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Abordo en este ensayo la cuestión de la intermedialidad, en concreto –y valiéndome como ejemplo de uno de los medios más efímeros y deleznables, el teatro– cómo su misma condición de performance efímera, deleznable e inconstante puede servir para generar conceptos, o paraconceptos, de subjetividades políticas: crea conatos de constancia. Los operadores mayores son los conceptos de performatividad, intraducibilidad (entre lenguas y medios) y contingencia. El ejemplo principal es la obra de Pedro Calderón de la Barca, El príncipe constante (1629), así como la producción de esta de 1965 por Jerzy Grotowski. [ABSTRACT FROM AUTHOR]

Una comedia de Calderón, El purgatorio de san Patricio (publicada en 1636), y otra de James Shirley, Saint Patrick for Ireland (1640), tratan sobre la conversión de Irlanda al cristianismo llevada a cabo por este santo. Ambas siguen hagiografías distintas que en última instancia se remontan a una misma fuente, la Vita Patricii escrita en torno a 1185 por Jocelin de Furness. Este artículo compara con detalle las dos comedias con el objetivo de averiguar si Shirley se basó en El purgatorio de san Patricio. Además, se establecen las similitudes y diferencias en la presentación del mismo tema hagiográfico en estos dos autores. [ABSTRACT FROM AUTHOR]

This article investigates the resonances between the heroines Laura of Calderón's comedia El secreto a voces (1642) and Leonor of Sor Juana's Los empeños de una casa (1683). After first outlining the archetype of the dama tramoyera (the title bestowed on heroines of Golden Age comedias de capa y espada) and a key figure in Calderón's approach to comedy, I go on to trace the tactics and temperament of Laura, a late Calderonian version of the archetype, who is also a precursor of Sor Juana's heroine, Leonor, owing to her cerebral mask of modesty. The ability of Laura and Leonor to appear self-effacing when confronting intrusive authorities shields an underlying individualist stance. While Calderón's approach is grounded on his commitment to a woman's right to free will and equal humanity, Sor Juana extends this to education and free thought. Sor Juana's response to the Spanish dramatist confirms Calderón's ability to bring to light the increasingly outmoded position of women in his society while indicating her own political agenda, implicit in her enhanced version of a comic heroine crafted in the New World. [ABSTRACT FROM AUTHOR]

El presente estudio pretende mostrar la relevancia documental del manuscrito de Duelos de amor y lealtad conservado en la British Library. Se trata de un testimonio utilizado por los actores que representaron la comedia de Calderón con motivo del casamiento entre la Infanta María Luisa de Borbón y el Archiduque Pedro Leopoldo de Austria en 1764 en el Coliseo del Buen Retiro. Asimismo, fue el texto que emplearon los operarios encargados de la impresión de una suelta lujosa de esa misma representación. Por ello, nuestro análisis se estructura en dos apartados: el primero se centra en la adaptación que ha sufrido el texto. Se estudian los distintos elementos que un autor de comedias ha podido modificar en función de las circunstancias de representación; en el segundo se analizan las marcas que se han registrado en el manuscrito para demostrar que fue manejado por un cajista o componedor en un taller de imprenta. This paper aims to show the documentary importance of the manuscript of Duelos de amor y lealtad preserved in the British Library. It was a document used by the actors who performed the Calderón's comedy on the occasion of the wedding of Infanta María Luisa de Borbón and Archduke Pedro Leopoldo of Austria in 1764. In addition, it was the text employed by those who were responsible for the printing of a luxurious suelta of the same performance. For this reason, our analysis is divided into two sections: the first focuses on the adaptation that has taken place in the text. We will look at the different elements that an autor de comedias could have modified according to the circumstances; in the second section, we will analyse the diverse marks found in the manuscript to demonstrate that it was handled by a typesetter or a composer at a printer's workshop. [ABSTRACT FROM AUTHOR]

