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To posterity, William Shakespeare may be the Bard of Avon, but to mid-seventeenth-century theatergoers he was just another dramatist. Yet barely a century later, he was England’s most popular playwright and a household name. In this intriguing study, Don-John Dugas explains how these changes came about and sealed Shakespeare’s reputation even before David Garrick performed his work on the London stage.

Is there a plot against the life of letters today?!!!!  A mysterious assailant has tied a nameless text to a railroad track near Boondock State University. While young untenured English professor Jane Marple enlists a group of odd and oddly rivalrous academicians to help her identify and save the text, a coalition of powerful conservatives begins to suspect and rally against a left-wing conspiracy. But all are foiled when the amnesiac text is abducted on the Euro-Centric Express, where Ms. Marple encounters a number of suspiciously eccentric theorists temporarily set loose from their usual haunts in Marxist, deconstructionist, new historicist, and postcolonial circles. You'll laugh with our heroine, you'll cry with her, but you'll never guess how--using the very latest technology and in the midst of sometimes sinister stage and screen celebrities--she brings the last of three thrilling episodes in the canon wars to an end at a WOW (Writers of the World) conference set in the heart of the Big Apple.

In this hilarious romp through the culture wars, Sandra M. Gilbert and Susan Gubar send up everyone including, sometimes, themselves, while at the same time they speculate seriously on the future of literature and literacy in a society where both are increasingly endangered. The cast includes well-known critics, politicians, writers, pop stars, media personalities, and a juicy assortment of technocrats, CEOs, and other culture vultures. Any similarities you find between these characters and actual persons, living or dead, are probably glaring. So, hum the opening notes of Masterpiece Theatre  as you sit back, relax, and consider (yes!) the fate of the printed word in Western civilization.

Masterpiece Theatre is the latest--and funniest--round in the culture wars. No member of Modern Language Association, lover of literature and literacy, cultural pundit, or talking head should be without a copy.

In Medea's Daughters, Jennifer Jones explores the legal, cultural, and dramatic representations of six accused murderesses to look at how English-speaking society responded to and controlled anxiety over female transgressions. The woman who kills—in particular, the woman who kills a member of her own family—has not only broken the law, she has also violated gender expectations. Jones argues that dramatic representations of criminal women, especially women who kill, proliferate during times of heightened feminist activity and that theatrical narratives, as evidenced in plays, television, and film, serve to contain women and deflect attention away from issues of women’s systematic repression.

Medea’s Daughters focuses on six women (of whom Lizzie Borden, Susan Smith, and Louise Woodward are the best known) whose murder trials caught the attention of their respective cultures. This broad spectrum allows an examination of how women’s legal status has evolved over five centuries.

Joan Crawford forged a new and successful screen image in this powerful women's noir film; winning her an Academy Award for best actress.

Albert J. LaValley's through and insightful guide to Mildred Pierce at once tells us much about the making of this complex film, the problems and process of transferring the story to the screen, the specific and important roles of the producer, director, and set designer, and how the film relates to broad trends within the industry. It is without a doubt the most thorough treatment of this important American motion picture.