bluuebunny/crossref_metadata_2025 huggingface dataset:
From “Customary” to “Illegal”: Yao Ethnic Marriages on the Sino-Vietnamese Border
Authors: Barabantseva Elena
Published: December 2015

This article examines changing governing practices in the context of the Sino-Vietnamese border in the Guangxi Autonomous Region of China. The groups inhabiting the mountainous ranges of this ethnically diverse part of Southeast Asia evaded the reach of the state until the 1970s, when China and Vietnam started tightening control over the land border after the border war. With an increasingly rigid and clearly delimited Sino-Vietnamese borderland, binary forms of classification began to replace earlier fluid identifications, and the room for diverse social and cultural expressions became restricted. It is within this context that the ethnic marriage practices straddling the borders of China and its southern neighboring states discussed in this article took place. Cross-border ethnic Yao marriages have changed from customary to illegal in recent years as a result of China’s strict population control, its changing demography, and the accelerated shortage of manual labor in its border area. Border politics have permeated the private sphere, transforming common ethnic marriage partners into illegal migrants. Although ethnic marriage partners are relegated to an illegal status, they are indispensible in the local labor market and moral economy as mothers, caretakers, translators, guides, and manual workers. This article argues that, despite being antithetical to the bordering logic of state sovereignty, they are important agents who depend on and capitalize on the border economy.
Regional Cultural Enterprises and Cultural Markets in Early Republican China: The Motion Picture as Case Study
Authors: Johnson Matthew D.
Published: December 2015

The transition of the motion picture from foreign amusement to local enterprise was primarily the result of transnational commercial activity linking investors, entrepreneurs, and entertainment professionals. Amid the ongoing urbanization of China’s early Republican period, the enterprises emerging from this activity became increasingly profitable and, as a result, film production and exhibition became regularized phenomena, rooted in identifiable genres and standardized approaches to engaging audiences within the immersive space of the theater. By the early 1920s, those closest to the nascent industry were eager to legitimize its power by portraying the medium as a tool for political and social reform. However, commercial strategies and aesthetics remained relatively undisturbed despite this progressive rhetoric. In geographic terms, motion picture–related enterprises and culture remained strongly regional: affected and constrained by the non-Chinese national industries operating in politically divided China, by competing forms of local popular culture, and by existing geographies of exchange and infrastructure. The early Republican “experimental” period in Chinese cinema was, from an enterprise-centered perspective, one of numerous coexisting subnational cultural centers and zones.
In the Mold of the Fathers: Objects of Sculpture, Subjects of Legacy
Authors: Freud Jane McAdam
Published: December 2015

The essay interrogates forms and processes the author uses in her sculptures. It examines specifically works that were driven by feelings of responsibility to heritage and that led to a return to the self as a focus in her sculpture. Exploring work inspired by images and creations of Lucian Freud and Sigmund Freud, it investigates formal, visual, and sculptural devices such as the circle, the edge, and the condensed relief format. It asks how the condensed form became relevant to her artistic practice as a symbolic device, how her relief format is guided by content—the images and persons depicted—and how that loaded content in turn provokes a two-sided, condensed form. In particular, the essay inquires into how the author’s interest in the relief format produced an interest in portraiture and hence family, and how, simultaneously, the need to touch base with feelings of home and family further drove her interest in the relief form.
Topographies: Psychic Landscapes in the Poetry of Seamus Heaney and Tomas Tranströmer
Authors: Jones Alice A.
Published: December 2015

Seamus Heaney and Tomas Tranströmer, two stellar poets of their generation, each work with a tacit, topographical model of the relation of consciousness to the unconscious. Comparing and contrasting several of Heaney’s poems to those of Tranströmer, the essay considers how each poet makes use of his topography. In Heaney’s poems, there is an emphasis on plunging into the depths. In Tranströmer’s work, dream and waking states infuse each other to generate an experience of depth through transitional space.
Text As Muse, Muse As Text: Janáček, Kamila, and the Role of Fantasy in Musical Creativity
Authors: Tutter Adele
Published: December 2015

The essay provides a detailed reading and analysis of Leoš Janáček’s letters to his late-life muse, Kamila Stösslová. By placing the letters alongside the literary texts on which Janáček based his important late works, it provides insight into the tangle of emotions and conflicts that he organized within the rubric of fantasy. Janáček’s muse was also “composed”: the contours of the person he loved and his relationship to her were not only rooted in fantasy but also mapped onto the characterizations and narratives specified in the works of literature he chose to set to music. The author proposes that cultural fantasy exists in continual dynamic interaction with individual unconscious fantasy, within which it is absorbed, incorporated, and re-expressed in new works of art.
Unraveling the Enigma of Giorgio Morandi: A Psychoanalytic Strategy
Authors: Miller J. David
Published: December 2015

