bluuebunny/crossref_metadata_2025 huggingface dataset:
Cerebral microbleeds are associated with nocturnal reverse dipping in hypertensive patients with ischemic stroke
Authors: Kwon Hyung-Min , Lim Jae-Sung , Kim Young Seo , Moon Jangsup , Park Hyeri , Kim Hyun Young , Lim Young-Hyo , Nam Hyunwoo
Published: January 2014

Background

Abnormalities in nocturnal blood pressure dipping are well known for its relationship to cardiovascular diseases. Cerebral microbleeds are frequently observed in patients with hypertension and are known to be potent risk factors for stroke. However, there are scanty reports about the relationship between nocturnal dipping and cerebral microbleeds.

Methods

We recruited consecutive patients with both hypertension and ischemic stroke within 7 days after symptom onset, and those with cardioembolism were excluded. We applied 24-hour ambulatory blood pressure monitoring two weeks after stroke onset, and we used brain MRI to detect cerebral microbleeds. Various blood pressure parameters such as mean 24-hour blood pressure, awake/sleep blood pressure, and morning surge were compared between cerebral microbleeds (+) vs. (-) groups. Subjects were further classified according to nocturnal dipping status and were analyzed by logistic regression to determine its association with cerebral microbleeds with adjustment for age, gender, and cardiovascular risk factors.

Results

A total of 162 patients (100 males, age 65.33 ± 10.32 years) were included. Cerebral microbleeds were detected in 65 patients (40.1%). Most ambulatory blood pressure parameters except morning surge were significantly higher in those who had cerebral microbleeds. After adjusting for the confounding factors, the reverse dippers were prone to have cerebral microbleeds (odds ratio, 3.81; 95% confidential interval, 1.36-10.65; p-value = 0.01).

Conclusion

Cerebral microbleeds are independently associated with reverse dipping on ambulatory blood pressure monitoring in hypertensive stroke patients.
Antimalarial activity of plumbagin in vitro and in animal models
Authors: Sumsakul Wiriyaporn , Plengsuriyakarn Tullayakorn , Chaijaroenkul Wanna , Viyanant Vithoon , Karbwang Juntra , Na-Bangchang Kesara
Published: January 2014

Background

Plumbagin is the major active constituent in several plants including Plumbago indica Linn. (root). This compound has been shown to exhibit a wide spectrum of biological and pharmacological activities. The present study aimed to evaluate the in vitro and in vivo antimalarial activity of plumbagin including its acute and subacute toxicity in mice.

Methods

In vitro antimalarial activity of plumbagin against K1 and 3D7 Plasmodium falciparum clones were assessed using SYBR Green I based assay. In vivo antimalarial activity was investigated in Plasmodium berghei- infected mouse model (a 4-day suppressive test).

Results

Plumbagin exhibited promising antimalarial activity with in vitro IC50 (concentration that inhibits parasite growth to 50%) against 3D7 chloroquine-sensitive P. falciparum and K1 chloroquine-resistant P. falciparum clones of 580 (270–640) and 370 (270–490) nM, respectively. Toxicity testing indicated relatively low toxicity at the dose levels up to 100 (single oral dose) and 25 (daily doses for 14 days) mg/kg body weight for acute and subacute toxicity, respectively. Chloroquine exhibited the most potent antimalarial activity in mice infected with P. berghei ANKA strain with respect to its activity on the reduction of parasitaemia on day 4 and the prolongation of survival time.

Conclusions

Plumbagin at the dose of 25 mg/kg body weight given for 4 days was safe and produced weak antimalarial activity. Chemical derivatization of the parent compound or preparation of modified formulation is required to improve its systemic bioavailability.
The Children of Blood
Authors: James Betty
Published: January 2014

Synopsis: "The Children of Blood" is a novel of the Civil War with a setting in the outer fringes of the Kentucky Mountains in the Danville-Berea-Lancaster area. The story is told alternately by Andrew (younger brother) and Sabina Kincaid—who with their grandfather (Grumpa) and two loyal slaves have been left to care for their beloved home and land as best they can. When the Kincaids try to save their home from being burned by a Yankee party sent to burn all the homes in the area in reprisal for the killing of a Yankee picket, they find themselves involved in a fracas in which all of the Yankee party are killed except one young Yankee soldier and he is seriously wounded—a far different outcome than they had expected from a situation they had hoped to settle peacefully. It is obvious now that matters are worse than before. Still Sabina insists on caring for the Yankee soldier whose injury she caused. They cover up all the traces of the conflict possible and send for a booze-ridden doctor (the only one available now) to operate on the Yankee soldier. Andrew relates the first episode and Sabina the second. (The two earlier chapters appeared in "Appalachian Heritage", Winter and Spring 1981.)
The «Franciscan Connection» in the Early Castilian Theater
Authors: Surtz Ronald E.
Published: January 2014

This study focuses on three Castilian plays (Gómez Manrique's Representaçión del Nasçimiento de Nuestro Señor , the anonymous Auto de la huida a Egipto , and the anonymous Auto del día de la Asunción ) composed for convents of Franciscan nuns in the late fifteenth or early sixteenth century. All three works develop devotional or theological motifs particularly associated with medieval Franciscan spirituality. Gómez Manrique demonstrates the relationship between the Incarnation and the Redemption through the juxtaposition of the Nativity and the Passion. The Auto de la huida a Egipto links the Flight into Egypt to St. John the Baptist's sojourn in the wilderness as an exhortation to the ascetic life. The Auto del día de la Asunción juxtaposes the exaltation of the Virgin to the Fall of Lucifer in order to dramatize the theme of the Immaculate Conception. The three plays also share the concept of drama as mimesis, an approach to the theater that distinguishes them from other contemporary dramatic traditions (the Salamancan plays of Encina and Fernández, for example). (RES)
Felipe Godinez's Queen Esther Play
Authors: Goldberg Alice
Published: January 2014

