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Di Biase, Carmine G., ed. Travel and Translation in the Early Modern Period. Approaches to Translation Studies. Amsterdam: Rodopi, 2006. 290 pp. index. bibl. $75. ISBN: 90-420-1768-6. Includes: Carmine G. Di Biase, “Introduction: The Example of the Early Modern Lexicographer”; Russel Lemmons, “‘If there is a hell, then Rome stands upon it’: Martin Luther as Traveler and Translator”; Erika Rummel, “Fertile Ground: Erasmus’s Travels in England”; Stella P. Revard, “Across the Alps — An English Poet Addresses an Italian in Latin: John Milton in Naples”; Anthony M. Cinquemani, “Milton Translating Petrarch: Paradise Lost VIII and the Secretum”; Joseph Khoury, “Writing and Lying: William Thomas and the Politics of Translation”; Donald Beecher, “John Frampton of Bristol, Trader and Translator”; Kenneth R. Bartlett, “Thomas Hoby, Translator, Traveler”; Brenda M. Hosington, “‘A poore preasant off Ytalyan costum’e: The Interplay of Travel and Translation in William Barker’s Dyssputacion off the Nobylytye off Wymen”; Kristiaan Aercke, “The Pilgrimage of Konrad Grünemberg to the Holy Land in 1486”; Oumelbanine Zhiri, “Leo Africanus and the Limits of Translation ”; James Nelson Novoa, “From Incan Realm to the Italian Renaissance: Garcilaso el Inca and his Translation of Leone Ebreo’s Dialoghi dAmor’e ”; Mara Antonia Garcíés, “The Translator Translated: Inca Garcilaso and English Imperial Expansion”; Randall C. Davis, “Early Anglo-American Attitudes to Native American Languages”; Jack D’Amico, “‘Where the devil should he learn our language?’—Travel and Translation in Shakespeare’s The Tempest”; Howard Miller, “Tamburlaine: The Migration and Translation of Marlowes’ Arabic Sources ”; and Joanne E. Gates, “Travel and Pseudo-Translation in the Self-Promotional Writings of John Taylor, Water Poet.”Google Scholar

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Feldman, Martha, and , Bonnie, Gordon, eds. The Courtesan’s Arts: Cross-Cultural Perspectives. Oxford: Oxford University Press, 2006. xxvii + 396 pp. index. append. illus. bibl. $85. ISBN: 0-19-517029-6. Includes: Bonnie Gordon and Martha Feldman, “Introduction”; James Davidson, “Making a Spectacle of Her(self): The Greek Courtesan and the Art of the Present”; Margaret F. Rosenthal, “Cutting a Good Figure: The Fashions of Venetian Courtesans in the Illustrated Albums of Early Modern Travelers”; Judith T. Zeitlin, “‘Notes of Flesh’ and the Courtesans’ Song in Seventeenth-Century China”; Martha Feldman, “The Courtesans Voice: Petrarchan Lover’s, Pop Philosophy, and Oral Traditions”; Dawn De Rycke, “On Hearing the Courtesan in a Gift of Song: The Venetian Case of Gaspara Stampa”; Justin Flosi, “On Locating the Courtesan in Italian Lyric: Distance and the Madrigal Texts of Costanzo Festa”; Drew Edward Davies, “On Music Fit for a Courtesan: Representations of the Courtesan and Her Music in Sixteenth-Century Italy”; Doris M. Srinivasan, “Royalty’s Courtesans and God’s Mortal Wives: Keepers of Culture in Precolonial India”; Bonnie Gordon, “The Courtesan’s Singing Body as Cultural Capital in Seventeenth-Century Italy”; Courtney Quaintance, “Defaming the Courtesan: Satire and Invective in Sixteenth-Century Italy”; Christopher A. Faraone, “The Masculine Arts of the Ancient Greek Courtesan: Male Fantasy or Female Self-representation”; Lesley Downer, “The City Geisha and their Role in Modern Japan: Anomaly or Artistes?”; Miho Matsugu, “In the Service of the Nation: Geisha and Kawabata Yasunari’s Snow Country”; Timon Screech, “Going to the Courtesans: Transit to the Pleasure District of Edo Japan”; Guido Ruggiero, “Who’s Afraid of Giulia Napolitana? Pleasure, Fear, and Imagining the Arts of the Renaissance Courtesan”; Joshua D. Pilzer, “The Twentieth-Century Disappearance’ of the Gisaeng during the Rise of Korea’s Modern Sex-and-Entertainment Industry”; Regula Burckhardt Qureshi, “Female Agency and Patrilineal Constraints: Situating Courtesans in Twentieth-Century India”; and Amelia Maciszewski, “Tawa’if, Tourism, and Tales: The Problematics of Twenty-First-Century Musical Patronage for North Indias Courtesans. ”Google Scholar

