Edited by Sophie Shorland, Zeidy Canales, Lisa Hopkins, and Daniel Cadman
Table of Contents
Introduction
| Introduction: Domestic Afterlives | |
| Sophie Shorland |
Articles
| ‘Let death make amends for all my sins’: (In)Sincere Confessions in Arden of Faversham | |
| Cheryl Birdseye |
| 'Looke in the place where he was wont to sit / See see his blood it is too manifest': Domestic Space and Patriarchal Authority in The Tragedy of Master Arden of Faversham (1592) | |
| Iman Sheeha |
| ‘Scene of the Murder’: Arden of Faversham and Local Performance Cultures | |
| Catherine Richardson |
| ‘Parting is such’: Those Who Stay and Those Who Go in Early Modern Domestic Drama | |
| Ann C. Christensen, Jessica Slights |
| The Problem of Sin and Crime in Domestic Tragedy | |
| Sandra Clark |
| Possessed by Trauma: Infamous Narrative in Othello (1603) and A Yorkshire Tragedy (1608) | |
| Sophie Shorland |
| Writing Ludic Commonplaces for the Early Modern Stage: The Dramatic Adaptation of the Card-Playing Motif in Thomas Heywood’s A Woman Killed With Kindness | |
| Louise Zheng Torine Fang |
| ‘'[T]ween two Currents': The Triumph of Domestic Tragedy in Heywood’s The English Traveller | |
| Ezra Horbury |
| 'Lamentable and True': Remediations of True Crime in Domestic Tragedies | |
| Melissa Rohrer |
| Adapting True Crime: George Wilkins’s The Miseries of Inforst Marriage, the Tragedy of Wardship, and the Early Modern Court of Wards and Liveries | |
| Jennifer Dawson Kraemer |
| The Infectious, Alimentary, and Organistic Ecologies of John Ford’s The Broken Heart | |
| Roya Biggie |
This work is licensed under a Creative Commons Attribution 3.0 License.
ISSN: 1201-2459