The manuscript of La Reyna Ester of Felipe Godínez (1585-1659) is of great value to critics interested in Lope's converso followers. The actor's copy is found in the Biblioteca Nacional and is unique. It is not the same play as his more famous and widely praised Aman y Mardoqueo . The 1613 play was partly responsible for his 1624 Inquisitional trial in Seville because of its theological content. I briefly discuss the scene responsible for Godínez's condemnation. (AG)
Notas sobre la fecha y las fuentes de Los celos de Rodamonte *
Authors: Maglione Sabatino
Published: January 2014

La fecha y las fuentes de Los celos de Rodamonte han sido objeto de varias conjeturas no del todo convincentes, las cuales se han repetido por largo tiempo en la crítica del teatro de Lope de Vega. La experiencia amorosa entre Lope y Elena Osorio, dramatizada en Belardo el furioso , en La Dorotea , y en varios romances y sonetos de Lope, tiene correlación con la alusión biográfica interpolada en el tercer acto de Los celos de Rodamonte , lo cual sugiere que dicha comedia se escribió el mismo año en que se presentó, o sea en 1588. Adernás, a pesar del hecho de que los materiales de la comedia proceden de Orlando innamorato de Matteo María Boiardo y de Orlando furioso de Ludovico Ariosto, se señalan otras posibles fuentes que pudieron haber influido a Lope. Finalmente, se llega a la conclusión de que el Rodamonte de Lope no es un personaje épico, semitrágico, como el de Ariosto, sino una figura dramática que se mueve dentro de las normas fijas y limitadas de las comedias novelescas. (SM)
Toward a More Perfect Union: Art and Craft in Calderon's Saber del mal y del bien and ¿ Cual es mayor perfeccion?
Authors: Friedman Edward H.
Published: January 2014

Recent critical theories have focused not so much on meaning as on the production of meaning(s) in a literary text. Through the examination of three critical articles on Lope de Vega's La dama boba , one may determine (metacritically) patterns of analysis that place the text in distinct positions in the interpretive process. Because multiple meanings are encoded in a text, the message(s) offered by verbal signs may extend beyond or even contradict the initial premises and the apparent direction of the work, exhibiting a «meaningful» duality. When applied to two Calderonian texts, the approach leads to the establishment of a symmetrical structure and its dialectical opposition, as context counters text. The uncertain synthesis is a distinguishing mark (in the double sense of the term) of Calderón's dramaturgy. (EHF)
Hacia una nueva definicion de la tragedia calderoniana
Authors: Ruano de la Haza José M.
Published: January 2014

En un artículo sobre El mayor monstruo del mundo , publicado en 1981 ( BHS , 58, págs. 229-40), sugerí que, en la composición de este drama, Calderón había empleado la fórmula de la tragedia mixta, la cual puede ser definida como un tipo de obra dramática que, provocando temporalmente en el auditorio el efecto catártico, concluye por ser una demostración del poder y la justicia divinos. En este artículo me propongo ampliar el concepto de la tragedia mixta y aplicarlo a tres dramas de honor: El médico de su honra, A secreto agravio, secreta venganza y El pintor de su deshonra . Lo que intentaré demostrar es que en estos dramas coexisten dos interpretaciones, aparentemente irreconciliables, pero en realidad complementarias, que, partiendo de diferentes puntos de vista, ofrecen una visión trágica de la condición humana. Esta visión emerge del equilibrio que Calderón crea entre un mundo hostil, absurdo y cruel, percibido a través de la retórica de los personajes, y otro lógico, justo y harmonioso, como dirigido por la mano divina, que es columbrado por medios simbológicos y alegóricos. El espectador o lector ideal identificará estos dos mundos, alcanzará la doble interpretación que encierran estas obras, y conocerá, retrospectivamente, que la verdadera tragedia del hombre de honor consiste en esa ceguera intelectual que le impide descubrir la alternativa cristiana y le hace seguir un código social injusto que obedece hasta el heroísmo. Convertido en un personaje alienado y existencia), el héroe calderoniano rehúsa la cruz del ridículo y el ostracismo social y sufre en vano en defensa del sangriento dios del honor. (JMR)
Calderon in England: A Social Theory of Production and Consumption
Authors: Cohen Walter
Published: January 2014

A social theory of production and consumption clarifies the dialectical relationship of the genesis, structure, and impact of Calderón's plays. The masterpieces of the 1630's emerged from a period of crisis that was roughly duplicated in Shakespearean England of the early seventeenth century. Calderón influenced British literature most powerfully during the Restoration, when trivialized versions of his comedias de capa y espada appealed to aristocrats returning to power after exile on the continent during the Civil War decades. Much later, Shelley felt significant affinities with Calderón, identifying with the rebelliousness of El mágico prodigioso in a manner which enables us to understand that play as a response to the problems of Habsburg absolutism. Since the 1930's, the British Hispanists have seen in Calderón's drama an attractive expression of their own conservative views. On the other hand, the Marxian approach adopted here would link Calderón and his age to the present by stressing the political malaise common to both eras. (WC)
Italian Influences upon Torres Naharro's Comedia Calamita
Authors: McGrady Donald
Published: January 2014

