sidered more widely as core features of Richard II. The final chapter in the volume is aimed at instructors and students looking to engage with Richard II as a subject of study. Esme Miskimmin’s ‘Learning and teaching resources: text, context and performance’ begins with an assessment of the Arden (third series), RSC, and Oxford Shakespeare editions of the play. Miskimmin draws attention to the defining features of each edition, separating those that are best suited to early-stage students from those that support more advanced study. The remainder of the chapter highlights themes and contexts of Richard II that work particularly well as bases for educational activities: the play’s scrutiny of the concept of ‘performance’, for example, and textual variations between Quarto and Folio. Miskimmin points the reader towards passages in the text that are ripe for close analysis and suggests further reading for each of the areas discussed in her chapter. Seasoned academics and new readers alike will find Richard II: A Critical Reader a useful addition to their libraries and reading lists. The essays assembled by Davies and Duxfield all work well as standalone pieces; as a whole, the volume addresses foundational questions about Richard II as well as breaking new ground in its analyses of the play. I would note, however, that this book (particularly its ‘New directions’ section) would have benefitted from a more diverse assembly of contributions and contributors. The original research included in the book is excellent, but it overlaps thematically in places and does not extend far beyond textual and historical analysis. Other volumes in the Arden Early Modern Drama Guides series have included ‘New directions’ essays on the plays in performance, on film, and in relation to issues of race and gender. With a wider range of critical perspectives, this Critical Reader could have provided even more valuable insights into the landscape of current scholarly research on Richard II.

中文翻译：

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书评：小心复苏：约翰·弗莱彻在英国舞台上的戏剧彼得·马林

更广泛地作为理查二世的核心特征。该卷的最后一章面向希望将理查二世作为研究主题的教师和学生。Esme Miskimmin 的“学习和教学资源：文本、上下文和表演”从对 Arden（第三系列）、RSC 和牛津莎士比亚版本的戏剧的评估开始。Miskimmin 强调每个版本的定义特征，将最适合早期学生的那些与支持更高级学习的那些区分开来。本章的其余部分突出了《理查二世》的主题和背景，它们特别适合作为教育活动的基础：例如，该剧对“表演”概念的审查，以及四开本和对开本之间的文本变化。Miskimmin 将读者引向文本中适合仔细分析的段落，并建议对她本章讨论的每个领域进行进一步阅读。经验丰富的学者和新读者都会发现《理查二世：批判性读者》是他们图书馆和阅读清单的有用补充。Davies 和 Duxfield 汇编的文章都可以作为独立的作品。总体而言，该卷解决了关于理查二世的基本问题，并在分析该剧方面开辟了新天地。然而，我要指出，这本书（尤其是它的“新方向”部分）将受益于更多样化的贡献和贡献者的集合。书中包含的原始研究非常出色，但它在某些地方的主题重叠，并没有超出文本和历史分析的范围。雅顿早期现代戏剧指南系列的其他卷包括关于表演戏剧、电影以及与种族和性别问题相关的“新方向”文章。凭借更广泛的批判性观点，这本批判性读者本可以为当前关于理查二世的学术研究提供更有价值的见解。