Ford, Alan, and , John, McCafferty, eds. The Origins of Sectarianism in Early Modern Ireland. Cambridge: Cambridge University Press, 2006. ix + 250 pp. index. $90. ISBN: 521-83755-3. Includes: Alan Ford, “Living Together, Living Apart: Sectarianism in Early Modern Ireland”; Ute Lotz-Heumann, “Confessionalisation in Ireland: Periodisation and Character, 1534–1649”; John McCafferty, “Protestant Prelates or Godly Pastors? The Dilemma of the Early Stuart Episcopate”; Todhg ó Hannaracháin, “‘In Imitation of that Holy Patron of Prelates the Blessed St. Charles:’ Episcopal Activity in Ireland and the Formation of a Confessional Identity, 1618–1653”; David Edwards, “A Haven of Popery: English Catholic Migration to Ireland in the Age of Plantations”; Alan Ford, “The Irish Historical Renaissance and the Shaping of Protestant History”; Marc Caball, “Religion, Culture and the Bardic Elite in Early Modern Ireland”; Micheál MacCraith, “The Political and Religious Thought of Florence Conry and Hugh McCaughwell”; Brian Jackson, “Sectarianism: Division and Dissent in Irish Catholicism”; Declan Downey, “Purity of Blood and Purity of Faith in Early Modern Ireland”; and John Morrill, “Concluding Reflection: Confronting the Violence of the Irish Reformations.”Google Scholar

Frank, Günter, , Thomas, Leinkauf, and , Markus, Wriedt, eds. Die Patristik in der Frühen Neuzeit: Die Relektüre der Kirchenväter in den Wissenschaften des 15. bis 18. Jahrhunderts. Melanchthon-Schriften der Stadt Bretten 10. Stuttgart: Frommann-Holzboog, 2006. 424 pp. index. €58. ISBN: 3-7728-2263-6. Includes: Günter Frank, Markus Wriedt, and Thomas Leinkauf, “Vorwort”; Paul Metzger, “Geleitwort”; Christoph Burger, “Gegen Origenes und Hieronymus für Augustin: Philipp Melanchthons Auseinandersetzung mit Erasmus über die Kirchenväter”; H. Ashley Hall, “Melanchthon and the Cappadocians ”; Sebastian Lalla, “Robert Bellarmin und die Kirchenväter”; Pierre Petitmengin, “Un ami de Melanchthon: Sigismundus Gelenius, éditeur et traducteur de textes classiques et patristiques”; Wilhelm Schwendemann, “Melanchthon, Maimonides, und Averroes: Aristoteles-Rezeption und -Exegese gegen religiösen Fundamentalis-mus”; Kaarlo Arffman, “Der Ausspruch Augustins ego uero euangelio non crederem, nisi me catholicae ecclesiae conmoueret auctoritas in der Rezeption Luthers” ; Markus Wriedt, “Schrift und Tradition: Die Bedeutung des Rückbezugs auf die altkirchlichen Autoritäten in Philipp Melanchthons Schriften zum Verständnis des Abendmahls”; Anthony N. S. Lane, “Justification by Faith in Sixteenth-Century Patristic Anthologies: The Claims that Were Made”; Thomas Leinkauf, “Beobachtungen sur Rezeption patristischer Autoren in der frühen Neuzeit”; Michele Vittori, “Le letture ambrosiane di Tommaso Campanella: Una ipotesi di attribuzione”; Torsten M. Breden, “Leibnizens Augustinusrezeption in der Theodicée”; Günter Frank, “Die Kirchenväter als Apologeten der natürlichen Theologie und Religionsphilosophie in der frühen Neuzeit”; Scott Mandelbrote, “‘Than this nothing can be plainer: Isaac Newton’ Reads the Fathers”; Jean-Louis Quantin, “Un manuel anti-patristique: Contexte et signification du Traité de l’emploi des saints Pères de Jean Daillé (1632)”; Marco Rizzi, “Patristische Exegese und politische Theologie im sechzehnten Jahrhundert: eine Forschungsperspektive”; Mark Vessey, “Vera et Aeterna Monumenta: Jerome’s Catalogue of Christian Writers and the Premises of Erasmian Humanism”; and Ralph Häfner, “Grammatologie des Himmels: Barthold Heinrich Brockes und das Testamentum Levi.”Google Scholar