In Act 5 of Torres Naharro's Comedia Calamita , the blockhead Torcazo is talked into feigning to be dead in order to test his wife's love for him. Scholars have traditionally found the source of this episode in Bibbiena's La Calandria , but in fact the latter is only one of three sources, and the least important one at that. The principal inspiration is Poggio's facetia 116, wherein a rustic decides to see what his wife would do if he were to die, and a secondary model is Poggio's facetia 268, in which a numskull believes himself dead, but speaks up when he is insulted. Bibbiena's contribution is simply the part where the dunce is persuaded that he can die and resuscitate as often as he likes. Torres Naharro combined the three tales into one, because they all deal with a dunderhead who either plays dead or is made to believe that he is so. The Estremenian author's use of sources is much more complex than had been realized, and includes the Novella genre, as well as the theater. (DM)
Language and Silence in El castigo sin venganza
Authors: McKendrick Melveena
Published: January 2014

El castigo sin venganza is a problematic play. This article suggests that the play's medium, ambiguous language, is its message; that ambiguity is intrinsic to Lope's conception of the play and that language becomes an organic metaphor for that inner ambiguity. Language is seen as helping to formulate and define experience, as an instrument with the power not only to serve man's purposes but, in the incest theme, to give substance to reality in a way that renders only silence possible. The Duke's controversial speech in Act III is interpreted, not as sophistry, but as an unconscious attempt on his part to exploit language's creative function to render the unthinkable acceptable. Language thus becomes a medium of revelation and reconciliation and the distinction between castigo and venganza becomes not a semantic or a moral distinction but a psychological one. (MM)
Mileno, Mireno: Creation and Character in El vergonzoso en palacio
Authors: Wiltrout Ann E.
Published: January 2014

In Antonio de Guevara's «El villano del Danubio», Tirso found not a model but rather a point of departure for the creation of character and structure of El vergonzoso en palacio . While Guevara's peasant is officially ennobled and elevated to the status of Roman patrician, Tirso's vergonzoso is an im-peasanted noble who ultimately regains his birthright. We watch him do so only after penetrating the multiple levels of narration that are required by the intercalation of one narrative into another. Like Guevara, Tirso assumes the role of the omniscient narrator who frames his work in telescoping levels of time and of audience. Because of the differing temporal dimensions of novel and drama, Tirso must create a subtle and complex elaboration on the frame device in order to convey the illusion of the multiple levels of ambiguity and reality that comprise El vergonzoso en palacio .
The Tragedy of Don Pedro: Old and New Christian Conflict in El valiente Campuzano
Authors: Dille Glen F.
Published: January 2014

It has generally been assumed that a positive representation of a converso in an honor situation was impossible in the Golden Age theater. And while it may be true that there are no obvious New Christian heroes, this article examines El valiente Campuzano by the converso author Antonio Enríquez Gómez to show how a morisco , Don Pedro, was intended to be interpreted as the tragic hero of the drama. The play ostensibly exalts the Old Christian values of the apparent protagonist, the valentón Pedro de Campuzano, but by a variety of subtle techniques, Enríquez Gómez in reality achieves an indictment of the Old Christian notion of honor and exposes the bigotry and injustice of contemporary society. (GFD)
El juego de originalidad: rasgo de la comedia frente a su carácter paradigmático
Authors: Weiger John G.
Published: January 2014

La comedia es un género paradigmático. Todo conocedor de la comedia puede enumerar ciertos rasgos inviolables: el número de actos, la versificación, los móviles principales, el casamiento o la muerte como desenlace, etc. No obstante, el poeta se precia de presentar siempre una comedia «nueva» o «famosa», sugiriendo una obra original y digna de fama. El dramaturgo, por tanto, se halla ante el dilema de componer una obra con caracteres originales pero sin violar la fórmula convencional. No faltan piezas que nos revelan que la originalidad se reduce a un juego del poeta. Éste a menudo presenta algo que sólo parece violar el patrón, avivando así el interés del público. Si bien estas «violaciones» resultan, a la larga, conformarse con el paradigma, dando a entender que el género carece de verdadera originalidad, el examen de semejantes juegos nos permite comprender algo mejor el ambiente en el que creaba el poeta dramático. (JGW)
An Early Rehash of Lope's Peribanez
Authors: Ruano de la Haza Jose M.
Published: January 2014

Probably the product of the collaboration of a rural autor de comedias with a memorión and perhaps also with a poet in his employ, this early rehash of Peribáñez throws a great deal of light not only on the editing and staging practices of a typical compañía de la legua , but also on the meaning of the original text. Among other things, a systematic comparison between the rehash and Lope's original version reveals, first, that the modifications, additions and cancellations introduced by the adapters were not haphazard but obeyed some specific social and technical reasons: second, that some of these alterations were designed to improve Lope's play; third, that Lope's original was such a subtle and complex poetic construct that it had to be subjected to a rigorous process of simplification and adaptation for the benefit of the rural audience, for whom the new version was intended; and fourth, that the original had to be partly censored because of the revolutionary nature of its central theme. Finally, since some of the ambiguities of the original version are resolved in the rehash, we are allowed a privileged glance into the way a group of seventeenth-century professionals of the theater understood and interpreted Lope's play. (JMR)
Calderón, Copyists, and the Problem of Endings
Authors: Greer Margaret Rich
Published: January 2014

