bluuebunny/crossref_metadata_2025 huggingface dataset:
Patterns of Recurrence After Surgery Alone Versus Preoperative Chemoradiotherapy and Surgery in the CROSS Trials
Authors: Oppedijk Vera , van der Gaast Ate , van Lanschot Jan J.B. , van Hagen Pieter , van Os Rob , van Rij Caroline M. , van der Sangen Maurice J. , Beukema Jannet C. , Rütten Heidi , Spruit Patty H. , Reinders Janny G. , Richel Dick J. , van Berge Henegouwen Mark I. , Hulshof Maarten C.C.M.
Published: January 2014

Purpose

To analyze recurrence patterns in patients with cancer of the esophagus or gastroesophageal junction treated with either preoperative chemoradiotherapy (CRT) plus surgery or surgery alone.

Patients and Methods

Recurrence pattern was analyzed in patients from the previously published CROSS I and II trials in relation to radiation target volumes. CRT consisted of five weekly courses of paclitaxel and carboplatin combined with a concurrent radiation dose of 41.4 Gy in 1.8-Gy fractions to the tumor and pathologic lymph nodes with margin.

Results

Of the 422 patients included from 2001 to 2008, 418 were available for analysis. Histology was mostly adenocarcinoma (75%). Of the 374 patients who underwent resection, 86% were allocated to surgery and 92% to CRT plus surgery. On January 1, 2011, after a minimum follow-up of 24 months (median, 45 months), the overall recurrence rate in the surgery arm was 58% versus 35% in the CRT plus surgery arm. Preoperative CRT reduced locoregional recurrence (LRR) from 34% to 14% (P < .001) and peritoneal carcinomatosis from 14% to 4% (P < .001). There was a small but significant effect on hematogenous dissemination in favor of the CRT group (35% v 29%; P = .025). LRR occurred in 5% within the target volume, in 2% in the margins, and in 6% outside the radiation target volume. In 1%, the exact site in relation to the target volume was unclear. Only 1% had an isolated infield recurrence after CRT plus surgery.

Conclusion

Preoperative CRT in patients with esophageal cancer reduced LRR and peritoneal carcinomatosis. Recurrence within the radiation target volume occurred in only 5%, mostly combined with outfield failures.
Effect of the Addition of Chemotherapy to Radiotherapy on Cognitive Function in Patients With Low-Grade Glioma: Secondary Analysis of RTOG 98-02
Authors: Prabhu Roshan S. , Won Minhee , Shaw Edward G. , Hu Chen , Brachman David G. , Buckner Jan C. , Stelzer Keith J. , Barger Geoffrey R. , Brown Paul D. , Gilbert Mark R. , Mehta Minesh P.
Published: January 2014

Purpose

The addition of PCV (procarbazine, lomustine, and vincristine) chemotherapy to radiotherapy (RT) for patients with WHO grade 2 glioma improves progression-free survival (PFS). The effect of therapy intensification on cognitive function (CF) remains a concern in this population with substantial long-term survival.

Patients and Methods

A total of 251 patients with WHO grade 2 glioma age ≥ 40 years with any extent of resection or age < 40 years with subtotal resection/biopsy were randomly assigned to RT (54 Gy) or RT plus PCV. We observed 111 patients age < 40 years with gross total resection. CF was assessed by Mini–Mental State Examination (MMSE) at baseline and years 1, 2, 3, and 5.

Results

Overall, few patients experienced significant decline in MMSE score. There were no significant differences in the proportion of patients experiencing MMSE score decline between the randomized study arms at any time point. Both study arms experienced a significant gain in average MMSE score longitudinally over time, with no difference between arms.

Conclusion

The MMSE is a relatively insensitive tool, and subtle changes in CF may have been missed. However, the addition of PCV to RT did not result in significantly higher rates of MMSE score decline than RT alone through 5 years of follow-up. Patients in both randomly assigned arms experienced a statistically significant average MMSE score increase over time, with no difference between arms. The addition of PCV chemotherapy to RT improves PFS without excessive CF detriment over RT alone for patients with low-grade glioma.
Adrenocortical Carcinoma
Authors: Else Tobias , Kim Alex C. , Sabolch Aaron , Raymond Victoria M. , Kandathil Asha , Caoili Elaine M. , Jolly Shruti , Miller Barbra S. , Giordano Thomas J. , Hammer Gary D.
Published: January 2014

Adrenocortical carcinoma (ACC) is a rare endocrine malignancy, often with an unfavorable prognosis. Here we summarize the knowledge about diagnosis, epidemiology, pathophysiology, and therapy of ACC. Over recent years, multidisciplinary clinics have formed and the first international treatment trials have been conducted. This review focuses on evidence gained from recent basic science and clinical research and provides perspectives from the experience of a large multidisciplinary clinic dedicated to the care of patients with ACC.
Soluble CD163 Is Associated With CD163 mRNA Expression in Adipose Tissue and With Insulin Sensitivity in Steady-State Condition but Not in Response to Calorie Restriction
Authors: Kračmerová Jana , Rossmeislová Lenka , Kováčová Zuzana , Klimčáková Eva , Polák Jan , Tencerová Michaela , Mališová Lucia , Štich Vladimír , Langin Dominique , Šiklová Michaela
Published: January 2014

Context:

Soluble CD163 (sCD163) was suggested as a biomarker of insulin sensitivity and CD163 mRNA expression representing macrophage content in adipose tissue (AT).