González, José Manuel, ed. Spanish Studies in Shakespeare and His Contemporaries. The International Studies in Shakespeare and His Contemporaries. Newark, DE: University of Delaware Press, 2006. 328 pp. index. bibl. $60. ISBN: 0-87413-903-1. Includes: José Manuel González, “Introduction: Shakespearean Criticism in Contemporary Spain”; Ángel Luis Pujante, “Manuel Herrera on Shakespeare: A New Spanish Manuscript from the Romantic Period”; Jesús Tronch Pérez, “Editing (and Revering) National Authors: Shakespeare and Cervantes”; Brian Crews, “Rewriting/Deconstructing Shakespeare: Outlining Possibilities, Sometimes Humorous, for Sonnet 18”; Sonia Hernández Santano, “Shakespeare’s Departure from the Ovidian Myth of Venus and Adonis”; Mara J. í Pando Cantelli, “John Donne, Francisco de Quevedo, and the Construction of Subjectivity in Early Modern Poetry”; Clara Calvo, “Deforeignizing Shakespeare: Otel in Romantic Spain”; Anna Mara Manzanas, í“The Making and Unmaking of a Colonial Subject: Othello”; Luis Garcí a Mainar, “Shakespeare’s Romeo and Juliet and Male Melodrama”; María Luisa Dañobeita Fernández, “Cleopatra’s Role-Taking: A Study of Antony and Cleopatra”; Robert K. Shepherd, “Shakespeare’s Henry V: Person and Persona”; Keith Gregor, “Julius Caesar and the Spanish Tradition”; Miguel Martnezí L ópez, “The Philosophy of Death in Christopher Marlowe’s Doctor Faustus”; Josephine Bregazzi, “Changing Roles: Gender Marking through Syntactic Distribution in the Jacobean Theatre”; José Manuel González, “The Court Drama of Ben Jonson and Calderón”; Purificación Ribes, “Spanish Adaptations of Ben Jonson’s Volpone”; and Luciano García, “The Duchess of Malfi and El mayordomo de las duquesa de Amalfi Revisited: Some Differences in Literary Convention and Cultural Horizon. ”Google Scholar

Hodgdon, Barbara, and , W. B, Worthen, eds. A Companion to Shakespeare and Performance. Malden, MA: Blackwell Publishers, 2005. xv + 688 pp. index. illus. bibl. $149.95. ISBN: 1-4051-1104-6. Includes: Barbara Hodgdon, “Introduction: A Kind of History”; Peggy Phelan, “Reconstructing Love: King Lear and Theatre Architecture”; Peter Holland, “Shakespeares’ Two Bodies ”; Bruce R. Smith, “Ragging Twelfth Night: 1602, 1996, 2002–03”; Robert Shaughnessy, “On Location”; Margarert Jane Kidnie, “Where is Hamlet? Text, Performance, and Adaptation”; Ania Loomba, “Shakespeare and the Possibilities of Postcolonial Performance”; Anthony B. Dawson, “The Imaginary Text, or the Curse of the Folio”; Laurie E. Osborne, “Shakespearean Screen/Play”; Simon Palfrey and Tiffany Stern, “What Does the Cued Part Cue? Parts and Cues in Romeo and Juliet”; Wendy Wall, “Editors in Love? Performing Desire in Romeo and Juliet”; W. B. Worthen, “Prefixing the Author: Print, Plays, and Performance”; Richard W. Schoch, “Shakespeare the Victorian”; Kathleen McLuskie, “Shakespeare Goes Slumming: Harlem 37 and Birmingham ‘97”; John Gillies, “Stanislavski, Othello, and the Motives of Eloquence”; Stuart Hampton-Reeves, “Shakespeare, Henry VI and the Festival of Britain”; Ric Knowles, “Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival”; Miriam Gilbert, “Performance as Deflection”; Carol Chillington Rutter, “Maverick Shakespeare”; Paul Prescott, “Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing”; Diana E. Henderson, “Performing History: Henry IV, Money, and the Fashion of Time”; Michael Cordner, “‘Are We Being Theatrical Yet?: Actor’s, Editors, and the Possibilities of Dialogue”; Douglas Lanier, “Shakespeare on the Record”; Richard Burt, “Sshockspeare: (Nazi) Shakespeare Goes Heil-lywood ”; Peter S. Donaldson, “Game Space/Tragic Space: Julie Taymor’s Titus”; Elizabeth A. Deitchman, “Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture”; Susan Bennett, “Shakespeare on Vacation”; Margo Hendricks, “Visions of Color: Spectacle, Spectators, and the Performance of Race.” Yong Li Lan, “Shakespeare and the Fiction of the Intercultural”; G. B. Skip Shand, “Guying the Guys and Girling the Shrew: (Post)Feminist Fun at Shakespeare’s Globe”; James C. Bulman, “Queering the Audience: All-Male Casts in Recent Productions of Shakespeare”; Courtney Lehmann, “A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland”; Joanne Tompkins, “Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions”; James N. Loehlin, “Teaching Through Performance”; and Peter Lichtenfels, “‘The eye of man hath not heard, / The ear of man hath not seen’: Teaching Tools for Speaking Shakespeare.”Google Scholar