In the study of Spanish epic poetry and romances , we know that variants frequently occur at the end of the poem. When attempting to establish a definitive text of a Calderonian play, editors face a similar pattern of ending variation, as alterations of the texts appear with notable frequency in the final pages of the play as a whole, or of the individual acts therein. The changes fall into three major groups: 1) errors on the part of the copyist and/or printer, such as the two-step process which caused the loss of a substantial ending portion of La fiera, el rayo y la piedra ; 2) alteration of the play for different sorts of productions, as occurred with the excision of a spectacular finale from Fortunas de Andrómeda y Perseo ; and 3) rewriting of the text by Calderón and/or an autor de comedias , of which we find evidence in the majority of autograph or partially autograph manuscripts in the Biblioteca Nacional. The frequency with which he rewrote endings demonstrates that Calderón paid special heed to their construction; the complex pattern of ending variations that has resulted demands a corresponding attention on the part of his modern editors. (MRG)
La Estrella de Sevilla y Deste agua no bebere: ¿un mismo autor?
Authors: López-Vázquez Alfredo Rodríguez
Published: January 2014

Siguiendo un análisis de William C. McCrary sobre la estructura trágica de La Estrella de Sevilla , se analiza la obra de Claramonte Deste agua no beberé mostrando la identidad de construcción dramática entre ambas, lo que refuerza la atribución a Claramonte de La Estrella , postulada por S.E. Leavitt y más recientemente por el autor del artículo. Mediante una comparación de la métrica de La niña de plata y de estas obras y otras de Claramonte, se propone una posible fecha de redacción de La Estrella hacia 1612, y se señalan algunos aspectos biográficos y estilísticos de Claramonte que concuerdan con dicha propuesta. (ARL-V)
Juan del Encina and Lucas Fernández: Conflicting Attitudes towards the Passion
Authors: Yarbro-Bejarano Yvonne
Published: January 2014

The spectrum of attitudes towards the Passion in the fifteenth and early sixteenth centuries ranges between two poles: the emphasis on the suffering humanity of Christ (e.g., Diego de San Pedro's Pasión trobada ) and the emphasis on the joy of redemption (e.g., the alumbrados ). These two attitudes had social as well as religious resonances. Lucas Fernández' Auto de la pasión is closer to the first. The morbid attention to the details of Christ's torture and death leads to violent attacks on the Jews as perpetrators of Christ's murder, feeding the flames of caste conflict in Castilian society. Encina's Representación a la pasión , while incorporating elements of the first, is closer in spirit and meaning to the second. The play stresses the collective nature of original sin as well as redemption, easing social tensions with its messianic vision of universal brotherhood. (YY-B)
Eclipse real: sol y sombra en Del rey abajo, ninguno
Authors: Urbina Eduardo
Published: January 2014

En Del rey abajo, ninguno , obra eminentemente derivativa, el conjunto de imágenes en torno a la antítesis sol/sombra se hace drama y hace posible la ingeniosa resolución del conflicto entre García y el rey a través de la feliz integración de un motivo, el de la redención, de un lenguaje poético y de una técnica particular, la estructuración de la acción en términos de la dislocación irónica de la experiencia. El uso de las imágenes relacionadas con la antítesis subraya el paso del desequilibrio inicial a la final y paradójica reconciliación. García, nuevo Segismundo que vive lejos de su esfera, al cuidado de un viejo y sabio maestro, privado de su honor y sometido a un destino y poder que cree injustos, resulta asimismo víctima de su soberbia. Su redención, la restauración de su original estado y honor, se hace posible gracias al amor de una mujer también, pero a través de un acto de retribución violento en la muerte expiatoria de Mendo. La antítesis sol/sombra y la reiteración de imágenes con ella asociada representan una visión poética que pone de manifiesto las circunstancias irónicas del proceso redentivo y la paradójica condición de la caída de García, quien, superado el simbólico sueño del desmayo y comprendiendo la razón de la prueba sufrida y la realidad a la que pertenece, logra ganar su ser y condición de rayo enamorado. (EU)
La fingida arcadia: Tirso's Disenchantment with Pastoral
Authors: Compte Deborah
Published: January 2014

Tirso de Molina's play, La fingida Arcadia (1622), is a work which draws its inspiration from Lope de Vega's pastoral romance La Arcadia (1598). Yet, in his re-creation of the pastoral world, Tirso presents a highly self-conscious literary text in which he examines
the impulses giving rise to bucolic literature and the artifice on which this world is constructed. His pastoral retreat is a complex fabrication based on rôle-playing, pseudoidentities and illusion, and the work itself is structured upon multiple layers of artifice. This study examines the essence of Tirso's pastoral world and its subtle ties to the literary and political satire evident in the work. The ultimate convergence of his fictive Arcadia with the political schemes and literary excesses he denounces reveals Tirso's attitudes toward the pastoral as well as his views on the nature of art and its articulation in dramatic form. (DC)
El caballero de Olmedo y la razón de diferencia
Authors: Fothergill-Payne Louise
Published: January 2014

