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This article examines the use in early modern English drama of an apparently awkward stage direction, the 'immediate re-entrance.' In its purest form—in which the stage is cleared and the exact same group of characters re-enters, now imagined to be in a different fictional location—this device is extremely rare, and indeed discouraged by the unwritten 'Law of Re-entry.' Yet scattered examples exist, and a remarkable number involve characters in similar situations with recurring images of keys, fate and devils. Studying these 'fatal re-entrances' reveals their earliest appearance to have been in Thomas Heywood's A Woman Killed with Kindness (1603) and The Second Part of The Iron Age (1612-32). A flurry then appeared at the Cockpit playhouse on Drury Lane in the early 1620s: William Rowley's All's Lost by Lust (1619-20) crystallized Heywood's idea into a simpler form that seems in turn to have inspired sequences in The Witch of Edmonton (Rowley with Thomas Dekker and John Ford, 1621) and The Changeling (Rowley with Thomas Middleton, 1622). Two subsequent Cockpit plays, The Spanish Gypsy (Dekker, Ford, Middleton and Rowley, 1623) and The English Traveler (Heywood, 1624), toy with the audience's familiarity with this expanding trope by introducing unexpected variations. For a few years, a group of playwrights turned the disparaged immediate re-entrance into a powerful stage image that could represent physically the act of choosing, and of walking toward the destiny created by that choice.

This article explores methods for textual analysis of early modern plays and assesses approaches toward collecting verbal links between texts in attribution studies. As a case study, the article assesses Gary Taylor and John V. Nance's methodology—known as microattribution—for identifying word combinations within play samples that they ascribe to Marlowe. In particular, the complex verbal relations between uncontested Marlowe and Kyd texts are examined. Finally, the article proposes a new methodology for collecting collocations utilizing a shared database.

[...]when Beatrice's speech disintegrates into unintelligible breath, De Flores takes cynical pleasure in comparing her to a quivering bird: \" 'las how the turtle pants\" (3.4.173). According to Eve Keller's study of generative bodies in early modernity, for instance, early term \"abortions\" were not necessarily subject to moral or legal rebuke because \"it was considered impossible to determine with any certainty that a woman was even pregnant. [...]because the technological apparatus in Alsemero's closet ultimately fails to master any of the secrets in nature, The Changeling's dramatic tensions work by showing just how slippery and illusory patriarchy's claims of dominion can be. [...]if the play enthralls its audience by showing them their own nagging doubts about the corporeal reality of virginity, then it drives the point home by shattering the optimistic technological fantasy of Glass M. Even if this \"strangest trick to know a maid by\" really works, even if it successfully superimposes the patriarchal order of symbols, language, and arithmetic over the mystifying wilderness of woman's flesh, then it completely fails Alsemero, the supposed \"master of the mystery.\"

For a novel Woolf herself dismissed in her diaries as a \"joke,\" as \"frivolous,\" and as \"mere childs [sic] play,\" this opening reference to racist violence is disturbing (Diary 177, 264). According to the great Shakespearean Julia Briggs, Woolf imagined Shakespeare not as a literary father-figure, but as her literary big brother: her relationship with her own older brother-whose tragic death greatly affected her-was largely carried out in and through their discussions of the famous poet.

This article illuminates the perspective of Sarah Harding, the director of Compulsion , an adaptation by Joshua St Johnston of Middleton and Rowley's The Changeling for Ray Winstone's production company, Size Nine, screened on ITV in May 2009. It considers the position, originated by Gary Taylor, of Thomas Middleton as 'our contemporary' to validate Harding's lifelong fascination with the complexity and ambiguity of morality and desire in The Changeling and explores the ways in which this might be mapped onto a contemporary prime-time television drama. The film's re-telling of the plot through the eyes of Anjika ( Compulsion's British-Asian rending of Beatrice-Joanna) and the navigation of her sexual relationship with De Flores (recast in the film as Anjika's family's English chauffeur, Don Flowers) are presented in relation to contemporary concerns surrounding the complexity of women's newfound autonomy and their sexual relations with men: concerns which resonate with the early modern source text. The article addresses the difficulties faced in adapting an early modern tragedy for a television audience which was likely to be largely unfamiliar with it, and highlights the creative care taken over the presentation of the play's troubling sexual politics in particular. Also under consideration is the film's complex interweaving of references to Shakespeare and the counter-cultural tradition of 'Jacobean' screen performance personified by Derek Jarman, which hope to continue a thread of conversation with dead Jacobean authors while addressing a twenty-first-century audience.

More than 800 employees evacuated the building, and a nearby day-care center was cleared. The Vermont State Police with its bomb squad and a hazardous-materials team; the FBI; the Bureau of Alcohol, Tobacco, Firearms and Explosives; and the St. Albans police and fire departments all converged on the building, shortly after the package was reported. Shortly after 2 p.m., a bomb-squad robot and an officer with the squad emerged from a side door near the building's loading dock with a FedEx package. The man from the bomb squad casually handed the package to a state trooper who was wearing no protective clothing.

Professor [Gary Taylor] has delivered scientific and public lectures at the Parklands campus for the past five years and says plans for its new medical precinct bode well for the international research community.

Greg transcribed; he did not translate. This unexamined binary (and prejudice) structures Greg's career, and has deeply influenced subsequent Anglo-American editing. The binary also explains Greg's neglect of Jerome, the most influential editor in the Western tradition. But transcription is a form of (and synonym for) translation; both belong to the larger field of transmediation, a practical and conceptual category that links the work of editors as different as Jerome, Greg, and McGann. Transmediation offers a more useful paradigm for editorial theory and practice, while also explaining (dispassionately) many of the disputes that have so passionately divided modern editors.