Although the paintings of twentieth-century artist Giorgio Morandi are well known, as a man he remains an enigma. Basing their studies mostly on his outward behavior, biographers of Morandi have portrayed him as both a sociable presence in the Italian art world and a recluse, widely referred to as “the monk.” This essay seeks to construct an integrated view of Morandi by turning a psychoanalytic lens toward his art itself. The result suggests that Morandi devoted nearly every waking hour to his work in the studio not merely as a form of avoidance but also as a creative process akin to a psychoanalysis—a way of connecting with his inner life and, through symbolic representation, sharing it with others.
George Gershwin’s Self-Portrait in the Mirror with My Mother
Authors: Weber Katharine
Published: December 2015

This paper considers from a personal and historical perspective the meaning of a 1934 photograph by George Gershwin, a self-portrait in the mirror with a twelve-year-old child, who was the author’s mother. The author traces her mother’s connection to Gershwin and explores the complex relationships that brought the composer and her mother together. Starting with a first person account of childhood awareness of and response to the figures in the photograph, the author elucidates the historical context that led to Gershwin’s taking up photography, including the role of his psychoanalyst Gregory Zilboorg. The paper explores the world in which the photograph was created, the photograph’s composition, the author’s mother’s lifelong fascination with photography, and the author’s childhood desire to be seen by Gershwin the way the girl in the picture, her mother, was seen.
Hebraei Liquores : The Balsam of Judaea in Pliny’s Natural History
Authors: Manolaraki Eleni
Published: December 2015

This article proposes a reading of the balsam in the Natural History (12.111–23) through the socio-historical construct of Botanical Imperialism: the physical and cognitive appropriations of flora to establish cultural primacy. Pliny’s construction of the balsam engages with Flavian preoccupations such as Rome’s economic recovery after the civil war, the integration of Judaea into the empire, Titus’ self-presentation as conqueror, and the influence of eastern luxury. Discerning the ideological dimensions of the balsam contributes towards scholarship on the literary qualities of the Natural History , and sets Pliny’s botany in the context of comparative work on imperialism and the natural sciences.
A Tale of Two Commanders: Ammianus Marcellinus on the Campaigns of Constantius II and Julian on the Northern Frontiers
Authors: Marcos Moysés
Published: December 2015

Ammianus Marcellinus is a careful manipulator of language and narrative structure. This article seeks to show through literary analysis that his description of the Emperor Constantius II ( ut cunctator et cautus , 14.10.14) is not meant to be a positive evaluation but a negative one, especially when compared with how Ammianus renders the Caesar Julian ( bellicosus ductor , 16.12.18), with consequences for how we should read Ammianus. Despite his failure to elaborate on Constantius’ second campaign in Raetia in 356 c.e. (16.12.15–16), or the possible loss of an earlier telling of the campaign via corruption of the textual transmission (Barnes 1998, 138), Ammianus’ is the fullest account available; and, in fact, there is enough in what we do know about the campaigning seasons of 354–59 on the northern frontiers to be able to discern Constantius and Julian’s strategies, and thus what each considered to be “achievement.”
Timokles Satyrographos and the Abusive Satyr Play
Authors: Cohn Matt
Published: December 2015

This article argues that the Ikarioi Satyroi by Timokles was performed in the slot for satyr play. Most scholarship classifies it as a comedy because Timokles is best known as a comic poet and the play mocked contemporaries in a modern setting. Yet its title strongly suggests that it was a satyr play, and changes to the festival in the fourth century could have enabled new poets to experiment in the genre. The fragments show affinities with satyr plays that came before and after it, and this article suggests that the Ikarioi Satyroi and the precedent it set directly influenced later satyrographers.
The Plot Within: μέγεθος and μῆκος in Aristotle’s Poetics
Authors: Marsh Loren D.
Published: December 2015

There are two related problems in the Poetics : Aristotle’s contradictory statements about size, and Aristotle’s confusing use of two terms for size, μέγεθος and μῆκος. I argue that both problems can be solved if we understand that Aristotle only uses μέγεθος to refer to the size of the plot in relation to the size of the larger whole, and μῆκος to refer to absolute size (number of lines, run-time, fictional time, or number of plot parts), unrelated to any larger whole.
The Double Chorus of Horace Odes 4.1: A Paeanic Performance in Morem Salium
Authors: Foster Margaret
Published: December 2015

This article considers the description at Horace Odes 4.1.25–28 of a chorus of boys and girls dancing “in the manner of the Salii.” In this image of a double chorus of boys and girls dancing the Salian tripudium , Horace connects a feature he associates with the paean, a Greek genre of poetry, to the equally ancient but culturally Roman dance of the Salii. Horace is able to produce this particular vision of a hybrid performance because of certain homologies that obtain between paeanic and Salian performances. In so doing, Horace formulates his own idiosyncratic relationship with Greek precedent and simultaneously responds to other ancient perceptions of the Salii, including those of Vergil.
Prosodic Rhythm in Jewish Sacred Music: Examples from the Persian-Speaking World
Authors: Rapport Evan
Published: December 2015