¿ Fue Lope un autor fácil, conformándose además con los dictámenes de un régimen represivo, o, en cambio, fue un poeta complejo y consciente del mal de su época? Para empezar a contestar a tal problemática vale re-examinar las obras históricas del teatro lopesco, prestando especial atención al posible paralelo histórico/político que determinado episodio sacado de las Crónicas podría tener con la situación coetánea de Lope. No cabe duda de que, entre los dramas históricos de Lope, El caballero de Olmedo es una obra difícil de interpretar. Ni la justicia poética ni la canción «Que de noche le mataron» puede explicar satisfactoriamente el asesinato del protagonista. En nuestra opinión, la clave de la obra reside en el largo intermezzo político que Lope introduce hacia el final del Segundo Acto (vs. 1554-99). Aquí don Alvaro de Luna discute con el Rey don Juan II «...la razón de diferencia que pones/ entre los moros y hebreos que en Castilla han de vivir», razón que se manifestará como una segregación basada en vestidos y señales distintivos. Llama la atención que este cambio de vestidos tiene su paralelo en los múltiples disfraces de los protagonistas en el argumento novelesco; por consiguiente proponemos que leamos el texto histórico-político dentro del contexto trágico/poético de la acción. Tal lectura ofrecerá diversos paralelos entre historia y poesía y además revelará otra dimensión en la expresión poética de Lope y es la honda preocupación por el pueblo español que estaba matándose por una «razón de diferencia» que en tiempos de Lope se llamaba «limpieza de sangre». (LF-P)
Some Practical Thoughts on Producing Calderón's Court Plays
Authors: Stroud Matthew D.
Published: January 2014

Calderón's comedias de tramoyas present special problems to a modern producer attempting an authentic stage presentation. This article discusses possible answers to questions relating to staging (the theater itself, sets, the length of the performance, funding, etc.), direction, special effects, costumes, hairstyles, and text (cuts, versions, the use of loas and entremeses , etc.). In addition, court plays also require decisions about the music—tessitura, pitch, instrumentation, and orchestration—most of which must rely on conjecture rather than on concrete knowledge of the original. For each problem, it quickly becomes apparent that absolute authenticity is quite impossible. Stated generally, one must simply decide how much and in which ways one is willing to compromise. (MDS)
The Comic Function of Two Mothers: Belisa and Angela
Authors: Williamsen-Cerón Amy
Published: January 2014

Much of the existing criticism dealing with the mother figure in the comedia consists of broad generalizations. The present study analyzes the comic function of two very different mother characters in an attempt not only to provide a greater understanding of
their respective comedias (Lope's La discreta enamorada and Mira's La casa del tahur ), but also to demonstrate that such generalizations tend to obscure important distinctions rather than illuminate them. (AW-C)
Un primitivo de vanguardia: Lucas Fernández en su Auto de la Pasion
Authors: Serra Vicente
Published: January 2014

Partiendo de los conceptos brechtianos de «forma dramática» y «forma épica,» se determina la aplicabilidad de ambos modos y la medida en que se conjugan en el Auto . La consideración de los recursos de «distanciación» (verfremdung) se remonta a la formulación de este concepto por Schiller y se analiza la función de elmentos enajenantes que en el Auto tienen el coro, el verso, la música y el ritual litúrgico. Finalmente, se hace hincapié en los principales recursos expresionistas (presentación del Ecce-homo, de la cruz, del estandarte con las cinco llagas de Cristo y, por último, del tabernáculo) como ingredientes fundamentales que confieren actualidad formal al Auto . La conclusión es que el concepto de teatro épico-expresionista es tan válido para el Auto de Lucas Fernández como el concepto tradicional. (VS)
The Comedia and Two Theories of the Comic. A Review Article
Authors: Wade Gerald E.
Published: January 2014

In his Laughter. A Psychoanalytic Theory Norman N. Holland suggests that all previous theories of the comic have failed because no definitive answer has been found for everyone to the question «At what do we laugh?» or «Under what conditions do we laugh?» So Holland, instead of generalizing about many individuals laughing at the same thing, sought to generalize about one individual laughing at different things. In an experiment that involved the cooperation of a graduate student, Holland recorded her reactions to a series of cartoons. He concluded that her recognition of the comic was determined by her identity, that is, the composite of all those personality traits that differentiate her from any other person, and that as she reacted to the cartoons she experienced an identity recreation. This is the experience of everyone who gives thought to any phenomenon. In order for the identity recreation to achieve a recognition of the comic, this must be sudden and playful. There is involved also the Freudian principle that the aim of behavior is perception and that a wish is a wish for a certain perception. Thus the elements of one's identity may facilitate for him a discovery of the comic or, on the contrary, make that discovery less probable. In the second of the theories of comedy to receive comment, Bruce W. Wardropper's La comedia española del Siglo de Oro , Holland's principles serve partly as a basis for discussion. Wardropper did not know Holland's theory; the former's study had appeared four years before the publication of the Holland volume. Wardropper rejected the well-known theory of Elder Olson who had proposed that theatrical comedy has no value since it is an imitation of a worthless action. Wardropper demonstrates to his own satisfaction that the comedy of the Golden Age is of comic significance. This transcendent value is found only in the comedia de capa y espada , a type of comedy the action of which takes place in an upside-down world of gay, cheerful and satumalian atmosphere. The action is nearly always concerned with the struggle of young lovers to achieve sexual union, a union which is made difficult by societal restrictions that usually have to do with money or social rank. Young women, seeking the freedom to choose their mates, a freedom denied them in real life, demonstrate in their rebellious effort to flout the conventions a thrust toward what has come to be called women's liberation. The lovers' struggle, seen as characteristic of all of us who often desire to rebel against social restrictions of any kind, is viewed as entirely justified; the comedia 's beneath-the-surface meaning is that society has no right to deny to an individual the privilege of exercising his biologic urge at will. An evaluation of the theory is offered both for the Golden Age and for our own time. (GEW)
Honor, Justice, and Historical Circumstance in Amar despues de la muerte
Authors: Case Thomas E.
Published: January 2014

