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'As Simple As It is Real:' Metatheatre and Love in Sarah Ruhl's Stage Kiss |
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’Their Voices are Surprisingly Close to Us:’ Caryl Churchill’s Light Shining in Buckinghamshire and Rewriting History |
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Enda Walsh’s “Kitchen,” Disembodiment, and Redefining the Monologue Form |
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'A Ghost Hunt?': Spectrality and Re-enchantment in Howard Brenton's Anne Boleyn |
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AMERİKA BİRLEŞİK DEVLETLERİ |
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’You are not Meant to Feel at Home’: Heterotopia in Lucy Kirkwood’s it felt empty when the heart went at first but it is alright now |
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AMERİKA BİRLEŞİK DEVLETLERİ |
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’Her Idolatry will Deliver Us to the Devil:’ Religious and Sexual Identity in Linda McLean’s Glory on Earth |
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ÇEK CUMHURİYETİ |
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’The Lost Property Cupboard:’ From Amnesia to Anamnesis in Kate Atkinson’s Behind the Scenes at the Museum |
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TÜRKİYE |
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All That Money Can Buy: Materialism in Bowen’s ’The Evil That Men Do –’ |
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POLONYA |
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