Objective:

The aim of this study was to investigate, in cross-sectional and prospective design, the relationship between sCD163 circulating levels and CD163 mRNA expression in adipose tissue and insulin sensitivity assessed by euglycemic-hyperinsulinemic clamp.

Design, Setting, Participants, and Interventions:

Two cohorts of subjects were examined in the study. Cohort 1 included 42 women with a wide range of body mass index (17–48 kg/m2); cohort 2 included 27 obese women who followed a dietary intervention consisting of 1 month of a very low-calorie diet and 5 months of a weight-stabilization period.

Main Outcome Measures:

Serum levels of CD163 and mRNA expression of CD163 and CD68 in sc and visceral (visc) AT were determined, and insulin sensitivity [expressed as glucose disposal rate (GDR)] was measured in cohort 1. In cohort 2, serum levels of CD163, mRNA expressions of CD163, CD68, and CD163-shedding factors [TNF-α-converting enzyme (TACE) and tissue inhibitor of metalloproteinase (TIMP3)] in sc AT were examined and GDR was measured before and during dietary intervention.

Results:

In cohort 1, circulating sCD163 correlated with CD163 mRNA levels in both sc and visc AT. sCD163 and CD163 mRNA expression in both fat depots correlated with GDR. In cohort 2, the diet-induced changes of sCD163 levels did not correlate with those of CD163, CD68, TACE, and TIMP3 mRNA levels. Although the pattern of the diet-induced change of sCD163 paralleled that of GDR, there was no correlation between the changes of these two variables.

Conclusion:

sCD163 correlates with CD163 mRNA expression in sc and visc AT and with whole-body insulin sensitivity in the steady-state condition. These associations are not observed with respect to the diet-induced changes during a weight-reducing hypocaloric diet.
The Corroboration Warning in Sexual Offence Trials: Final Vestige of the Historic Suspicion of Sexual Offence Complainants or a Necessary Protection for Defendants?
Authors: Leahy Susan
Published: January 2014

In both England and Ireland, trial judges have discretion whether to issue a corroboration warning in a sexual offence case. However, there is little guidance as to when such a warning is appropriate or the form which it should take. This uncertainty has the potential to produce injustice for complainants because the inappropriate use of such warnings may unfairly prejudice their testimony. Further, continuing to place sexual offence complainants in a special category with respect to the provision of such warnings is objectionable on principle and contributes to the perpetuation of myths about high levels of false allegations of sexual crime. Of course, the current rules may be justified on the basis that it is unfair to convict a defendant on anything but the strongest of evidence and that judicial comment on the uncorroborated nature of a complainant's testimony may thus be necessary in some cases. However, it is argued that it is possible to reform the current approach to corroboration in a manner which better accommodates the rights of both complainants and defendants.
Del icono visual al simbolo textual: El « Auto de la pasion » de Lucas Fernandez
Authors: Hermenegildo Alfredo
Published: January 2014

El lugar de la representación y la identificación de la condición social del espectador previstos en el texto del Auto de la Pasión de 1514, han sido objeto de la reflexión crítica con soluciones no del todo satisfactorias. Tras un análisis de las didascalias explícitas e implícitas del Auto y de las consecuencias que deberían producir en el momento de la enunciación, se llega a la conclusión de que el Auto de la Pasión fue probablemente escrito para ser representado ante un público noble durante las celebraciones de Semana Santa, en una capilla o lugar consagrado al culto religioso de Alba de Tormes o de la corte portuguesa. El Auto es así una pieza más del teatro de minorías, de élite intelectual, que fue el conjunto de la producción de Lucas Fernández. (AH)
Architecture and the Comedia
Authors: Gitlitz David M.
Published: January 2014

J. D. Merriman («The Parallel of the Arts») warns critics away from impressionistic analogues between literature and the arts while advocating analysis of the formal aesthetic principles common to the various genres. A study of 17th century Spanish architecture illumines certain aspects of the Comedia : the tendency of using architecture to create framing devices for human actions, with an attendant preoccupation with symmetry; and the constant juxtaposition of structural elements of diverse and contrasting stylistic registers to create texture. (DMG)
The Scatological View of Love in the Theater of Lucas Fernandez
Authors: Weissberger Barbara F.
Published: January 2014

Recent criticism has noted the similar treatment of secular love in the primitive Castillan theater and in the contemporary lyric and prose romance genres. Focusing on the plays of Lucas Fernández, my study notes the presence therein of imagery that treats unrequited love not as a spiritual malady but as a purely physical disorder. The rustics in Fernández' plays describe the pain of love as a malfunction of the digestive system and can neither understand nor be understood by the noble characters who use the imagery of courtly love to describe similar pain. The scatological conception of love held by Fernández' peasant characters would seem to reinforce the view that they are figures of mockery and scorn to playwright and audience alike. I qualify this notion somewhat, using the fact that most of Fernández' plays are wedding plays and referring to the work of Mikhail Bakhtin on the carnivalesque style of medieval humor, with its emphasis on the «material bodily principle», to argue that the role of the rustic is more positive than has been assumed.
Calderón y las fiestas de carnaval
Authors: Valbuena-Briones A.
Published: January 2014