In 1633, Calderón wrote Amar después de la muerte one of six of his plays which deal with conflicts between the Christian and Islamic worlds. Amar después de la muerte concerns the uprising of the Moriscos in 1568-71 and the establishment of an independent Morisco kingdom in the Alpujarras. Rather than condemn one side or the other, Calderón stresses the horror of war. El Tuzaní is a Morisco hero who surpasses several Christian leaders in honor and justice. He is also admired as a faithful lover and avenger of his wife's murder. Spanish literature of the time was, by and large, characterized by its hostile treatment of Moriscos. Calderón, on the other hand, sympathizes with the Morisco predicament. While not a cristiano viejo , El Tuzaní emerges as a just defender of human rights according to natural law, a Catholic concept Calderón knew well. The changing attitude of the Spanish public toward Moriscos, who had been expelled by the edict of 1609, and the presence of the Libros plúmbeos in Madrid may have been influencing factors in the creation of the play. (TEC)
En la vida todo es verdad y todo mentira : Calderón's Prince Defined by Faith
Authors: Hivnor Mary
Published: January 2014

Calderón's palace play, En la vida todo es verdad y todo mentira compares two foster brothers and their reactions to different experiences. In this article, the prince's main action is discovered to be his search for identity. It is asserted that Calderón uses the basic romance plot to bind together larger themes, including the Baroque conflict between appearance and reality, rules of courtly behaviour, and religious and philosophical questions of motivation and human values. It is found that through this play, which would appear to be intended for pure entertainment, Calderón's political, philosophical and theological concepts are integrated, through one dramatic action, into a single serious statement. (MH)
La vida es sueño : soluciones calderonianas a la crisis política e ideológica del siglo XVII
Authors: Mariscal de Rhett Beatriz
Published: January 2014

En este estudio se explora cómo el desquiciamiento del orden público, producto de la crisis socio-político-económica que empieza en el siglo XVI, se refleja en el teatro de Calderón de la Barca y específicamente en La vida es sueño . Al igual, se trata de demostrar la eficiente y lograda eficacia comunicativa del dramaturgo en su labor ideológica de encauzar el espíritu racionalista de los españoles que había empezado a desarrollarse en ese breve período de modernidad que, desafortunadamente, el fracaso económico del país había desmoronado. En La vida es sueño confluyen un gran número de signos visuales y textuales, todos ellos entrelazados, que presentan un relato de caos y desorden. Calderón, en su tarea correctiva, combina los diversos planos significantes que pone a su disposición la fiesta teatral para proponer la vuelta al orden — no un orden nuevo — a través de la estricta observación de los principios que rigen al estado absolutista monárquico-cristiano.
Elisa Dido y el contemptus mundi postridentino: simbolismo y moraleja en un drama de Cristóbal de Virués
Authors: Walthaus Rina
Published: January 2014

En este artículo se analiza cómo en Elisa Dido de Virués distintas formas de expresión simbólica enfatizan la temática y la moraleja de la obra. Virués presenta una visión amarga de la vida terrenal, en la cual la única posibilidad de salvarse es renunciar a lo mundano. La estructura de la acción dramática refuerza el mensaje del desengaño y contemptus mundi por medio de la yuxtaposición contrastiva de comportamientos opuestos (acción primaria, doble acción secundaria). La lección filosófico-moral se concretiza, a su vez, a través de la semantización del espacio y de la oposición entre el espacio visualizado y el espacio fuera del escenario. Además de otros elementos metafóricos y simbólicos que insisten en la misma concepción pesimista, la escena de la muerte de Dido cobra un interés especial por su carácter emblemático: el espectáculo visual (accesorios escénicos, escenificación) y la explicación verbal del mismo forman un emblema del tópico de la vanitas mundi . En Elisa Dido la historia clásica de la reina Dido se presenta como un exemplum del tema del desengaño y de la ética ascético-cristiana propios del período postridentino, mientras que el aspecto espacial y visual de la obra inculca este mensaje a través de los ojos del espectador. (RW)
El paralelismo: estructura y lenguaje en El médico de su honra , de Calderón
Authors: de Blas Francisco
Published: January 2014

El artículo propone una nueva forma de abordar el contenido de la obra calderoniana, que puede ser sugerencia válida para el análisis de cualquier otra obra dramática. Son tres los niveles en que el texto aparece seccionado. En el primero, «nivel de construcción,» se analiza la estructuración paralela que es el soporte de la obra: así, el conflicto del honor puede aparecer representado en su vertiente externa (o política), e interna (o amorosa). En el «nivel de la creación» se analiza cómo El médico ... trasciende la anécdota para situarse en el cuestionamiento directo del hombre y su inclusión en el mundo, mediante la utilización de un lenguaje simbólico hondamente expresivo. En el «nivel de enunciación» se hace una reinterpretación del personaje «gracioso» de la comedia, partiendo de su lenguaje directo, falto del simbolismo que despliega la puesta en escena de los demás personajes. Mediante esos tres niveles el artículo trata de captar la teatralidad del mensaje calderoniano, por encima de los estudios estrictamente «literarios» que se le han dedicado hasta ahora. (FdeB)
Dramatic Convention and Poetic Discourse: Dialogue, Monologue, and Aside in Luis de Góngora's Las firmezas de Isabela
Authors: Quintero María Cristina
Published: January 2014