Musical rhythms are connected to prosodic principles in many Jewish sacred music practices. For Persian-speaking Jews of Iran and Central Asia, rhythms are especially informed by ingrained habits of interpreting Persian quantitative poetic meters, applied to both Hebrew- and Persian-language texts. For describing and analyzing Jewish sacred music in the Iranian and Central Asian traditions, the term “prosodic rhythm” usefully highlights the importance of syllable length and other rhythmic features of a text, with broader implications for the study of Jewish sacred music and music without a steady pulse in general.
The Internet Guru: Online Pedagogy in Indian Classical Music Traditions
Authors: Roy Jeff
Published: December 2015

The use of the Internet in oral music distance learning for Indian classical musicians is a recent phenomenon. With the overall purpose of exposing methods that fuse new and traditional pedagogies, this article investigates how technology maintains and configures orality in virtual music education “scapes.” I argue that while online lessons maintain quality learning, significant structural shifts in lessons challenge (pre- Internet) conceptions of what constitutes learning. This article concludes with reflections on the parts of learning that transcend these changes and further thoughts about the future of Indian music pedagogies in online contexts.
A View from Cambodia: Reorienting the Monochord Zither
Authors: Dyer Jeffrey M.
Published: December 2015

The kse diev , a chest-resonated monochord stick zither played in Cambodia’s old wedding music ensemble, has a long history in Cambodia. Ethnomusicologists have underestimated that history, leading to inaccuracies in knowledge about the monochord zither and its historical trajectory. Using iconography, epigraphy, and field-work in Cambodia, Thailand, and India, this article documents the history and current use of the kse diev in Cambodia and explores its connections with similar instruments in India and Thailand. The evidence suggests that current understanding of the monochord zither should be reoriented to acknowledge the major role Cambodia has played throughout the instrument’s history.
Self-Sacrifice, Womanhood, and Melodized Speech: Three Case Studies from the Caucasus and Anatolia
Authors: de la Bretèque Estelle Amy
Published: December 2015

This article explores a practice of melodized speech by senior women from the Caucasus and Anatolia and its implication in the daily lives of this region. Based on three case studies from fieldwork conducted in Azerbaijan, Turkey, and Armenia, the article shows how self-sacrifice emerged as a central theme in the worldview of elderly women. They view self-sacrifice as an ideal and melodized speech as its sonic embodiment. This article argues that women’s daily dedication in melodized speech to the remembering of the deceased and the exiled relatives is a gendered sacrificial act that helps construct self-sacrifice as a positive moral value.
La representación del sujeto popular en las Historietas nacionales de Pedro Antonio de Alarcón
Authors: Lorenzo Mikel
Published: December 2015

Resumen: Este artículo explora la manera en que Pedro Antonio Alarcón representa los conflictos de las clases populares con la Modernidad. Abstract: This article explores how Pedro Antonio de Alarcón represents the conflict of popular classes with Modernity.
Realidad, Doña Perfecta and Tormento in Dialogue with the 21st century: Fernando Méndez-Leite’s Galdosiana
Authors: Willem Linda M.
Published: December 2015

Resumen: La obra teatral Galdosiana pone en contacto personajes del pasado y del presente para ofrecer al público del siglo veintiuno nuevas perspectivas sobre el arte literaria de Galdós y su campaña para reformar la novela y el teatro de España. Abstract: The stage play Galdosiana brings into contact characters from the past and the present to provide the 21st-century audience with fresh perspectives on Galdós’s storytelling, language, and campaign to reform the novel and theater of Spain.
“Subir, subir siempre”: Representing Death as Presentiment in Fortunata y Jacinta
Authors: Kelly Megan L.
Published: December 2015

Resumen: Los movimientos infinitos o interrumpidos que anticipan el momento suprimido de la muerte enfatizan los desafíos de representar lo intangible en Fortunata y Jacinta , de Benito Pérez Galdós. Abstract: The vexed or infinite movements that preface the elided moment of death highlight the challenges of representing the intangible in Galdós’s Fortunata y Jacinta .
“Some new dimension devoid of hip and bone”: Remediated Bodies and Digital Posthumanism in Gary Shteyngart’s Super Sad True Love Story
Authors: Malewitz Raymond
Published: December 2015

In its discussion of Gary Shteyngart’s Super Sad True Love Story , this essay shows how posthuman fantasies of a bodiless existence come about through processes of digital remediation similar to those described in Jay David Bolter and Richard Grusin’s now classic study of new media. For these critics, Western desires for unfiltered encounters with reality paradoxically result in the proliferation of new media forms that substitute “hypermediacy” for “immediacy.” Likewise, in Shteyngart’s novel, characters’ desires for attenuated or completely erased bodies are realized in the act of multiplying their bodies’ relationships with information technologies. In this respect, the novel enables us to explore the ways that a new posthuman realism shapes human bodies, desires, and politics in the digital age.
The Europeans on Broadway
Authors: Griffin Susan M.
Published: December 2015

This essay examines the material in an uncatalogued archive at Harvard’s Houghton Library regarding the 1957 Broadway production of Eugenia , based on Henry James’s The Europeans and starring Tallulah Bankhead. The archive includes letters to and from directors, actors, and producers; investors’ correspondence; publicity materials; financial records; two different scripts of Eugenia ; playbills and clippings. Together they give a detailed picture of the difficulties of bringing James to the stage and suggest as well that there is further work to be done on the relationships between author, actress, and audience in James’s life and writings.
Dismantling the American Boy: Nathanael West’s A Cool Million
Authors: Almanza Maria
Published: December 2015

