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Catalogue
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Feminizing the Enemy
Donnell engages gender theory and cultural studies in order to shed light on cross-dressing- a common though poorly understood practice- in plays performed in Spain and Colonial Spanish America during the sixteenth and seventeenth centuries. The author shows how certain naturalized assumptions about masculinity and femininity are unmasked through the cross-dressed performance of works attributed to Lope de Rueda, Morales, Lope de Vega, Monroy y Silva, and Calderon.
Communicating Myths of the Golden Age Comedia
These dialogues express different world visions. If the expected cultural exchange takes place, then an enduring relationship of tolerance and understanding forms between the two worlds. Bonds that surpass temporal, geographic, and philosophical specificity attest to humankind's universal and atemporal need for myth. The questions, proposed answers, and subsequent revisions will, it is hoped, coexist in an ongoing dialogue among ancient, Golden Age, and contemporary individuals.
The Antitheatrical Prejudice
Six young people discuss their feelings about their own ethnic backgrounds and about their experiences with people of different races.
Revue hispanique
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Proceedings
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Galicia, the Switzerland of Spain
Ancient Galicia The Geography of Galicia The First Golden Age The Salve Regina The Language of Galicia Pilgrims to Santiago The Architecture of Galicia The Cathedral of Santiago The Pórtico de Gloria Sculptured Capitals The Royal Hospital The Colegiata de Sar La Coruña Emigration Rosalia Castro Santiago de Compostela Galicia's Livestock Padron La Bellísima Noya Pontevedra Vigo and Tuy Orense Monforte and Lugo Betanzos and Ferrol The Great Monasteries of Galicia Trees, Fruits, and Flowers Dives Callaecia Bibliography
The Calderonian Stage
"This collection of essays invites the contemporary reader to consider the works of Pedro Calderon de la Barca (1600-81), who became the most important and influential dramatist of the second period of the Spanish Golden Age, just as Lope de Vega (1562-1635) was for the preceding generation. A follower of Lope in his youth, Calderon, as a mature playwright, developed a drama all of his own, a drama that was highly conceptual, tightly knit, symbolic, and, in many cases, spectacular. Calderon's artistry in verbal and visual symbolism made the performance of his works a feast for both the senses and the intellect." "Until now, many of Calderon's critics have focused their attention on how the p...