From his very earliest writings, art was always important for Georges Bataille. Rather than something static, art, for Bataille, always involves an experience and an exigency towards freedom and even the impossible. It was apparent from the very form of Bataille’s art review Documents, which juxtaposed heterogeneous images, texts and topics, that art was intended as an experience. Bataille found in Andalusia the kind of art that triggers an exigency, an excess or a form of ecstasy in the viewer or the participant, from the paintings of Picasso to flamenco performances. Art that evokes the potency for interior uprising is given form in the various figures of fleeting spirits, such as the will-o’-the-wisp or the genie called duende, as described by Lorca in “Play and Theory of the Duende” and illustrated in Calderón’s La dama duende [The Phantom Lady]. Bataille, who was moved by a performance he had witnessed at the Moulin Rouge, compared the spirited dance of the performers to the will-o’-the-wisps, the spirits that suddenly appear to unsuspecting wanderers, luring them off their path. Born in the marshes where the dead are buried, will-o’-the-wisps flare up, evoking an exigency in whoever beholds them. Thus, the will-o’-the-wisp or the duende exemplifies the potency of images, their flaring and fading away, and their ability to move us. [ABSTRACT FROM AUTHOR]

This essay situates two wife-murder plays, Shakespeare's Othello and Calderón's El médico de su honra, in a transnational cultural context of anxieties about adultery, cuckoldry and female sexuality, all of which are both affective and legal. Neither Shakespeare's Desdemona nor Calderón's Mencía has committed adultery, but in these plays that does not matter. Mere suggestion is enough to convince husbands of their wives' guilt and, fuelled by a dangerous combination of rhetoric and passion, suspicion all too easily becomes proof. Quintilian's idea of vividness, or enargeia, is central to this process, and this essay considers enargeia's role in creating belief in early modern drama, its legal afterlife in a nineteenth-century adultery case, and its role in the modern courtroom. [ABSTRACT FROM AUTHOR]

The article reflects on some aspects related to the generic taxonomy of the Calderonian theatre, and discusses some examples of particular plays (especially Calderón's No hay cosa como callar) within the framework of the conventions of the various tragic or comic genres. In order to achieve a better understanding of Golden Age theatre, and particularly of Calderon's work, the definition of genre has to be conceived of as a two-way road, correcting the structural concepts by means of analyses of particular plays, and taking into account funcional conventions as well as reception issues. The huge extension of the Golden Age theatre corpus and the complexity of Calderonian plays create difficulties that cannot be ignored about taxonomies and their limits, as well as about models and their evolution. [ABSTRACT FROM AUTHOR]

Following his idea of the task of the critique, Walter Benjamin makes appear Calderon's images of happiness into Gryphius' ruined "original" landscape: the fleeting star of Spanish baroque shines intermittently into the demoniac darkness of Silesian baroque. The baroque is thus only able to meet its own truth through the inversion of its allegorical melancholy into the symbolic moment of redemption. I am aiming at demonstrate how, in Origin of German baroque, a figurative dialectic manifests itself, frozen between symbol and allegory, melancholy and redemption, forerunning the "dialectic images" that will polarize capitalist phantasmagorias between allegory and utopia. [ABSTRACT FROM AUTHOR]

This article undertakes the study of the allegorical plays that Calderón composed for Corpus Christi in Madrid as a form of Palace theater. Taking into consideration that these works were composed primarily to be staged for the King and his family, this study sheds new light on certain textual passages at the same time that it allows for an interpretation from an historical-political perspective that, in some cases, proves to be very enlightening. The fi rst part of the article shows how those individuals responsible for the organization of the Corpus Christi plays were very close to the King, and in some cases used their positions in order to serve the monarch's interests, and even to assure that he received certain messages. In the second part a number of the Corpus plays are analyzed summarily in order to show that this perspective adds new information that allows the autos sacramentales to be interpreted more completely and correctly. [ABSTRACT FROM AUTHOR]