Este artículo presenta una nueva aproximación a la interpretativa de la dramaturgia calderoniana. Recientemente diversos estudios han destacado la variedad y riqueza artística de las fiestas teatrales en Palacio en la Corte de los Habsburgos, especialmente durante el reinado de Felipe IV. Este trabajo precisa la polarización de dichos espectáculos en torno a dos fiestas del calendario litúrgico y centramos nuestra investigación en los festejos de Carnaval de ascendencia pagana que tuvieron singular esplendor en la Corte del mecenas del teatro, Felipe IV. Calderón participó en estas actividades con diversa intensidad, las cuales culminaron en el período en el que se asoció con el marqués de Eliche. Nuevamente bajo el reinado de Carlos II continuó con su colaboración en dichos festejos. Hemos escogido la pieza Hado y divisa de Leónido y Marfisa como modelo para el análisis de este tipo de representación. Fue estrenada para las Carnestolendas de 1680 con el propósito de divertir especialmente a la joven reina, doña María Luisa de Orleans. Acompaña al manuscrito de la pieza una detallada "Descripción de la Comedia", que permite apreciar el aparato y ornamentación de esta obra dramática, en la que la puesta en escena, las tramoyas, la música y los decorados recibieron esmerada preparación. El análisis de la Loa y la Comedia pone de manifiesto un sentido lúdico y escapista que integra la personalidad creadora de Calderón y que era, hasta ahora, poco reconocido, y ofrece una ventana abierta a las costumbres palaciegas de la época.
Four Volumes of Rare Comedias Sueltas in the Herzog August Bibliothek, Wolfenbüttel
Authors: Selig Karl-Ludwig
Published: January 2014

The Herzog August Bibliothek in Wolfenbüttel owns four volumes of sueltas (Ll Mischbd 3 - 6) and their contents are listed herein. I have endeavored to identify these texts by consulting the standard collections and tools of scholarship listed in the bibliography; for the description of these texts, I have essentially followed traditional and established bibliographical norms which are given and indicated in these reference works. In the task of identifying the texts I have been successful in relatively few instances, and this is further indication of the rarity of these texts and the importance and the need to record and to describe them adequately. It is an honor and a privilege to recall a very special scholar, and it is fitting to dedicate this bibliographical study in memory of Professor Hannah E. Bergman, whose contribution to this area of scholarship established a standard and is of magisterial importance.
Tirso de Molina's Idea of Tragedia
Authors: Darst David H.
Published: January 2014

Tirso employs the term tragedia to describe the events in only four of his plays: Los amantes de Teruel, Amazonas en las Indias, Escarmientos para el cuerdo , and La venganza de Tamar . These dramas do not conform at all to the Classical notions of tragedy proffered by Aristotle and Horace and introduced into Spanish criticism via the Italian humanists by Alonso López Pinciano, Francisco Cascales and Jusepe Antonio González de Salas; rather they adhere to the ideas expressed by the early Medieval grammarians Donatus, Diomedes and Evanthius and brought directly into the Golden Age via Dante by Reniassance Spanish dramatists and commentators. The crux of this Medieval notion used by Tirso is the popular phrase Tragoedia est heroicae fortunae in adversis comprehensio , which should not be confused with the structural definitions based on Aristotle and Horace. (DHD)
Peter Brook: Performance Theory and the Comedia
Authors: Ganelin Charles
Published: January 2014

The director Peter Brook has summarized his passionate dedication to the arts in two of his books, The Empty Space (1968) and The Shifting Point. Theatre, Film, Opera: 1946-1987 (1987). His concept of the "deadly" and "religious" theatres, together with his philosophy of "Hold on tightly, let go lightly," yields a practical hermeneutics of performance theory. Brook's questioning of the notions of "Shakespeare," "text," and "adaptation," helps us in discussing the performances at the Golden Age Theatre Festival in El Paso, Texas, as discussions of El burlador de Sevilla and El gran mercado del mundo reveal.
A Marrano in Montezuma's Court: An Oblique Reading of La conquista de México by "Fernando de Zárate"
Authors: Harris Max
Published: January 2014

Despite the recent revival of interest in Enríquez Gómez alias Zárate, little attention has been paid to "Zárate's" La conquista de México . The play has been cited in passing as an example of "Zárate's" "flag-waving Christianity," and it has been ascribed to Lope de Vega. A careful reading of the play, however, reveals distinct traces of a Marrano voice, and suggests that Enríquez Gómez was using both the older text by Lope and the Zarate pseudonym to mask his discreet dramatization of the Marrano predicament. The character of Montezuma, in particular, may be a veiled portrait of Enríquez Gómez's own capitulation before the surrounding forces of the Christian world. (MH)
Grandes mitos clásicos y utilización dramática en el teatro de Lope de Vega
Authors: Andrés Christian
Published: January 2014

Huelga decir que Lope de Vega (1562-1635) era muy familiar con la mitología grecolatina, y como literato renacentista no se privó de utilizarla en su obra entera. Si sólo nos fijamos en su teatro profano — aparte del pequeño grupo de las comedias llamadas "mitológicas" — comprobamos una mayor recurrencia y un neto ahondamiento en el trato de los grandes mitos clásicos siguientes: Icaro, Faetón, Pigmaleón, Narciso. Por supuesto, si Lope de Vega parece dirigirse así preferentemente a su docto público al tanto de las modalidades de tal o cual mito, por medio de la parodia, del lirismo, de la moraleja, y de las ingeniosas variaciones escénicas, también puede interesar, educar y divertir a los mosqueteros. En todo caso, cada mito es una oportunidad para Lope de interpretación personal, de adaptación a su mentalidad amorosa y al nuevo gusto del público como en el caso del secretario Teodoro, nuevo Icaro "italiano" del amor cuyo sol es la condesa Diana de Belflor — pero un Icaro bienaventurado. Además, si el mito puede integrarse de modo funcional y simbólico en el enredo mismo de una comedia, en otros casos reforzará la evocación lírica, se prestará al lucimiento de una escritura barroca, para llegar a desvirtuarse en mero código, señal metafórica y cultural.
Comedia Manuscripts in Rome, Part II
Authors: Falconieri John V.
Published: January 2014