A satire of the Horatio Alger narrative, Nathanael West’s A Cool Million, or The Dismantling of Lemuel Pitkin gains comedic effect from its slapstick portrayal of a protagonist who is slowly dismantled and then reassembled. Whereas Alger privileges the myth of the self-made man, West’s representation of bodily injury suggests that the outcome of production is not success, but a body disassembled into its working parts. Exploring West’s reference to dismantling and subsequent replacement, this article considers the role of prosthetic logic in an era in which “productivity” centered on bodily intervention. As I argue, A Cool Million’s portrayal of the body as a prosthetic assemblage not only registers a shift in the conception of the modern man, but modernity’s political and economic belief in the re-building of the subject.
Sex, Diaspora, and the New “Italian Novel”: James Baldwin’s Giovanni’s Room and Bernard Malamud’s Pictures of Fidelman
Authors: Roszak Suzanne
Published: December 2015

Many Anglo-American novels set in Italy project stereotypical visions of Italian culture as an exotic foreign influence that changes the life of a repressed Anglo-American expatriate. In contrast, James Baldwin’s Giovanni’s Room and Bernard Malamud’s Pictures of Fidelman offer a more nuanced vision of Italian identity while exploring the linkages between diaspora and resistance to sexual heteronormativity. Both novels build on an Anglo-American literary tradition of linking Italianness to male homoeroticism, imagining Italian spaces as a liberating antidote to a heteronormative home culture. However, Baldwin and Malamud complicate the cultural encounters that invite social resistance: while Giovanni’s Room probes what occurs when the queer diasporic trajectories of a white American and an Italian intersect, Pictures of Fidelman imagines a Jewish American protagonist whose time in Italy functions as a form of double expatriation. In the process, a threedimensional vision of Italianness emerges, revising a problematic genre within Anglo-American literary history.
Transition from the Prehistoric Age to the Historic Age: The Early Iron Age on the Korean Peninsula
Authors: Yi Kisung
Published: December 2015

In the prehistoric period in Korea, the appearance of metallurgy is viewed by archaeologists as having a significant impact on the growth of complex societies by providing the technology for greater agricultural production. Within Korean archaeology, the period of 300 to 100 b.c . is classified as the Early Iron Age. The Early Iron Age is situated between the Bronze Age and the Proto–Three Kingdoms period and is culturally significant because it served as a transitional period from the Prehistoric Age to the Historic Age. Despite this significance, the period’s cultural characteristics, area of origin, and relationship with indigenous culture have yet to be explained. The Early Iron Age is primarily defined by the Jeomtodae (clay-striped) pottery culture and slender bronze dagger culture. Although it is generally accepted that ironware culture originated in the Early Iron Age, the Jeomtodae pottery culture and slender bronze dagger culture are not interpreted in the same way all the time. In addition, Chinese literature indicates the names of countries that existed in some parts of the Korean Peninsula. This article aims to examine the concept and cultural characteristics of the Early Iron Age and to review various issues dealt with in studies on the Early Iron Age.
Potential Contributions of Korean Pleistocene Hominin Fossils to Palaeoanthropology: A View from Ryonggok Cave
Authors: Bae Christopher J. , Guyomarc’h Pierre
Published: December 2015

Traditionally, one of the primary problems hindering a better understanding of the “origin of modern humans” debate is the paucity of information coming out of eastern Asia. Here, we report a set of hominin fossils from Ryonggok, a late Pleistocene cave site located in the paleoanthropologically poorly known region of the Democratic People’s Republic of Korea. Ryonggok is best known for the presence of vertebrate fossils that represent the remains of at least five individuals. We focus our study on the two fairly well-preserved crania—#3 and #7—and analyze published dental metric data. The primary conclusion we draw from this study is that Ryonggok #3 and #7, while retaining some archaic characteristics, likely represent early modern humans. Because the earliest cultural deposits in Ryonggok appear to date to older than 40,000 years ago, it is likely that these remains may be part of the earliest dispersals of early modern humans into the area. An alternative scenario is that this is evidence of some degree of admixture between indigenous mid-Pleistocene Homo or possibly a late appearing Homo erectus and new modern human migrants to the region. Further study is necessary to determine which of these two scenarios best fits the Korean record. In addition, we present additional linear metric cranial and mandibular data for difficult-to-access North Korean fossils (e.g., Ryonggok, Mandalli, Seungrisan, Geumchun).
The Korean Early Palaeolithic: Patterns and Identities
Authors: Lee Hyeong Woo
Published: December 2015

