Research Opportunities in Medieval and Renaissance Drama

ROMARD is an annual journal of medieval and non-Shakespearean Renaissance drama, focusing on theatre and textual history. Manuscripts should be submitted to the Editor at greenfield@ups.edu. Snail mail: Peter Greenfield, Department of English, CMB 1045,University of Puget Sound, Tacoma, WA 98416-1045, USA. Documentation style should resemble that used by Shakespeare Quarterly. Manuscripts accepted for publication will be requested on computer disk or via e-mail attachment.

Subscription payments should be directed to Peter Greenfield at the address above. The subscription rate for 2007 is $12 for individuals ($20 for two years) and $18 a year for institutions ($18 a year for individuals, $24 for institutions outside the United States). Some back issues are available at $5 per copy.

Note: Members of the Medieval and Renaissance Drama Society receive RORD as one of the benefits of membership. To join send dues of $15 per year, payable to "MRDS / Gloria J. Betcher, Treasurer" to: Gloria J. Betcher, MRDS, Dept. of English, Iowa State University, 206 Ross Hall, Ames, IA 50011. To find out more about MRDS, visit the organization's website .

RORD (ISSN 0098-647X) is a member of the Council of Editors of Learned Journals.

Contents of Volume 45 (2006):

SARAH SCOTT, “Sell[ing] your selues away”: Pathologizing and Gendering the Socio-Economic in The Honest Whore, Part I
PETER HAPPÉ, The Towneley Cycle without the Wakefield Master
JEREMY LOPEZ, Census of Renaissance Drama Performance Reviews in Shakespeare Quarterly and Shakespeare Survey, 1948-2005
JAMES SHAW, Census of Renaissance Drama Productions

Contents of Volume 44 (2005):

CLIFFORD DAVIDSON, “Corpus Christi Play” and the Feast of Corpus Christi

DAVID KATHMAN, Citizens, Innholders, and Playhouse Builders, 1543-1622

PETER HYLAND, Look About You, Anonymity, and the Value of Theatricality

WILLIAM LLOYD, John Webster and The London Prodigal: New Sources for The Devil’s Law-case

RITA BANERJEE, Women Pleas’d and Swetnam the Woman-hater Arraigned by Women: John Fletcher’s Participation in the Swetnam Debate and the Date of His Play

JAMES SHAW, Census of Renaissance Drama Productions

Contents of Volume 43 (2004):

PHILIP BUTTERWORTH, Is There Any Further Value to Be Gained from Re-Staging Medieval Theater?
MARGARET ROGERSON, Living History: the Modern Mystery Plays in York
KATIE NORMINGTON, The Actor/Audience Contract in Modern Restagings of the Mystery Plays
GARRETT P. J. EPP, Corected & not playd: an Unproductive History of the Towneley Plays
REBECCA ROGERS AND KATHLEEN E. MCLUSKIE, Which Early-Modern Playing Companies Were Commercially Successful?
MARY BLACKSTONE , Performance and the Intertextual Negotiation of Community: The Example of Elizabethan Leicester
JAMES SHAW, Census of Renaissance Drama Productions
PETER GREENFIELD, Census of Medieval Drama Productions

Contents of Volume 42 (August 2003):

v LUCY MUNRO, Early Modern Drama and the Repertory Approach

v AXEL STDHLER, The Arduous Path to the True Temple of Love

v DIANA PRICE, Henslowe’s “ne” and “the tyeringe-howse doore”

v CHARLES WHITNEY, Tamburlaine and Self-Shattering, 1605: Applying the New Reception Theories

v ANNE RUSSELL, The Politics of Print and The Tragedie of Antonie

v ELIZABETH SCHAFER, Census of Renaissance Drama Productions

v VICTOR I. SCHERB, “I’de have a shooting”: Catherine of Aragon’s Receptions of Robin Hood

v MICHELLE M. BUTLER, Direct Address and Incarnational Theology in the York Cycle: The Word Made Flesh / The Flesh Made Word

v PETER GREENFIELD, Census of Medieval Drama Productions

Contents of Volume 41 (August 2002):

v Recycling “The Wakefield Cycle”: The Records by Barbara D. Palmer

v The Destruction of Jerusalem: An Annotated Checklist of Plays and Performances, ca. 1350-1620 by Stephen K. Wright

v The Hood and the Basket: Image and Word in the Digby Conversion of St. Paul by Chester N. Scoville

v Saint Paul’s Horse and Related Problems by Jeff S. Dailey

v Mankind for Africa by Margaret Mary Raftery

v Determining Authorship: A New Technique by Macd. P. Jackson

v Snakeskins, Mirrors and Torches: Theatrical Iconography and Middleton’s The Witch by Marion O’Connor

v Who Invested in Early Modern Theatre? by Rebecca Rogers and Kathleen E. McLuskie

v Tethys Takes Charge: Queen Anne as Theatrical Producer by Melissa D. Aaron

Table of Contents 1994-2001

Photographs of productions of medieval drama discussed in RORD

York Cycle at Toronto, 1998 : Photos by Megan Lloyd (King's College, PA) to accompany her article, "Reflections of a York Survivor: The York Cycle and Its Audience," in RORD 39 (2000)

Peter Greenfield, Department of English
Contact: greenfield@ups.edu