This is Part II of a bibliographical study of Spanish comedia manuscripts located in the city of Rome, Italy. They include known, unique, and unknown mansucripts of Golden Age dramatists. They are all of the early part of the 17th century and even include autograph copies. In addition to basic bibliographical data the report includes location of similar manuscripts, questions of authorship, textual variants, and dates of performances, if known.
"Tuya soy": The Economics of Marriage in Cervantes's Entremés del rufián viudo llamado Trampagos
Authors: Graham-Jones Jean
Published: January 2014

It has been noted that Cervantes's Entremés del rufián viudo llamado Trampagos parodies many of the forms, conventions, and themes of early 17th-century Spanish literature. Less discussed is the fact that the entremés satirizes, and therefore questions the values of, the period's social institutions and assumptions about these institutions. El rufián viudo not only parodies Garcilaso's Eclogues , demonstrating their language and themes to be an illusion masking a very different reality; it also questions the idealistic concept of love as the foundation of marriage. In this entremés , marriage is a matter of economics, a reality that undermines the image of courtly love as conveyed by the spokesmen of the dominant social order. El rufián viudo sets into motion a series of binary oppositions that reveal the emptiness of the status quo 's vehicle and the fullness of the reality this illusion attempts to conceal under the guise of conjugal harmony. (JG-J)
Texto y representación en el teatro español del ultimo cuarto del siglo XVI: (Cervantes y Lope: una perspectiva comparada)
Authors: Paz Gago José María
Published: January 2014

El último cuarto del Siglo XVI constituye un período de experimentación e investigación dramática sumamente interesante: se está forjando nada menos que el Teatro Moderno, la Comedia Nueva. Van a ser Cervantes y Lope de Vega las dos figuras fundamentales en este proceso, teórico y práctico, de génesis de una nueva y definitiva fórmula dramática. Una comparación de piezas coetáneas de ambos demuestra que explotan los mismos procedimientos escenográficos para la puesta en escena de sus primeras comedias. Resulta de lo más revelador un análisis de las acotaciones (indicaciones escénicas) incluidas en dos dramas de hechos famosos como La Numancia (1585) y Los Hechos de Garcilaso (1579-1583) y otros dos de temática ariostesca, La Casa de los Celos (1585) y El Casamiento en la Muerte (1595-1597) (JMPG)
Baroque Art and Sacramental Drama: Calderón's No hay instante sin milagro
Authors: Dietz Donald T.
Published: January 2014

A close reading of many Calderonian sacramental plays and an investigation into the art of the sixteenth and seventeenth century Counter-Reformation strongly support the idea that Calderón relied heavily upon the legends and motives present in the religious paintings of the Baroque artists. The present study will address this thesis with regard to the sacramental play, No hay instante sin milagro .
Agustín Moreto y Cabaña: A Transitional Playwright and His Heroines
Authors: Rissel Hilda
Published: January 2014

This paper will look at three plays by Agustín Moreto y Cabaña, to wit, El desdén con el desdén, De fuera vendrá quien de casa nos echará , and Lo que puede la aprehensión . It will contrast these plays with their adaptations in France: Molière's La Princesse d'Élide , Thomas Corneille's Le Baron d'Albikrac and Le Charme de la voix , to show that, since Moreto adhered to Neoclassical tenets to a greater extent than other Spanish playwrights of the Siglos de Oro , his theater was quite popular in the Grand Siècle of contemporary France. Nevertheless, there are Baroque influences in Moreto's theater, which accounts for the changes that his plays experienced when adapted to the French stage. Moreto, therefore, is a transitional playwright, who showed influences of both Neoclassical and Baroque precepts. This is illustrated in Moreto's portrayal of his heroines—i.e., Diana, Francisca, the Duchess and Fenisa,—as well, who at times manifest influences of Neoclassicism, at others those of Baroque. Finally, the paper will look at evidence of feminism in the three plays discussed, and conclude that, even though Moreto was sympathetic to some feminist vindications, he was not a feminist by modern standards. He lived, after all, at a time and in a country different from our own, and so has to be seen and judged within the context of his own period.
Purging Humor(s): Medical and Scatological Imagery in Tirso de Molina
Authors: Cull John T.
Published: January 2014

The figure of the physician as the butt of scathing humor is a long-standing tradition. This study explores the ways in which Tirso de Molina ridicules the members of the healing professions in his comedies. The numerous examples of Tirso's comic depiction of medical quackery almost always issue from the mouth of the gracioso , who is, by convention, an arbiter of truth in the Golden Age comedia . The Aristotelian notion of theater as catharsis is humorously literal in the medical practices of the period. The purification of corrupt humors was achieved through different methods of purging. Scatological medical malpractice is a constant source of humor in Tirso's comedies.
The Anxiety of Gender: The Tranformation of Tamar in Tirso's La venganza de Tamar and Calderón's Los cabellos de Absalón
Authors: Welles Marcia L.
Published: January 2014