Increasing data from early Korean Palaeolithic assemblages have challenged the validity of traditional paradigms. This article summarizes previous models and addresses recently raised questions regarding the synthesis of early toolkits. Determining chronologies, cultural markers, and regional cultural traits were our primary objectives. The applicability of the traditional Western Palaeolithic chronology (Lower, Middle, Upper) to East Asian contexts has recently been questioned, in conjunction with an effort to identify more discrete chronological changes in East Asia. The discourse related to cultural identities within East Asia has underscored the importance of spatially and temporally differing values. The morphology and metrics of Korean hand axes have not been considered typical Acheulean. In addition, temporal persistence is an issue; it has caused the conventional culture-historical orthodoxy to be questioned. Discourses on expedient lithic reduction and a static lithic sequence have been considered indicative of discrete cultural entities in the Korean Palaeolithic. Oldowan-like simple core and flake assemblages and the sporadic occurrence of hand axe assemblages in East Asia were traditionally regarded to be chronologically and culturally separate entities. The growing body of archaeological data for Korea has allowed analysis of the occupational contemporaneity and cultural subordination and independence of chopping tool and hand axe assemblages. The Korean Early Palaeolithic is not standardized and does not conform to traditional typologies. Consequently, the directional perspectives applied to these assemblages need to be reevaluated.
Diversity of Lithic Assemblages and Evolution of Late Palaeolithic Culture in Korea
Authors: Seong Chuntaek
Published: December 2015

One of the most characteristic aspects of the Late Palaeolithic in Korea is the diversity of lithic assemblages. Assemblages dominated by quartzite and vein quartz artifacts persisted throughout the Palaeolithic, while blade and microblade assemblages mark the typical Late Palaeolithic technology. Still, given that lithic technological organization is characterized by the interplay of technical constraints, raw material availability, and hunter-gatherer mobility, the transition to the Late Palaeolithic technology is closely associated with the emergence of tanged points, dated to 40,000 to 35,000 cal b.p ., made of such fine-grained rocks as silicified tuff and shale, other than locally available quartzite. Tanged points persisted along with blades and blade cores until the end of the LGM, and the microlithic assemblage emerged as early as 30,000 cal b.p. as AMS dates from Jangheungri and Sinbuk suggest. Only a few radiometric dates are available for post-LGM occupations and there may have been a significant decrease in mobile hunter-gatherer populations in the post-glacial Korean Peninsula.
Sedentism, Settlements, and Radiocarbon Dates of Neolithic Korea
Authors: Ahn Sung-Mo , Kim Jangsuk , Hwang Jaehoon
Published: December 2015

There are two conflicting models regarding the role of the Neolithic millet cultivation in the appearance of the Bronze Age farming economy in South Korea. The “continuity model” suggests that the emergence of a farming economy was a consequence of increasing sedentism, and that millet cultivation practiced during the Neolithic played a significant role in the transition to the Bronze Age. On the contrary, the “discontinuity model” suggests that the appearance of the Bronze Age farming economy heavily dependent on rice had little to do with previous millet cultivation in the Neolithic and the degree of sedentism during the latest Neolithic was very low. We test these models by looking into a temporal variation of sedentism, by quantitatively analyzing the quantity of pit houses and settlements based on relative chronology and radiocarbon dates. Sedentary settlements with small-scale millet cultivation appeared in the central-western Korea during the early fourth millennium b.c . They increased sharply during the late fourth millennium b.c . and also appeared in central-eastern and southern Korea, but they almost disappeared in central and southern Korea from the late third millennium b.c ., suggesting a return to increased mobility and/or sharp decrease in population. Hence a continuity model for the emergence of a farming economy cannot be accepted. We suggest environmental deterioration as a prime mover for both the appearance of millet cultivation during the fourth millennium b.c . and the disappearance of sedentary settlement from the late third millennium b.c . in Korea.
Socioeconomic Development in the Bronze Age: Archaeological Understanding of the Transition from the Early to Middle Bronze Age, South Korea
Authors: Kim Bumcheol
Published: December 2015

The transition from the Early to Middle Bronze Age in Korea witnessed emergent social complexity. Recently scholars have frequently referenced theoretical constructs developed in Western archaeology in attempts to understand the socioeconomic changes that occurred during this transition. Meanwhile, other researchers have realized that the Korean case can be seen as both compatible with and incompatible with aspects of these generalized socio-evolutionary models, and with specific cases of early complex society emergence elsewhere in the world. Synthesizing the current discussion of these issues, I argue that sociopolitical development in the central and southern parts of the Korean Peninsula during the EBA–MBA transition might have been closely related to economic intensification. This can be understood from a perspective that emphasizes elite control over basic economic resources as a significant factor in this development. However, it is not solely intended here to reveal compatibility or slight incompatibility between generalized theoretical discourse on complex society emergence in various regions of the world and the archaeological case of the Korean Bronze Age. Rather, the aim is to look for potential ways in which Korean Bronze Age archaeology can contribute to future discussion on this significant global topic of archaeological research, which has great promise in Korean Bronze Age studies but has not been very rigorously explored. While presenting an overview of recent research on socioeconomic patterns, the article offers a more extended discussion of a couple of crucial issues in these Korean Bronze Age societies: the varying elite strategies for agricultural intensification and the conflicting factors in deciding household size and composition as an adaptive strategy, particularly in cases of primary producers.
Korean Prehistory: Current Perspectives
Authors: Bae Christopher J. , Kim Bumcheol
Published: December 2015

