optimism” argues that the Brown University production of Young Jean Lee’s
<i>Straight White Men</i> stages the tensions inherent in performing white masculinity under U.S. neo-liberal capitalism.
<a href="http://bit.ly/MDonline574d">>> <i>Continue reading</i></a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/1365l6kk80177465/">10.3138/MD.0675</a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">Reviews</span></b><span style="font-family:"Calibri","sans-serif";color:#404040"><br>
http://bit.ly/MDonline574e<o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p> </o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/06114821381620u6/">10.3138/MD.57.4.brev</a></span><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><i><span style="font-family:"Calibri","sans-serif";color:black">Modern Drama</span></i><span style="font-family:"Calibri","sans-serif";color:black"> was founded in 1958 and is the most prominent journal
in English to focus on dramatic literature. The terms "modern" and "drama" are the subject of continuing and fruitful debate, but the journal has been distinguished by the excellence of its close readings of both canonical and lesser-known dramatic texts from
a range of methodological perspectives. The journal features refereed articles written from a variety of geo-political points of view which enhance our understanding, both formal and historical, of the dramatic literature of the past two centuries; there is
also an extensive book review section.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif";color:red">COMPLETE ARCHIVE NOW AVAILABLE!</span></b><b><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></b></p>
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</span></i><span style="font-family:"Calibri","sans-serif";color:black">'s complete archive of regular and special thematic issues, including over 3000 articles and reviews from 1958 to the present, is now available at
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