In the Biblical narrative (2 Samuel), Tamar vanishes after her rape by her half-brother Absalom. Her disappearance from the theater of action ensures the preservation of her characterization as innocent victim. In the dramatic versions of Tirso and Calderón (who adopted Tirso's final act as his own second act), Tamar's continued stage presence effects a transformation from wronged maiden to aggressive avenger. The effect is not celebratory, but negative. Freud's essays on the Taboo of Virginity and Medusa's Head afford us insight into the "logic""of the playwrights' deviant readings and renditions of the source. The plot (the Davidic Succession Narrative) tells the story of a crisis in masculinity, and concomitant destabilization of the body politic. The projection on stage of a fantasized, phallic female—terrifying, but at the same time reassuring—provides a mechanism for mastering, or at least assuaging, anxiety. The distortions in Tamar's characterization correspond to the period's preoccupation with power—or rather its loss: it was commonly perceived that one of the first somatic signs of a state's weakening was the blurring of gender distinctions. A crisis of political power reveals itself in a radical anxiety about gender.
The Performance of Desire: Acting and Being in Lope de Vega's El laberinto de Creta
Authors: Kidd Michael
Published: January 2014

In El laberinto de Creta Lope proposes a world in which the equivalency of acting and being calls attention to the basic workings of the dramatic medium in the process of its unfolding. The play reinscribes the desires found in its Ovidian source ( Met. 8.152-82) into the context of the Spanish honor code of the seventeenth century in a way that questions the logic of honor by revealing its artificial, fictive constitution. Lope portrays Teseo as a negative and antiheroic figure whose inability to resist his erotic desires undermines the viability of the honor code and threatens to send the play toward a tragic end. In this and other crucial junctures of the piece where honor undergoes crisis, performance appears thematized, as in Jupiter's alleged transformation into the bull that seduces Pasife and Ariadna's disguise of a man playing a woman. By consciously invoking the play as play in this manner, Lope signals the highly theatrical nature of the conflict between love and honor and directly challenges the convention that says dishonor equals loss equals tragedy. The result is the "monstrous" blending of the tragic and the comic—tragicomedy—in which desire disengages honor and love from the rhetoric of presence. (MK)
Gender and the Discourse of Decay in El burlador de Sevilla
Authors: Hesse Everett W.
Published: January 2014

This study focuses on the kinds of speech used for perverse purposes, characterizing the ethical and moral decay of the period. It begins with Don Juan's control of other men and their views on the feminine gender. It continues with Don Juan's manipulation of women by the use of seductive discourse and their comments on the male of the species. It shows that Don Juan's deceitful practice of proposing matrimony and then reneging does not invalidate the premise set forth by the proponents of the Speech-Act Theory that speech is action. It argues that the verbal promises merely assist the rogue to gain access to sexual pleasure and the subsequent enjoyment of seeing others suffer. The discourses of decay consist of many forms of rhetoric summarized in the conclusion. Both genders, but especially the masculine, must share the burden of the moral, social and political decadence of the period.
Una obra mitológica de corral: Progne y Filomena de Rojas Zorrilla
Authors: Trambaioli Marcela
Published: January 2014

Este estudio pretende destacar la teatralidad inherente a una obra mitológica de corral: Progne y Filomena de Rojas Zorrilla. El análisis enfoca la estructura dramática y los elementos fundamentales que la constituyen, además de hacer hincapié en los recursos teatrales y en los signos escénicos de los que echó mano el autor para construir su fábula dramática. El examen detenido de la pieza pone de relieve la total adhesión del dramaturgo a uno de los principios básicos de la estética barroca: la búsqueda de lo asombroso y de la desmesura (Rojas lo utiliza, en efecto, para seleccionar motivos, personajes y situaciones teatrales). Al mismo tiempo, nos permite matizar algunos de los clichés que se han ido cristalizando alrededor de su teatro: el del feminismo y el de la truculencia. (MT)
Confounding Convention: 'Women' in Three Golden Age Plays
Authors: Allatson Paul
Published: January 2014

While it is a truism that the Renaissance was not a renaissance for women, three canonical Spanish plays —El burlador de Sevilla, La vida es sueño , and Fuente Ovejuna — provide a number of disturbances to the conception of complete male dominance and female subjugation during the Golden Age. Drawing on the work of Judith Butler, this essay examines how sexed and gendered indentities are conventionalized in the plays as naturalized, "regulatory" constructs. Attention will be paid to those moments in which these identities betray the very conventions that aim to contain them as meaningful. The analysis of El burlador focuses on the responses of the play's women to Don Juan's unsettling of gender and class relations. The women's readiness to surrender to their desires, and their actions to seek redress for perceived wrongs, reveal a range of imaginative and counter-conventional responses. In the analysis of Fuente Ovejuna , the role of Laurencia is regarded as transgressing a male preserve: the violent avenging of women's lost honour and the recuperation of sullied reputation. Laurencia's discursive transvestism succeeds in disturbing both the performative operations of gendered identities, and the regulatory uses to which those identities have been put. Transvestism and role-changing identities in La vida provide the essay's final focus. Rosaura's conscious adoption of fictive personas and genders, and her destabilization of Segismundo's ontological and erotic security, challenge the idealized passivity prescribed for women. Despite the powerful constraints that circumscribed social and erotic opportunities for women, both on and off the stage, women in each of these plays sometimes slipped through conventional constraints to embody new possibilities.
Mirando de cerca "Mujer, Comedia y pintura" en las obras dramáticas de Lope de Vega y Calderón de la Barca
Authors: Gómez María Asunción
Published: January 2014