This volume dedicated to Korean prehistory is a synthesis of current research by Korean scholars working in the areas of palaeoanthropology and Palaeolithic, Neolithic, Bronze Age, and Iron Age archaeology. Here we introduce this special volume by helping to place each of the contributions in broader perspective. One of the key contributions we anticipate resulting from this volume is that interested readers (both students and senior researchers alike) will now be able to go to one place to learn about recent research avenues in Korean prehistoric studies.
“La justicia más rara / del mundo”: Violated Daughter, Inviolable Law in Calderón’s El alcalde de Zalamea
Authors: Betancur Bryan
Published: December 2015

Standing before the military captain who raped his daughter, the mayor of Zalamea sets aside his vara de alcalde and confronts his enemy “como un hombre no más” (v. 1296). The gesture underscores the complexity of the mayor Pedro Crespo’s dual identity as private citizen and public servant. More importantly, the scene demonstrates how Calderón employs a conflicted father-daughter relationship in El alcalde de Zalamea (ca. 1640) as a conduit to a larger discussion on the administration of justice in the dramatist’s historical milieu. Legal records of female victimization cases and a tradition of literary depictions of rape suggest that Calderón’s characterization of the daughter Isabel as blameless victim invariably forces her father to negotiate the demands of his private and public roles. As father, Crespo must avenge his family’s dishonor; as mayor, he is expected to exact justice while staying within the bounds of the law. Crespo ultimately has the captain executed, and his judgment is later rewarded by Philip II himself. However, despite the king’s apparent legitimization of the mayor’s actions, critical literature remains divided when it comes to deeming Crespo’s behavior an abuse of power or the triumph of the spirit of the law. The present study proposes that Crespo equally satisfies both his private and public duties, an outcome made possible by the mercurial distinction between revenge and justice that existed in Spanish law during the early modern period. I also argue that beneath the king’s acceptance of the mayor’s seemingly illegal actions lies a critique of the legal system during the reign of Philip IV, a period of competing jurisdictions and bureaucratic mismanagement that made swift and efficient judicial decisions “la justicia más rara del mundo.” (BB)
La función teatral de la música en la tragedia calderoniana La cisma de Ingalaterra
Authors: Araico Susana Hernández
Published: December 2015

La cisma de Ingalaterra se puede ver como un atisbo de la eclosión musical que llega a caracterizar el teatro calderoniano. Este estudio sopesa la función dramáticoteatral de la música en el engranaje de esta tragedia de la temprana etapa de Calderón. La música de La cisma de Ingalaterra —en forma de chirimías, canciones y una danza—desempeña una función clave en el despliegue emotivo de la fuerza trágica. (SHA)
Evidence Regarding the "Monte" Stage Piece in "Corral" Theatres of the Seventeenth Century
Authors: Devos Brent W.
Published: December 2015

This article builds upon another published in 2002 in the Bulletin of the Comediantes by Patricia Kenworthy, entitled “Lope de Vega’s Drawing of the ‘Monte’ Stage Set,” and revisits the question of the physical nature, location, and use of the “monte” stage piece in the “corral” theatres of Madrid and other locations. In particular, this article discusses the merits and limitations of the “monte” drawing found in the autograph manuscript of Lope’s El cardenal de Belén (Bibliteca Medicea Laurenziana, Florence: Ms. Ashb.1898, fol. 51v) and attempts to reconcile textual evidence of “monte” usage in the 900+ plays in the Chadwick “Teatro del Siglo de Oro” database with documentary evidence concerning the “monte” presented by other researchers and found in the “Fuentes para la historia del teatro en España” series published by Tamesis. (BWD)
Medical and Scatological Encounters in Lope de Rueda’s Pasos
Authors: Albuixech Lourdes
Published: December 2015

Only a few years after the Council of Trent adjourned, Joan Timoneda prepared Lope de Rueda’s works for publication. In doing so, he doubtlessly went through considerable editing to ensure that the enterprise met with general approval. This, José Luis Canet argues, possibly accounts for the absence of certain stock characters as well as the toned-down language used by the riffraff populating Rueda’s works. But no matter how tempered or changed Rueda’s pasos and comedias may be, because they present the spectator-reader with shreds and scraps of daily life as it was during the sixteenth century, they resonate with views and attitudes held by the populace towards many aspects of society. Medical figures were at the time both needed and distrusted. In trying to secure a proper place for themselves in society, serious medical practitioners as well as quacks resorted to different strategies, such as the use of Latin or the display of personable manners. The proliferation of vernacular medical writings brought about a new culture of pathology whereby women played an important role. My essay studies these aspects as shown (1) in two of Lope de Rueda’s pasos , “Cornudo y contento” and “El ensalmo” (or “Paso de Guadalupe y de Mencieta”), which exhibit examples of medical “performances” and the impact that they have on different patients, and (2) in one of the three anonymous pasos included in the Registro de representantes , which deals with the impersonation of a doctor by one of his servants and with the consequences derived from this action. (LA)
Methods of Persuasion for Religious Donations in Comedia de Nuestra Señora de Guadalupe y sus milagros
Authors: Gordon Nathan
Published: December 2015