The article, dedicated to the founder of Czech translation theory and history, Jiří Levý, on the occasion of the 90th anniversary of his birth (1926), seeks and finds examples of his interest in Czech translators from Spanish and their critics in the 19th and the first half of the 20th centuries. Levý's greatest merit is based on drawing the attention to the problem of the Czech versions of the Spanish romance form, particularly with regard to assonance. [ABSTRACT FROM AUTHOR]

Secularity among Israel's Jews retains many elements associated with traditional Judaism. Comprising 80 % of Israel's Jews, they define themselves as secular but nevertheless 'do Judaism' by performing rituals and hold to traditional religious worldviews and values. Such behavior is comprehended in Eisenstadt's 'multiple modernities' as well as Berger's multiple 'altars' and 'coexistence.' Such behavior may be explained in a new balance between the traditional triad of Peoplehood/Torah[The Law]/and the Land of Israel that has characterized Judaism through the ages and found expression by a Hebrew-speaking people who imported new and diverse modern concepts and sources of authority in the return to their homeland where they constructed a 'Jewish' state of ambiguous meanings. [ABSTRACT FROM AUTHOR]

The figure of the squire/gallant sheds light to his versatile character in the argument in the comedies of Siglo de Oro. The secret halo that accompanies this character intensifies when he does his initial appearance as a guest and so he turns into a kind of instrument of secrecy. The goal of this article is to recognize the clues permeated by the secret and to see how it impacts on the behavior and the presence of the guest in relation to the spaces of his representation. The comedies to be taken into account are the following: Bien vengas, mal, si vienes solo and Mejor está que estaba. [ABSTRACT FROM AUTHOR]

After the first year of the administration of President Enrique Peña Nieto (2012-2018), Mexico continues to encounter problems related to drug trafficking, which are reflected in the high levels of violence and increases in illicit activities such as kidnapping and extortion. A dozen drug cartels fight to control territory and trafficking routes in the country, which has generated more violence. After becoming the President of Mexico, Felipe Calderón (2006-2012) launched a War on Drugs, and during the six years of his presidency, 70,000 people died as a result of the violence. The number of drug trafficking cartels also increased and drug trafficking continued. This article argues that the War on Drugs during the government of Calderón and during the first year of the sexenio of Peña Nieto has been a failed war when considering the results. In the first part of this article, we briefly analyze the history of the War on Drugs in the United States and Colombia. The second part concentrates on the case of Mexico. This section analyzes the tendencies of narco-violence, crime related to organized crime, and the drug cartels operating in Mexico. This work also examines the causes of the high levels of violence in recent years in order to understand the current situation in the country. Finally, this article critically analyzes the security strategies and counter-narcotics strategies of former President Felipe Calderón and his successor, Enrique Peña Nieto, who has not modified the general security strategies. [ABSTRACT FROM AUTHOR]

The professionalization of public theatre in late sixteenth-century Spain transformed the public street drama of playwrights and actors such as Lope de Rueda into an activity whose survival and success depended on ticket sales and attendance. It is within this context that the aside became one of the most popular dramatic techniques of Spain's Golden Age theater. This article seeks to answer two questions about the aside: (1) Do Golden Age playwrights utilize the aside in the same manner? and (2) Does the subgenre of acomediadictate the use of a particular category of aside? I propose to answer these questions, focusing in particular on the different ways that the followingcomediasutilize the aside to transform the audience from mere spectators to active accomplices of what they witness on stage: Calderón de la Barca'sEl alcalde de Zalamea(comedia de honor), Antonio Mira de Amescua'sEl esclavo del demonio(comedia hagiográfica), and Tirso de Molina'sEl burlador de Sevilla(comedia moral). [ABSTRACT FROM AUTHOR]

This article presents a criticism for the play "El pintor de su deshonra," by Pedro Calderón de la Barca. The author discusses the representation of art in the play and describes the historical context of the Siglo de Oro in which the narrative takes place. The concepts of honor, harmony, and innocence in the work are also analyzed.