En las tres últimas décadas, la estrecha relación del teatro con las artes visuales ha experimentado un auge inusitado, cuyos antecedentes se remontan al Siglo XVII, momento en el que la preocupación de los dramaturgos por el arte queda reflejada a nivel estructural, temático y/o de decorado en un buen número de sus creaciones. Éste es el caso de La quinta de Florencia y Peribañez de Lope de Vega, y El mayor monstruo del mundo y El pintor de su deshonra de Calderón de la Barca, obras en las que se enfoca nuestro análisis de la función dramática de las descripciones ekfrásticas introducidas en las mismas y, muy específicamente, nuestro estudio del papel que desempeñan los retratos de mujeres como mediadores del deseo masculino. Estos retratos femeninos determinan aspectos claves de la acción dramática y son generalmente elementos fundamentales en el desencadenamiento de la tragedia. Son además indicio de la otredad de la mujer y constituyen reflexiones intertextuales mediante las cuales se subraya la función mimética del arte pictórico, e implícitamente, del dramático. Queda pues reflejada en estas obras esa preocupación tan barroca (y también tan actual) sobre la relación entre dos mundos eternamente enfrentados: el de las apariencias y el de la realidad.
El villano en su rincón : otra vez su fecha, fuentes, forma y sentido
Authors: Dixon Victor
Published: January 2014

El villano en su rincón se compuso algunos años antes de su publicación en 1616, y antes también que La dama boba ; es decir, como creían Morley y Bruerton, en 1611 (o poco después), y no tres o cuatro años más tarde como supusieron Bataillon y Salomon. Un parlamento destacado por éste no muestra el influjo de las Soledades de Góngora, pero sí del comienzo del Coloquio pastoril (1553) de Antonio de Torquemada, que incluye el cuento del Carbonero y el Rey identificado por aquél como una de las fuentes de la comedia. Pero Lope, aunque echa mano a otras, se deja influir por el contenido, forma y sentido del Coloquio entero. Su protagonista, el pastor filósofo Amintas, es un antecesor de Juan Labrador, y la lección recibida por sus dos cortesanos es parecida a la que aprende y luego enseña el Rey: que los diversos pero interdependientes miembros de una sociedad se deben un respeto e incluso un amor mutuo. (VD)
Risa y género en los entremeses de 'mariones' de Francisco de Quevedo y de Luis Quiñones de Benavente
Authors: Restrepo-Gautier Pablo
Published: January 2014

La representación de la inversión sexual en los entremeses aseguraba una explosiva carcajada de parte del público de los corrales y, por ende, el éxito de la obra. Ahora bien, cabe preguntarse si esta representación del sexo travestido era subversiva o no. ¿Conllevaba la inversión sexual una reconsideración de la construcción cultural del género en la España de los Siglos de Oro? El marión de Francisco de Quevedo y Los mariones de Luis Quiñones de Benavente son campo fértil para explorar estas cuestiones. Ambos entremeses se basan en la combinación de la inversión sexual con la parodia de las comedias de capa y espada. No obstante, el entremés de Quevedo produce una risa violenta mientras que el de Benavente resulta en una comicidad más jovial. A partir de un marco teórico basado en los estudios de Judith Buttler sobre el género y la sexualidad, y en las investigaciones de Mikhail Bakhtin sobre el carnaval, mostramos que el tratamiento de la inversión sexual (problemático y carnavalesco en Quevedo, transparente y descomplicado en Benavente) está a la base de la diferencia del efecto cómico y del comentario social que hacen los dos entremeses.
La representación de la mujer en La dama boba
Authors: Heigl Michaela
Published: January 2014

El artículo analiza la representación de la mujer en relación con la ideología del sexo en La dama boba de Lope de Vega. El sistema patriarcal produce discursos que estabilizan la oposición "mujer" y "hombre" y justifican tanto la hegemonía del hombre como la opresión de la mujer. Finea y Nise, los dos personajes femeninos de nuestra comedia, llegan a conocerse a sí mismas por medio de los códigos culturales de su época. Sin embargo, Finea trata de romper con los discursos que la opresionan, llevando a cabo una resistencia que podríamos llamar "local" o "micro-política." Por consiguiente, Finea utiliza los discursos del sexo, subvirtiéndolos al mismo tiempo y está, según la definición de Teresa de Lauretis, simultáneamente dentro y fuera de la ideología patriarcal.
Notes on a Newly Discovered Play: Is Marcela de San Félix the Author?
Authors: Smith Susan M.
Published: January 2014

Sor Marcela de San Félix, a Trinitarian nun at the Convent of San Ildefonso in Madrid, wrote allegorical dramas on special occasions for the instruction and entertainment of the sisters. She was the illegitimate daughter of Lope de Vega and the actress Micaela de Luján. This essay presents a modernized transcription of the Breve festejo and my arguments for attributing authorship to her. The date, the placement of the folios in the manuscript of vidas , thematic emphases, language, and poetic forms all suggest Marcela de San Félix as the most likely author.
Lope de Vega's Exemplary Early Comedy, Los locos de Valencia
Authors: Thacker Jonathan
Published: January 2014

This paper argues that Lope de Vega's early comedy Los locos de Valencia is far from the "capricho juvenil" as scholars have seen it. The play has been unfavourably treated or ignored by Lope critics as part of the general denigration and neglect of the dramatist's early works, particularly those written in a comic vein. I argue that a careful scrutiny of the play-urged on its readers by Lope in its dedication, written some thirty years after the play itself-reveals the sophistication of its vision. In particular, scholars have failed to notice/stress the play's dependence on Ariosto's Renaissance epic Orlando Furioso , misread its theme (as locura de amor ) along with its genre, and failed to notice its poetics and implicit defence of the new art of writing plays of the time. Los locos de Valencia is an accomplished early work with a venomous bite which gives the lie to the commonplace that as a young dramatist Lope's purpose was merely to entertain, and that his early works lack erudition and depth.
Tráfico barroco: urbanidad y urbanismo en Las bizarrías de Belisa de Lope de Vega
Authors: Santo-Tomás Enrique García
Published: January 2014

