Luis Gámez


With the nine contributions comprising this issue, Comparative Drama addresses itself to the relative neglect of European drama and opera from 1640 to 1800, a period whose unfortunate eclipse has been recently noted in the pages of this journal.1 The scholars presented here bring a rich variety of experience to the task of reassessing. conventional views of these dramatic worlds of Enlightenment Europe and advance new and productive paths of enquiry. Some interpret literary, musical, and cultural texts within contexts familiar to traditional historicist and humanist research; these writers explore the dynamics by which those texts become part of their contexts and change them in the process.2 And those contributors who are conversant with neoteric theories of analysis eschew the infatuation with theory for its own sake so common elsewhere in the academy. It is pleasant to be including scholars working in collegial openness to the plurality of critical sensibilities available in our time.

Comparative Drama is carried by JSTOR and Project MUSE.