Hoenselaars, Ton, and , Arthur F, Kinney, eds. Challenging Humanism: Essays in Honor of Dominic Baker-Smith. Newark, DE: University of Delaware Press, 2005. 336 pp. index. illus. bibl. $60. ISBN: 0-87413-920-1. Includes: Ton Hoenselaars, “Foreword”; Arthur F. Kinney, “Introduction”; “Utopia’s First Readers”; Andrew D. Weiner, “Taking More Seriously: Humanism, Cultural Criticism, and the Possibility of a Past”; Elizabeth McCutcheon, “Thomas More at Epigrams: Humanism or Humanisms?”; Kees Meerhoff, “Melanchthon, Latomus, Ramus: Teachers of Careful Reading”; Roderick J. Lyall, “Christian Humanism in John Rolland’s Court of Venus”; Marijke Spies, “In Praise of Dancing: A Paradoxical Encomium by Hendrik Laurensz. Spiegel (1549–1612)”; Richard Todd, “Early Texts of Donne’s ‘Goodfriday, 1613. Riding Westward: Manuscripts and their Omissions, and the Provenance of the Earliest Translation, by Constantijn Huygens (1633)”; Donald Stump, “Sidney’s Critique of Humanisn in the New Arcadia”; Victor Skretkowicz, “Shakespeare, Henri IV, and the Tyranny of Royal Style”; W. A. Sessions, “Bacon’s Spenser”; Germaine Warkentin, “Humanism in Hard Times: The Second Earl of Leicester (1595–1677) and His Commonplace Books, 1630–60” ; John Neubauer, “Making World War with Literature”; Ton Hoenselaars, “Recycling the Renaissance in World War II: E. W. & M. M. Robson Review Laurence Olivier’s Henry V ”; and Helen Wilcox, “Of Music and Silence: The Harmonies of Thomas Whythorne and Rose Tremain.”Google Scholar

Kliman, Bernice W., and , Rick J, Santos, eds. Latin American Shakespeares. Madison: Fairleigh Dickinson University Press, 2005. 348 pp. index. illus. bibl. $57.50. ISBN: 0-8386-4064-8. Includes: José Roberto O’Shea, “Early Shakespearean Stars Performing in Brazilian Skies: João Caetano and National Theater”; Roberto Ferreira da Rocha, “Hero or Villain: A Brazilian Coriolanus During the Period of the Military Dictatorship”; Jesús Tronch-Perez, “The Unavenging Prince: A Nineteenth-Century Mexican Stage Adaptation of Hamlet”; Gregary J. Racz, “Strategies of Deletion in Pablo Neruda’s Romeo y Julieta”; Juan J. Zaro, “Translating from Exile: León Felipe’s Shakespeare Paraphrases”; Catherine Boyle, “Nicanor Parra’s Transcription of King Lear: The Transfiguration of the Literary Composition”; Margarida Gandara Rauen, “Guilherme Schiffer Durães’s Caliban: From Canonical Text to Resistance”; Grace Tiffany, “Borges and Shakespeare, Shakespeare and Borges”; Jose Luiz Passos, “Othello and Hugo in Machado de Assis”; Lorena Terando, “Traces of Shakespeare in Cuba’s Carpentier”; Ines Senna Shaw, “Histórias de Shakespeare: Propaganda in the Guise of Entertaining Love Stories”; Alfredo Michel Modenessi, “Cantinflas’s Romeo y Julieta: The Rogue and Will”; Philippa Sheppard, “Latino Elements in Baz Luhrmann’s Romeo + Juliet”; Thas Flores Nogueira Diniz, ï“Shakespeare Parodied: Romeo and Juliet”; Aimara da Cunha Resende, “Text, Context and Audience: Two Versions of Romeo and Juliet in Brazilian Popular Culture”; José Ramón Daz Fern íández, “Toward a Survey of Shakespeare in Latin America”; and Bernice W. Kliman, “Afterword.”Google Scholar

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