El presente trabajo estudia Las bizarrías de Belisa a partir del impacto que ejerce la ciudad de Madrid sobre su diseño y sobre la construcción de los personajes, partiendo de ciertos presupuestos conocidos de la teoría urbanística contemporánea. Demuestra cómo el concepto de ciudad se configura como un ente activo en la última etapa de Lope, especialmente desde la expansión demográfica y cultural que se experimenta con el reestablecimiento de la Corte, y en particular durante el reinado de Felipe IV. La idea de "soft city," espacio dinámico que da lugar a ciertos intercambios simbólicos y materiales, opera como un personaje más en el equilibrio establecido entre urbanidad (como negociación permanente) y urbanismo (como escenario de esta conducta).
Theatrical Cave: A Frame for Dreams or Entrance to the Underworld?
Authors: Hivnor Mary O.
Published: January 2014

The cave, frequently a scene of action in tales of romance, was also a stock scene in seventeenth-century court scenography, and much used by Calderón in his palace plays. The romance topos of the cave involves the idea of an entrance to the underworld. Used dramatically, it functions as a frame for emblems, prophecies or dreams, and sometimes a mirror implemented by a magician who wishes to project these supernatural happenings. This essay maintains that, while the stage cave of Calderón's mythological or romance plays does not actually lead to the traditional underworld, it still has an implied association with tomb, crypt, or supernatural place. Whatever happens within the cave, and whatever its scenographic variations and inventions, the scene is still, even if unconsciously, imbued with traditional mortuary associations. (MH)
"And these be the fruits of plays": Sexuality in La casa de los celos y selvas de Ardenia
Authors: Amat Iluminada
Published: January 2014

Cervantes's La casa de los celos y selvas de Ardenia has, until recently, received scant critical attention. With few exceptions, critics have found little to commend in this early play. The essay focuses on several aspects of the play: the homosocial bonds between men and the homoerotic undertones inherent in a number of scenes, the role of Angélica and Marfisa as doubles (and their timely entrances), Marfisa's role as Bernardo's companion and her eventual dismissal and erasure in the text, and the edification and ultimate glorification of the historical and legendary Castillian hero Bernardo del Carpio. Angélica attenuates the threat of erotic attraction between Roldán and Reinaldos, and distracts the spectator and the reader from the implications of the men's relationship. Similarly, Marfisa deflects any suspicion of homoerotic desire on Bernardo's part. Given the nationalistic strain in the text, it is essential that Bernardo, the Castillian hero, not be "tainted" with the effeminacy, subconscious homoeroticism, and disorderly heteroeroticism of the French paladins.
Fuente Ovejuna : History, Historiography, and Literary History
Authors: Larson Paul E.
Published: January 2014

Understanding the discovery of Fuente Ovejuna by Menéndez Pelayo and the various receptions of Lope's comedia over the past one hundred years as they relate to the historical and political developments of the twentieth century is key to understanding the diversity of Fuente Ovejuna 's readings, interpretations, and productions. Its fame in literary and academic circles as Lope's most important play is closely linked to the ebb and flow of the political tides that have swept across this century. This brief history of the modern receptions of Fuente Ovejuna demonstrates that the play's continuing popularity can be tied to the social and political interests that have informed literary criticism for the last century. The issue of understanding the play's central action—the killing of the Comendador and the liberation of the village from his tyranny—is not only one of modern interpretation but of the evolution of a conservative seventeenth-century adaptation (of fifteenth-century history) to the radically modern reading of the play as a commentary on contemporary political issues. Without a doubt, it is the play's twentieth-century reception, four centuries removed from the play's origin, which makes it the so-called "queen of Spanish drama." Debate about the play's content—either pro-monarchy or pro-revolution—has made Fuente Ovejuna both popular and polemical.
Erotic Magic: Another Look at Cervantes's Los tratos de Argel
Authors: Whitenack Judith A.
Published: January 2014

This essay focuses on the scenes in Los tratos de Argel between Christian captive Aurelio and his would-be Moorish seductress, Zahara, and particularly her servant Fátima's failed attempt at erotic enchantment ( philocaptio ) on Zahara's behalf. Rather than seeking to connect the specifics of Fátima's spell with classical tradition or "la réalité algéroise (Canavaggio), we point out the persistence of episodes of philocaptio in heroic literature, particularly in the chansons de geste and chivalric romance, and thus the chivalric subtext of the episode. We also consider the many pronouncements throughout Cervantes against the power of erotic magic over a Christian endowed with free will, and finally the persistent pattern of attraction and repulsion in his various literary experiments with the seductive Other.
"Ese tan borrado sobrescrito": The Deconstruction of Lope's Religious Theater in El retablo de las maravillas and El rufián dichoso
Authors: Childers William
Published: January 2014

Lope de Vega's religious theater ( autos sacramentales and comedias de santos ) worked in parallel fashion to the comedia nueva to promote ecclesiastical and monarchical absolutism. The ideological effectiveness of the religious plays was grounded in their ability to create the sensation of divine presence for the audience, especially in the use of apparitions. Cervantes systematically rejects this religious theater. On the one hand, in "El retablo de las maravillas" he ridicules the audience of the auto sacramental for accepting the presence of Biblical figures on stage, displaying an empty frame where the final apotheosis would usually appear. In El rufián dichoso , he goes further, deconstructing the conventional comedia de santos by staging sainthood as a series of performances whose traces are only subsequently drawn together to create an artificial image of holiness. In reconstructing Cervantes's sustained critique of Lope's religious theater, this paper also examines the confrontation between the two writers concerning the role of both the sacramental and hagiographic genres in the construction of an emergent national identity. (WC)
"Veréis el monstruo": La nueva comedia de Cervantes
Authors: Miñana Rogelio
Published: January 2014