On September 10, 1601, a Spanish Jeronymite by the name of Diego de Ocaña, from the monastery Extremeño de Guadalupe, stood in Potosí Bolivia’s plaza 10 de Noviembre. He watched his own play titled Comedia de Nuestra Señora de Guadalupe y sus milagros be performed for the first time in front of thousands of Spaniards, creoles, mestizos, and indigenous peoples. The play, which incorporated one of Ocaña’s Virgin of Guadalupe paintings, highlighted the historical and miraculous moments of the original painting in various individual scenes. Modern critics have tried to explain the play’s meaning and symbolism, as well as Ocaña’s personal interests and intentions. Over time, Comedia de Nuestra Señora has generally and briefly been recognized as a propagandistic play fueled by Ocaña’s economic motives. This article aims to avoid generalities by providing examples that demonstrate how Ocaña employed persuasive methods to obtain religious donations. Some of the ways he achieved his goal were by utilizing varied poetic verses, exemplary characters, and promises of divine assistance. Similarly, he took advantage of the preestablished celebratory and religious ambience, described in Viaje por el Nuevo Mundo , which consequently allowed theatrical spaces to enter religious spaces. This confused the two, making the theatrical more believable and “real.” Finally, Ocaña knew that his performance would take place in Potosí, where reciprocity was an active political and social tradition. Every kind gesture and offering he made to the Potosí residents would have required compensation. I argue that these tactics were used by Ocaña in order to guarantee that participants and spectators would make donations to the Jeronymite monastery and never forget the importance and divine power of the Virgin of Guadalupe. (NG)
“Burlas en tiempo de tantas veras”: Violence and Humor in Lope de Vega’s Los melindres de Belisa
Authors: Carrión Gabriela
Published: December 2015

This study examines the unsettling combination of violence and humor in Lope de Vega’s Los melindres de Belisa . Critics generally downplay the presence of violence in this work, while a recent production censors those parts considered offensive by modern-day standards. This discussion suggests that these elements are not only integral to Los melindres , but make for a far more compelling dramatic work. Rather than condone violence, the conclusion of Los melindres de Belisa condemns the characters who would perpetrate violence against their Morisco slaves. The essay takes as its point of departure early modern Spain and the historical and cultural context of the Moriscos, whose expulsion from the peninsula in 1609 occurs shortly after the publication of Los melindres de Belisa and looks more closely at the practice of branding slaves both on and off the Spanish stage. (GC)
“Sois de diablos”: Portraying Indigenous Female Characters on the Golden Age Stage
Authors: Cowling Erin Alice
Published: December 2015

The essay discusses three theoretical approaches to one of the most neglected groups of the time: indigenous women. Indigenous women, as historical figures, were mostly erased from the record. When Golden Age authors wished to reinterpret historical events, particularly those having to do with the conquest, the female indigenous characters were the least complex characters through whom critiques could be voiced. The three potential theoretical approaches to the characterization of the indigenous woman in Early Modern Spanish theatre that I am proposing are the “Other as Other,” the “Other as Same,” and the “Double Other.” The section on “Other as Other” looks at the ways in which female indigenous characters were portrayed in oppositional and exotic roles; “Other as Same” discusses the portrayal of indigenous women as so similar to Spanish women as to be indistinguishable; and the “Double Other” analyzes characters that were given traits that belonged to women on both sides of the Atlantic. All three of these were used strategically by the playwrights to critique not only the conquest, but also Spanish society and members of the ruling class on both sides of the Atlantic. (EAC)
They Said, She Said: Making the Case for Rape in Fuenteovejuna
Authors: Aronson Stacey L. Parker
Published: December 2015

Despite the allegations of a number of literary critics to the contrary, textual and cultural evidence exists in Lope’s Fuenteovejuna to suggest that Laurencia was indeed raped. First, a consideration of her physical appearance is in order. Second, an overlooked comment by Jacinta evidences Laurencia’s rape. Third, the quality attributed to Laurencia, namely her virtue, should be understood within its socio-historical context during the early modern period, its understanding superseding an exclusively sexual meaning. Finally, this drama can be considered in light of its adherence to and subversion of what Wendy S. Hesford terms “rape scripts.” (SPA)
La fatalidad del poder: La Muerte como el Papa y el Inquisidor en Las Cortes de la Muerte de Micael de Carvajal y Lope de Vega
Authors: Deanda-Camacho Elena
Published: December 2015

