Description
Book SynopsisThis volume, organized in five major sections, honors the myriad scholarly contributions of Matthew D. Stroud to the field of Early Modern Spanish theater. Building upon Stroud's seminal studies, each section of essays simultaneously claims and wrestles with aspects of the rich legacy generated by his explorations. The essays included in this volume consider the moral, ethical, and legal backdrop of uxoricide, explorations of the meaningful intersections of psychoanalytic theory and the
comedia, and engage the topics of women, gender, and identity. They also bridge the gap between dramatist and actors and between page and stage as they consider everything from the physical demands on Early Modern actresses to the twenty-first-century performance possibilities of
comedias. Moreover, these essays incorporate studies that transcend temporal, spatial, political, and cultural limits, continuing to push at the edges of traditional scholarship characteristic of Stroud's pioneeri
Table of ContentsContents: David J. Hildner: Wife-Murder Deflected: How Stage Husbands’ Prudence and Ingenuity Lead to Differing Outcomes – Susan L. Fischer: «Nada me digas»: Silencing and Silence in
Comedia Domestic Relationships – Katrina M. Heil: Mencía as Tragic Hero in Calderón’s
El médico de su honra – Ezra Engling: We Too Suffer: Calderón’s Honor Husbands – William R. Blue:
El médico de su honra: A Crisis of Interpretation – Manuel Delgado: Incest, Natural Law and Social Order in
El castigo sin venganza – Gwyn E. Campbell: Duelling (Dis)Honour in Mira de Amescua’s
La adúltera virtuosa – Christopher Weimer: Ovid, Gender, and the Potential for Tragedy in
Don Gil de las calzas verdes – Barbara F. Weissberger: The Queen’s Dreams: Lope’s Representation of Queen Isabel I in
El mejor mozo de España and
El niño inocente de La Guardia – Barbara Simerka: Mirror Neurons and Mirror Metaphors: Cognitive Theory and
Privanza in
La adversa fortuna de don Alvaro de Luna – Robert M. Johnston - The Calderonian Aesthetic Experience: Plot, Character, Politics, and Primal Emotions in
El alcalde de Zalamea (What Neuroscience and US Presidential Campaigns Might Tell Us about the Spanish Comedia) Catherine Connor-Swietlicki: Gendered Gazing: Zayas and Caro Go Back to the Future of the «Artful Brain and Body» – Edward H. Friedman:
Of Love and Labyrinths: Feminism and the
Comedia – Baltasar Fra-Molinero: Woman, Learning, and Fear: Racial Mixing in Diego Ximénez de Enciso’s
Juan Latino – Kathleen Regan : Antona García: A
Mujer Varonil for the 21st Century – Susan Paun de García: «Más valéis vos, Antona»: Worthy Wives in Lope, Tirso, and Cañizares – Sharon D. Voros: Tried and True: Leonor de la Cueva y Silva’s Tirso Connection – Barbara Mujica: Actresses as Athletes and Acrobats – Amy R. Williamsen: Stages of Passing: Identity and Performance in the Comedia – Peter E. Thompson: The Spanish Golden Age
Entremés in English: Translating the Juan Rana Phenomenon – Maryrica Ortiz Lottman: Three Productions of
El condenado por desconfiado: The Devil’s Polymorphism in Our Time – Catherine Larson: Adapting the Spanish Classics for 21st-Century Performance in English: Models for Analysis – Henry W. Sullivan: The Contours of Self-Representation: Why Call Himself Tirso de Molina? – Isaac Benabu: Inquisitorial Pressures: Honour as Metaphor on the Boards – Ronald E. Surtz: Staging the Fall in 16th-Century Spain: The
Aucto del peccado de Adán – Kerry Wilks: Baltasar Funes y Villalpando’s
El golfo de las sirenas: An Homage to Calderón? – Thomas A. O’Connor: The Transformation of a Baroque
Zarzuela into an 18th-Century Opera: The Case of Salazar y Torres’s
Los juegos olímpicos – Donald R. Larson: Two Visions of Brotherhood: Calderón and Richard Strauss.
