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Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- Acknowledgements -- Suggested further reading -- General introduction -- Introduction to volume II: theatre and drama criticism -- Part 1 Theatrical debates -- 1.1 Melodrama and the shock of the new -- 1 'Theatre', Universal Magazine of Knowledge and Pleasure, November 1802 -- 2 'The theatres', The Satirist -- or Censor of the Times, 19 February 1832 -- 3 'Monster melo-drame', The Satirist -- or Monthly Meteor, 1 January, 1808 -- 4 D-G [George Daniels], 'Remarks' on A Tale of Mystery, from Cumberland's British theatre -- 5 'Surrey theatre', The Mirror of the Stage: or, New Dramatic Censor 13 January, 1823 -- 6 Walter Scott, extract from 'An essay on the drama' -- 7 Joanna Baillie, extract from A series of plays in which it is attempted to delineate the stronger passions of the mind -- 8 Henry Barton Baker, 'The old melodrama' -- 1.2 The decline of the drama, and the national theatre -- 9 Edward Lytton Bulwer, 'The drama' -- 10 Extracts from the Evidence from the 1832 Select Committee Report: Committee recommendations -- Evidence from John Payne Collier -- Evidence from Douglas Jerrold -- Evidence from William Thomas Moncrieff -- 11 D. J. [Douglas Jerrold], 'The rights of dramatists' -- 12 Vivian, [George Henry Lewes] 'Dreary lane' -- 13 [George Henry Lewes] 'Vivian in tears' -- 14 'Why I don't write plays', Pall Mall Gazette, August 31, 1892 -- 15 'Why I don't write plays', Judy, 28 September, 1892 -- 16 Effingham Wilson, A house for Shakespere: A proposition for the nation -- 17 William Archer & -- Granville Barker, 'Preface', in A national theatre. scheme and estimates -- 18 Henry Arthur Jones, 'The future of English drama' -- 1.3 The woman question -- 19 'Women as dramatists', All the Year Round, 29 September, 1894 -- 20 'Women as playwrights', The Sketch, 8 June, 1898.

The article overviews the wide range of Russian criticism of the XIXth century and the Soviet literary research to define the ways A.N. Ostrovsky's talent was understood. The article focuses on the epic character of his plays that has become for the critics a stumbling block on the way of acknowledging the greatness of the playwright's talent. The article analyses the opinion on the matter by A.A. Grigoriev, E.N. Edelson, A.V. Druzhinin, P.V. Annenkov, N.A. Dobrolyubov, N.N. Strakhov, A.M. Skabichevsky, N.V. Shelgunov, I.S. Turgenev, N.P. Nekrasov, N.S. Nazarov, P.D. Boborykin and some other critics as well as the Soviet researches E.G. Kholodov, A.L. Shtein, N.N. Skatov, Y.V. Lebedev, A.I. Zhuravleva et al. The article starts with the introduction of the problem of epic thinking in the literary studies.

Marxism has had an enormous impact on literary and cultural studies, and all those interested in the field need to be aware of its achievements. This collection presents the very best of recent Marxist literary criticism in one single volume. An international group of contributors provide an introduction to the development, current trends and evolution of the subject. They include such notable Marxist critics as Tony Bennett, Terry Eagleton, Edward W. Said, Raymond Williams and Fredric Jameson. A diverse range of subjects are analysed such as James Bond, Brecht, Jane Austen and the modern hist.

Exciting new scholarship has been emerging as performance studies scholars begin to turn their attention to the performance of politics, nationhood and jurisprudence. Branislav Jakovljevic's project on the history and eventual demise of the former Yugoslavia demonstrates how fruitful this approach can be. Jakovljevic considers the concept of theatricality as central to understanding the events that took place in Yugoslavia. He examines the country's trials, state ceremonies and festivals, army maneuvers, propaganda and pop culture as "rehearsals and temporary enactments of an ideologically formulated future." His first chapter reveals the surrealist, avant-garde origins of key members of the Yugoslav bureaucracy after WWII, suggesting that those connections helped the culture of socialist Yugoslavia become a performance-centered culture. Continuing to explore the relationship between the political avant-garde and the artistic avant-garde, he looks at the spectacle of student demonstrations in Belgrade in 1968, and, in their aftermath, the rise of performance art in the country. The third chapter (included here) zeros in on the various political performances of Slobodan Milosevic, including his courtroom testimony at the ICTY, the International Criminal Tribunal for the former Yugoslavia. The fourth chapter discusses the "Peter Handke Affair," when the Austrian playwright had a major prize revoked after he attended Milosevic's funeral and recited a poem he had written in Milosevic's honor.