Luis de Góngora's Las firmezas de Isabela represents an attempt to rival Lope de Vega's dramatic formula. Góngora adopts many of the characteristics of the comedia nueva, but subverts the language of a typical Golden Age play by introducing the difficulty of his own poetic diction into the conventionality of the comedia . Through the manipulation of dialogue, monologue, and aside, the poet dramatizes the tension between Gongorine discourse and the dramatic formulas of the comedia de enredo. As a result, the play becomes a conscious exploration of the ambivalent relationship between poetry and drama during the seventeenth century.
Female Psychosexuality in Tirso's El vergonzoso en palacio
Authors: Conlon Raymond
Published: January 2014

El vergonzoso en palacio combines Tirso's interest in sexual themes with his insight into women to produce one of his most psychologically provocative plays. The work's three main female figures, the sisters Madalena and Serafina, and the latter's lady-in-waiting Juana, represent a feminine sexual spectrum— a heterosexual, a narcissist, and a latent lesbian. Besides offering this female sexual typology, El vergonzoso traces the sexual development of the two sisters and Juana. All three begin the play in a state of ignorance concerning their basic sexual natures, but after encountering the catalyst of their particular sexual chemistry, are driven to some form of sexual activity. (RC)
Tirso's Use of Emblems as a Technique of Representation in La mujer que manda en casa
Authors: Smith Dawn L.
Published: January 2014

Taking the cue from Tirso's own comments in Los cigarrales de Toledo («...no en vano se llamó la poesía pintura viva»), recent criticism has focused on the pictorial quality of Tirso's comedias . This study examines another aspect of Tirso's technique of representation: his use of emblematics in the biblical play La mujer que manda en casa . The function of this technique is both dramatic and didactic since emblems are used to shape the structure of the play and to emphasize its moral purpose. Tirso relies on two important factors, the active collaboration of the audience and the inherent theatricality of the spectacle, in order to create an illusion which leads the spectator to apprehend a deeper meaning. (DLS)
Love, Matrimony and Desire in the Theatre of Tirso de Molina
Authors: Sullivan Henry W.
Published: January 2014

En este artículo se propone analizar lo erótico en el teatro de Tirso de Molina desde tres puntos de vista teóricos: 1) los subsistemas amorosos del Renacimiento, 2) los preceptos canónicos de la Contrarreforma en cuanto al sacramento del matrimonio, y 3) las teorías psicoanalíticas de Jacques Lacan (1901-1981) referentes al deseo humano normal o anormal. Tirso escenifica (con distintos grados de aprobación) cinco teorías o sub-sistemas del amor: el amor cortés; el amor neoplatónico; el amor mítico; el amor ligado al pundonor; y el llamado sistema «neoescolástico-atomista.» En cuanto teólogo profesional, Fray Gabriel Téllez O.M. pone también en tela de juicio las normas nuevamente definidas por las autoridades postridentinas (1563-1635) tocantes al matrimonio: los impedimentos al mismo; la consanguinidad; el incesto; la clandestinidad y la licitud, etc. Finalmente, Tirso saca en las tablas una serie de manifestaciones del deseo desviado o anormal, lo cual convendrá analizar a base de las teorías posfreudianas de Lacan. Ejemplos concretos de la aplicación a la obra de Tirso de esta mezcla de teorías antiguas y modernas puede encontrarse en comedias tales como Los amantes de Teruel; La celosa de sí misma; La Ninfa del cielo; Don Gil de las calzas verdes; El amor médico; La república al revés; El burlador de Sevilla y más. Tirso se perfila como pensador sardónico frente al amor idealizado, manteniendo que el problema del deseo no sea forzosamente idéntico al problema del mal en sí, sino que hay que negociar aquél como realidad fundamental de la vida. (HWS)
El Arenal de Sevilla: Circunstancialidad y simbolismo analógico de una comedia lopesca
Authors: Kurtz Barbara E.
Published: January 2014

El Arenal de Sevilla de Lope de Vega es una comedia de capa y espada que ha carecido de atención crítica a pesar de presentar acusadas particularidades dramáticas y varios problemas de interpretación. El hilo argumental parece a primera vista algo desenfocado y divagador; sin embargo, el análisis global de la pieza puntualiza la subyacente estructura temática de la obra y recalca el analogismo simbólico, el sistema de «planos correspondientes» de la experiencia humana, que configura la acción. Se verá que el Arenal epónlmo sirve de determinante estructural que enfoca distintas esferas dramáticas y temáticas al parecer discontinuas, llegando a ser el punto de convergencia de lo circunstancial y lo personal, lo histórico y lo amoroso, varias escalas de motivos que perfilan el ambiente sevillano de aquella época y la naturaleza del amor de todos los tiempos. (BK)
Calderón's Man in Mexico: The Mexican Source of El gran duque de Gandia
Authors: Hanrahan Thomas
Published: January 2014