This paper aims to collect and analyze the attributes, virtues and qualities possessed by knights in the palatial comedies of Calderon de la Barca. Focusing on Auristela and Lisidante, its author tries to reconstruct an archetype, in order to demonstrate that Calderón rises to his male characters in a series of concrete comedies to the category of myth. [ABSTRACT FROM AUTHOR]

Calderon's entremeses (one act plays that are usually presented separately from the main performance of the play) are often integrated as scenes within his comedies. These scenes are discreet units and have much of the characteristics of the entremés, from their characters, style of language, violence, and subversion of standard themes. Such is the case with the example chosen on this occasion: the comedy La señora y la criada (The Lady and the Servant), which contains at least three interposed scenes, each with their own structure. Especially noteworthy are the one hundred and twenty five verses of dialogue between the two comic characters, the husband and wife Perote and Gileta. This dialogue is clearly an entremés that has been incorporated as part of the comedy. [ABSTRACT FROM AUTHOR]

The article discusses some aspects of No hay cosa como callar, especially the technique of dramatic time, plot (with intrigue superficial rather than real), the reason for the silence and secrecy, the code of honor, and the denouement, to show that it is a serious comedy of tragic tone and not a comic cloak-and-sword comedy, despite its appearance. [ABSTRACT FROM AUTHOR]

The sense in which Spanish authors in the Baroque period employ the word ‘labyrinth’ presupposes an evolution, from ancient understanding of it, which the present article aims to outline. For Classical authors the word had the physical sense of a ‘complex construction’, although it could also be used metaphorically. But already in certain texts (Virgil, Ovid), the narration of the Cretan myth invited a moralizing interpretation which is given further prominence in late medieval and Renaissance texts. A further elaboration sees the labyrinth converted into a theological symbol representing deceit, offering an erroneous path which the Christian must avoid. Once these and other parallel lines of development have been traced, it becomes possible to see how complex is the use Calderón makes of the concept in El laberinto del mundo. [ABSTRACT FROM PUBLISHER]

The article reviews the situation of the critical edition of the “entremeses” and other comic short plays of Calderon, highlighting numerous textual and interpretative problems in the current editions, and proposing solutions for establishing the correct text of many passages. It also provides a number of explanations that clarify other references. [ABSTRACT FROM AUTHOR]

The aim of this article carries a comparison between Calderón and Dostoevsky, their semblances and differences. First, I study a relationship toward otherness which is, in both cases, problematic and modern. Departing from Segismundo's complaints when he is imprisoned (saying that he is living a life “worse than animals live”) I analyze two kinds of misunderstandings: a white blindness that respects the Other's difference, and the evil inside its unconcealment. Finally, I discuss Coetzee's Dostoevsky (in The Master of Petersburg) in relation to some of the thesis outlined previously: the necessity of respect when dealing with the space of the other, either in its human form or in a non-human presentation. [ABSTRACT FROM AUTHOR]

This essay describes the most relevant economic and political events that transpired during the years 2010 and 2011. During those years the economy showed some signs of recovery following the recession of 2009. However, violent activities continued to grow, in part as a result of the policies involved in the "war" against organized crime. The government tried unsuccessfully, to push for reforms of the political system. In the electoral terrain, the PRI had the best performance in local elections, while its presidential candidate is leading in public opinion polls. [ABSTRACT FROM AUTHOR]

The article puts in relation Calderón with the modern philosophy. The methodical doubt of Descartes is compared with the dramatized disillusion of Calderón. Both ruin the supposed primary reality of the world, but Calderón comes, as Kant, to the affirmation of the freedom as original reality. But this affirmation has problems with the destiny or the fortune, the power of the father or of the King, the law of the honor or social pressure, and the divine omnipotence. Three strategies or ends show themselves then in the dramas of Calderón: the tragic failure, the worldly prudence and the religious dedication. [ABSTRACT FROM AUTHOR]