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The Drama of the Portrait: Theater and Visual Culture in Early Modern Spain
Examines theater and portraiture as interrelated social practices in seventeenth-century Spain. Features visual images and cross-disciplinary readings of selected plays that employ the motif of the painted portrait to key dramatic and symbolic effect.
Acquisition and Loss of Ownership of Goods
This volume contains the major result of the work undertaken by the international research group "Transfer of Movables" which belonged to the Study Group on a European Civil Code. It covers the most important aspects of the law of property in movables, such as the transfer of ownership based on the transferor's right and the good faith acquisition of ownership. The suggested black letter provisions are accompanied by extensive explanatory comments and comparative notes providing information on the existing rules of the EU Member States. As compared to Book VIII of the DCFR, this volume contains additional and partly revised national notes, extended comments, translations of the black letter rules and adapted registers. The "Principles of European Law" are published in co-operation with Oxford University Press and Staempfli (Switzerland).
Identities in Crisis
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The Painter of His Dishonour
Alan Paterson presents Calderon's original text, from manuscript and printed sources, with a skilful verse translation into English of a remarkable play, in which Calderon develops the motif of marital honour in quite original ways.
Bulletin
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Hercules and the King of Portugal
Hercules and the King of Portugal investigates how representations of masculinity figure in the fashioning of Spanish national identity, scrutinizing ways that gender performances of two early modern male icons--Hercules and King Sebastian--are structured to express enduring nationhood. The classical hero Hercules features prominently in Hispanic foundational fictions and became intimately associated with the Hapsburg monarchy in the early sixteenth century. King Sebastian of Portugal (1554-78), both during his lifetime and after his violent death, has been inserted into his own land's charter myth, even as competing interests have adapted his narratives to promote Spanish power. The hybrid ...
Calderon and the Baroque Tradition
Calderón and the Baroque Tradition is the outcome of a tricentennial commemoration of the seventeenth century Spanish poet and dramatist, Pedro Calderón de la Barca, and a tribute to a distinguished tradition in Calderonian studies at the University of Toronto. A major dramatist of the Spanish Golden Age and a master of the auto sacramental genre, Calderón produced some one hundred and twenty comedias and eighty autos during his rather colourful lifetime. This volume assembles an impressive collection of essays relating the baroque artistic tradition to such aspects of Calderón's theatre as the use of music, mythology, costume, and his distinctive dramatic technique. It will be of interest and value both to students of Spanish drama and Hispanic life in general and to followers of Calderón in particular.
A Companion to Calderón de la Barca
The first comprehensive study of Calderón in EnglishPedro Calderón de la Barca (1600-1681) is one of the most important dramatists - many would say the single most important dramatist - of the Spanish Golden Age. Spain''s dominant and most prestigious playwright for much of the seventeenth century, his work is still regularly staged and translated, influential in more recent times on writers as diverse as Schiller, Shelley and Lorca. The author of around 120 plays (not counting his numerous Corpus Christi autos) in a variety of styles, Calderón is most famous for his stirring dramas, characterized by rhetorically powerful poetry, dramatic structures carefully calibrated to produce poignan...
The Limits of Illusion: A Critical Study of Calderón
This is the first thorough study of Calderón in comparison with other important dramatists of the period: Lope de Vega and Tirso de Molina in Spain, Racine and Corneille in France, and Shakespeare and Marlowe in England. Cascardi studies Calderón's paradoxical engagement with illusion in its philosophical guise as scepticism. He shows on the one hand Calderón's moral will to reject illusion and on the other his theatrical need to embrace it. Cascardi discusses plays from every period to show how in Calderón's best work illusion is not rejected; instead, scepticism is absorbed. Calderón is placed in and defined against the philosophical line of Vives, Descartes, and Spinoza. Of central importance to this argument is Calderón's idea of theatre and the various transformations of that idea. This emphasis will give the book an additional interest to students, readers in philosophy and comparative literature.