In 1640, the Mexican Jesuit Matías Bocanegra wrote La comedia de San Francisco de Borja to celebrate the arrival of a new viceroy. In the spring of 1671, Calderón wrote El gran duque de Gandía to celebrate the canonization of St. Francis Borgia. Both plays had long been thought lost; Bocanegra's came to light in 1953 and Calderón's in 1958. Both plays deal with the same historical figures and depend upon the same sources to a degree. But it is the similarity of dramatic technique, the identity of fictitious personages and the similar structure in both dramas that are persuasive indications that Calderón used Bocanegra's work extensively. Circumstances and need dictated this borrowing, although Calderón recast the work In his own inimitable language and style and heightened the sub plot by borrowing from another Jesuit source, Calleja. (TH)
Lope/Calderón, en «las ansias de la muerte»
Authors: Díez Borque José María
Published: January 2014

Por el estudio comparativo de los testamentos de Lope y Calderón, se intenta llegar a unas conclusiones sobre vida y mentalidad de nuestros dos grandes dramaturgos del siglo XVII, con rendimiento para la interpretación de su obra literaria. Se analizan las actitudes del hombre religioso, político, económico, afectivo..., para, entre los renglones de la prosa testamentaria, o del inventario, descubrir las sustanciales divergencias de dos vidas, de las formas de ser y pensar, que se plasman en las concepciones dramatúrgicas de dos sistemas estéticos. El camino que va de la externidad ceremonial al cerrado espacio interior del «museo del discreto» nos descubre, coherentemente, el sentido y alcance de dos mentalidades contrapuestas. (JMDB)
Ambiguous Voices and Beauties in Calderón's Eco y Narciso and Their Tragic Consequences
Authors: Dipuccio Denise
Published: January 2014

The dramatic action of Calderón's Eco y Narciso revolves around a prophecy, in which the seer Tiresias predicts Narciso's downfall. Although the main characters of the play believe that they fully understand the terms of the prophecy and try to prevent Narciso's doom, their attempts are unsuccessful, and the hero meets his predicted tragic fate. Tiresias' prophetic utterance, a key element of characterization, structure, theme, and plot of this comedia , highlights the importance of communicative patterns in Eco y Narciso . The deceivingly straightforward language of the prophecy proves to be more ambiguous than any character initially assumes. The enigmatic signs of «voice» and «beauty,» the basic components of the prophecy, defy attempts to determine their absolute meaning. The action of Eco y Narciso exposes the ambiguous nature of these signs and precludes definitive interpretations of the elusive prophecy. This ambiguity underscores the thematic and artistic richness of Calderón's mythological comedia . (DD)
La dama juega al duende : Pre-texto, geno-texto y feno-texto
Authors: Schizzano Mandel Adrienne
Published: January 2014

Las aportaciones de la crítica contemporánea y, en particular, la investigación de Julia Kristeva nos permiten identificar algunos elementos de la estructura lingüística de La dama duende con objeto de explicitar el proceso significante y la carga semántica de éste. Según la terminología de Kristeva, se distingue así entre un feno-texto, que es el texto escrito o impreso, y un geno-texto que, no siendo un elemento lingüístico en sí mismo, se explicita, no obstante, a través de ciertos elementos del lenguaje. Se puede decir que el feno-texto es el texto que puede ser leído, en el sentido completo del término, cuando se explora su compleja génesis; es decir, el geno-texto. Para descifrar los mensajes codificados en la obra, nuestra lectura prestará especial atención al título mismo. En nuestra opinión, el título opera como un pre-texto cuyo lenguaje parece actuar a modo de disfraz que encubre y descubre una realidad. Proponemos aquí el uso del término pre-texto ya que el título, a modo de eje semántico, identifica a la protagonista, y establece los motivos generadores de sus acciones. El título/pre-texto plantea el escenario subrayando las cualidades contrastantes del personaje protagonista: las que derivan de su situación social de dama , y las que se generan por su situción existencial de duende . Esos dos componentes, social y lúdico, articulados en el juego escénico van a determinar su dinámica. En el título encontramos además la dialéctica de la expresión poética, como un signo que simultáneamente encierra realidad y juego. Este estudio se encamina al análisis de esa dialéctica en el ámbito de la resonancia que se establece entre el pre-texto y el texto mismo de la obra. Nuestro objetivo es identificarla como el elemento que da cohesión a toda la acción escénica. El título o pre-texto se nos manifiesta, particularmente en La dama duende , como una auténtica condensación de la obra ya que, en él, descubrimos la existencia de los mismos niveles manifiestos y latentes que se entretejen en el texto. (ASM)
Los comendadores de Córdoba: ¿ Un caso de honor recobrado?
Authors: Fernández Jaime
Published: January 2014

La última escena de Los comendadores de Córdoba puede llevar al espectador o al lector a la conclusión de que el dramaturgo se ha limitado a presentar en esta comedia la «famosa hazaña» que el héroe de la misma ha llevado a cabo en la reivindicación de su honor. Sin embargo, un análisis detenido de la pieza invalida tal conclusión. Dicho análisis ha de tener en cuenta, al menos, estos factores: 1) el «juego de los puntos de vista», que implica el de todos los personajes del drama (no sólo el laudatorio del Rey y de los nobles en la escena final), y también el del espectador, que, como el del dramaturgo, es integral; 2) las diferentes actitudes de los personajes respecto al amor (con sus contraposiciones y paralelismos irónicos a lo largo de la acción dramática) y la mayor o menor importancia que en tales actitudes juega la razón , cuya amplia esfera conceptual es en el teatro de Lope clave para captar su postura ante los casos de honor. Así, las conclusiones que se desprenden no resultan tan claras, o, al menos, están teñidas de una inquietante ambigüedad, quedando en entredicho esa «fama eterna» que ha obtenido el Veinticuatro mediante su venganza.