La figura del monstruo es la metáfora que mejor representa la nueva comedia de Lope de Vega, según la formula en su "Arte nuevo de hacer comedias." Su "monstruo cómico" posee un carácter libre y prodigioso, menos atento a las reglas clasicistas que al gusto del público por lo extraordinario. Admirar, maravillar, son el objetivo principal de un nuevo teatro que, como "el Minotauro de Pasifae," combina elementos diversos en su formidable cuerpo: tragedia y comedia, polimetría, variedad de lugares y tiempo. Aunque la crítica ha dedicado numerosas páginas a comparar la propuesta teatral cervantina a la de Lope, la figura del monstruo encarnada en el protagonista de El rufián dichoso nunca se ha estudiado como metáfora de la nueva comedia cervantina. ¿En qué difieren y se parecen los monstruos teatrales de Lope y Cervantes? ¿Por qué el teatro maduro de Cervantes no triunfó comercialmente como lo hizo el de Lope? ¿Cuáles son los elementos esenciales de la propuesta cervantina?
Cervantes's Democratization of Demonic Possession: El rufián dichoso , Blasco de Lanuza, and the Death-Bed of Every Christian
Authors: Kallendorf Hilaire
Published: January 2014

The treatment of exorcism in El rufián dichoso is an aspect of the play that is often ignored by Cervantes critics. In addition to demonstrating and analyzing the presence of clearly exorcistic elements in the text, and contextualizing them in light of similar cases of exorcism in historical documents of the same period, I study comparatively the text of Cervantes's comedia de santos and El patrocinio de ángeles y combate de demonios (1652), written by Francisco Blasco de Lanuza. El patrocinio de ángeles is a book of exorcisms that includes several significant chapters on the ars moriendi , where death appears represented as the final battle against the temptation of demons. Given that Cervantes and Blasco de Lanuza both "democratize" the experience of demonic possession by bringing it home to the deathbed of every Christian, I propose that the death of Ana in El rufián dichoso could serve as an example or model of the ideal death as Blasco de Lanuza imagines it in his treatise.
The Call of the Natural World in Los Baños de Argel
Authors: Lottman Maryrica Ortiz
Published: January 2014

As Daniel Eisenberg has shown in his examination of Las semanas del jardín and the whole of the Cervantine canon, Cervantes consistently promoted rural life over an urban existence. Not surprisingly, this preference guides the actions of the captives fleeing Los baños de Argel . The importance of landscape has been underestimated in scholarly appreciations of this comedia , especially regarding the role of Agimorato's garden, a setting which never appears on stage but which nonetheless offers a variety of symbolic and practical meanings. Francisco Nieva, the director of a rare production of Los baños , notes that the characters often take a back seat to the setting: "Los personajes son fugaces primeros planos, pronto fundidos en el barullo de las calles, con los ecos del mar, el viento del desierto, los vergeles de Argel." In contrast to the infidel and labyrinthine city of Algiers, the sea and garden represent the natural world wherein lies the possibility of freedom.
¿Cómo hacer cosas con los enigmas?: La vida es sueño o el drama del desengaño
Authors: Brioso Jorge
Published: January 2014

En este artículo estudio La vida es sueño a partir de la nueva relación con los enigmas que nos propone el drama barroco del desengaño. La única manera de evitar el destino nefasto pronosticado por la profecía es no interpreter los enigmas. La constatación de este problema plantea una serie de interrogantes que este ensayo tratará de responder: qué pasa cuando el libro del mundo no nos tiene nada que decir; qué tipo de política puede funcionar en un mundo donde la única relación posible con los enigmas es la del desengaño y la aceptación del fracaso del acto de interpretación; qué tipo de figura es la alegoría que yergue su sentido sobre el fracaso de la metáfora del libro como mundo, sobre la crisis del vínculo natural entre las palabras y las cosas; cuál es la función de la naturaleza en la cultura barroca. A través de una comparación entre La vida es sueño y El Criticón de Baltasar Gracián, propongo un acercamiento entre la suspicacia barroca ante el mundo natural, el libro del mundo y el proyecto ilustrado que se construye a partir de una crítica de los falsos nombres y mitos. (JB)
Painting and Perspective in Calderón's El príncipe constante
Authors: Shao Yun
Published: January 2014

The article studies the textual references to painting and perspective in Calderón's play El príncipe constante within the context of contemporaneous scenography and art theory. It explores the possibility of a parallel between the textual references and the actual application of painting and perspective in stage design. This parallel leads to a further understanding of Calderón's interest in painting and his view on its function in theater. The play of El príncipe constante reveals the dual effect of visual verisimilitude: it is poignant and convincing and, at the same time, misleading and deceptive. The study intends to clarify how Calderón presents characters' optical experiences as a reflection ofthe audience's reception of the theatrical stage, and to argue that the ultimate goal of such a manipulation is didactic: the playwright's attempt is to show his spectators the way of looking beyond the verisimilar for an allegorical message that conveys Christian doctrines. Calderón offers the play to the public as a spiritual exercise rather than simply a representation of factual truth. (YS)