El presente artículo analiza los autos sacramentales Cortes de la muerte (ca. 1552-1557), atribuido a Micael de Carvajal (1510-1575), y Cortes de la muerte ( ca . 1615-1664), atribuido a Félix Carpio Lope de Vega (1562-1635), con el fin de establecer las coordenadas del subgénero ‘corte de la muerte’ y localizar distintas autoridades de la España del Siglo de Oro que se encuentran escondidas detrás de la Muerte. Al establecer las coordenadas genéricas, este artículo sitúa un ‘desvío’ o una diferencia colonial en las Cortes de Carvajal que, con la irrupción de los indios, expande el espacio geopolítico de la escena peninsular. Al desvelar las distintas figuras de autoridad que se esconden detrás de la Muerte, este análisis accede a críticas, aunque nunca desmantelamientos, de los funcionarios que detentan el poder y de su ejercicio. El artículo interroga, en consecuencia, las formas por las cuales el teatro español aurisecular crea un marco para avistar el espectáculo (ED-C)
The Performance of Divine Providence on the Early Modern Stage: Tumbling Canvases and History Plays
Authors: Oechler Christopher C.
Published: December 2015

In early modern corrales de comedias , stage effects were quite common; they provided spectators with a visual display that enhanced their reception of the dramatic poetry. Until recently, however, scholars have focused mainly on the text of early modern plays, pursuing purely literary analyses instead of investigating the uses and possible meanings of these effects in performance. This study examines the cultural significance of one stage effect, the falling painting, in three history plays: Tirso de Molina’s La prudencia en la mujer , Diego Ximénez de Enciso’s La mayor hazaña de Carlos V , and La Baltasara , written by a team of three playwrights, Luis Vélez de Guevara, Antonio Coello, and Francisco de Rojas Zorrilla. In the first part of my study, I examine the dynamic role of this stage property that falls without human intervention to argue that the painting represents unseen forces and establishes an elaborate connection between art, history, and divinity. Finally, I find that the falling painting reinforces art’s moralizing and didactic function in a visual manner for audiences attending early modern corrales , and it also embodies the relationship between divine providence and early modern historiography. (CCO)
The Attitude of the Holy See Toward Sport During the Interwar Period (1919–39)
Authors: Vanysacker Dries
Published: December 2015

During the interwar period (1919–39), nations used sport and athletes for propaganda purposes, especially those countries with fascist and National Socialist ideologies. Through insights gleaned from the archives of the Vatican Secretariat of State and the Archivio Segreto Vaticano, the author discusses how the Holy See, at every level, regarded this phenomenon.
Medellín Is “Fantastic”: Drafts of the 1969 Rockefeller Report on the Catholic Church
Authors: Keeley Theresa
Published: December 2015

Since the 1970s, both foreign and U.S. opponents of U.S.-Central America policy have cited the 1969 Rockefeller Report on the Americas: The Official Report of a United States Presidential Mission for the Western Hemisphere as the beginning of U.S. government efforts to eradicate liberation theology. During the 1980s, progressive Catholic press accounts in the United States and abroad emphasized the similarities between the Report and President Ronald Reagan’s approach to Central America. But critics’ charges are misplaced. The Report supported the Church’s leftward turn, and Nelson Rockefeller was the reason. Early report drafts and Rockefeller’s comments reveal that he enthusiastically welcomed the Medellín documents. It was family planning that preoccupied Rockefeller, not communist subversion.
“This Small and Honorable Association”: The American Catholic Historical Association and The Catholic Historical Review , 1969–2015
Authors: White Joseph M.
Published: December 2015

The author addresses the history of the American Catholic Historical Association from its fiftieth anniversary in 1969 to the present, including the history of its official journal, The Catholic Historical Review .
Reminiscences and Reflections
Authors: Bireley Robert
Published: December 2015

The author describes his formative influences, his mentors, and his work in early modern Catholicism, and he lays out his argument for the importance of undergraduate history.
Collecting Ukrainian Heritage: Peter Orshinsky and Leonard Krawchuk
Authors: Kononenko Natalie
Published: December 2015

Most discussions about collectors of folk art focus on financial issues, examining what makes an object valuable and worth collecting. But financial gain is not the primary motivation of all collectors. When it comes to folk art associated with heritage, collectors are driven by a desire to connect to a past. Often this is a past with which the collectors themselves had no direct contact, but one which they feel they need to understand in order to make sense of their own identity. Folk art objects make the past tangible; they allow a physical link to something that needs to be grasped to be understood. Peter Orshinsky and Leonard Krawchuk are two important collectors of Ukrainian folk art. Their lives provide instructive case studies that help us understand heritage collecting. La plupart des travaux sur les collectionneurs d’art populaire sont focalisés sur les problèmes financiers; on y étudie ce qui rend un objet précieux et digne d’être acquis. Mais le profit n’est pas la motivation principale des collectionneurs. Quand il s’agit d’art populaire associé à un patrimoine, c’est plutôt le désir de se connecter à un passé qui les y pousse. Il n’y a souvent rien de commun entre eux et ce passé, mais ils éprouvent le besoin de le comprendre afin de donner du sens à leur propre identité. Les objets d’art populaire donnent au passé une réalité que l’on peut toucher, ils permettent d’avoir un lien physique avec quelque chose que l’on doit saisir pour le comprendre. Peter Orshinsky et Leonard Krawchuk sont deux collectionneurs importants d’art populaire ukrainien. Leur vie nous fournit une étude de cas fort instructive qui nous aide à comprendre l’acquisition d’objets patrimoniaux.