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Este trabajo se inscribe en el proyecto Vida y escritura II [PID2019-104069GB-100]. Acerca de la vida del dramaturgo Damián Salucio del Poyo se sabe poco todavía, a pesar de los meritorios esfuerzos de algunos investigadores por discernir los datos ciertos para su biografía de aquellos que creaban confusión por referirse a personajes homónimos. Este trabajo trata de su período sevillano, el último de su existencia, que se inicia a principios de 1606, o poco antes. Partiendo de las aportaciones de estudiosos precedentes, pero sobre la base de documentación inédita en su mayoría, se establecen su fecha de nacimiento y los vínculos familiares, hasta hoy muy controvertidos y dudosos; se reconstruyen sus relaciones con directores de compañías teatrales -autores de comedias- y actores, así como con otros comediógrafos; se alude a sus beneficios eclesiásticos, actividades y negocios y, finalmente, se aborda su muerte en Sevilla ocurrida antes de diciembre de 1621. Despite some meritorious researcher's efforts to discern the correct data from the sources that created confusion by referring to homonymous characters, little is known about the life of the playwright Damián Salucio del Poyo. This article addresses his life's last period, which commenced in Seville at the beginning of 1606 or shortly before. Although starting with the contributions of previous scholars, this work establishes Salucio del Poyo's very controversial and doubtful - until now - birth date and familial ties from mostly unpublished documentation. Furthermore, this work's conclusions rebuild Salucio del Poyo's relationships with theater company directors - comedy authors - and actors, as well as with other comedy playwrights. Last, this publication alludes to his ecclesiastical benefits, activities, business, and finally, his death in Seville, which occurred before December 1621.

Este artículo no podría haber llegado a término sin la atenta ayuda de Germán Vega García-Luengos (Universidad de Valladolid). La investigación está amparada por el proyecto Sound and Meaning in Spanish Golden Age Literature (Universität Wien) (FWF Austrian Science Fund 32563). Los corpus de frecuencias que permiten replicar este experimento, así como ampliarlo y mejorarlo, se encuentran en el repositorio https://github.com/AlvaroCuellar o mediante petición al autor. La datación supone una de las cuestiones con más interrogantes en el estudio del teatro aurisecular español. La estilometría, técnica informática basada en la comparación de textos en función de sus usos escriturales y que está utilizándose con aparente acierto en los últimos años para arrojar luz sobre el problema de la autoría, puede servir también para hallar el momento de escritura de un texto. En este artículo presento un primer acercamiento para comprobar tal extremo. Para ello, aplico un análisis estilométrico a un corpus controlado de autógrafos de Lope de Vega con fecha de composición segura haciendo uso de tres elementos base: palabras, lemas y categorías gramaticales. Los resultados parecen mostrar una correlación entre estilo y datación, obteniéndose errores absolutos medios en el entorno de ± 5 años, franja estrecha y prometedora si tenemos en cuenta la dilatada producción de Lope de Vega. Aplico, en segundo lugar, la prueba con palabras a un conjunto más amplio de comedias lopescas de datación aproximada, con resultados positivos en el entorno de ± 4 años de error absoluto medio. Finding the accurate date of texts is one of the most puzzling challenges in the study of Spanish aurisecular theater. Stylometry, the computer technique centered on the comparison of texts based on their writing, which has been successfully used in recent years to solve authorship questions, can also serve to shed light on this issue. In this article I present a first approach to verify such idea. I apply stylometric analysis to a controlled corpus of Lopean autographs using three basic elements: words, lemmas and parts of speech. The results seem to show a correlation between style and dating, obtainingmean absolute errors around ± 5 years, a fairly narrow range if we take into account the long production of Lope de Vega. Secondly, I apply the test with words to a broader set of Lopean plays of approximate date with positive results, close to mean absolute errors of ± 4 years.

espanolEste articulo revisa la recepcion y uso de algunos recursos estilisticos propios de la poesia epica clasica, en los poemas que cantaron la guerra de Arauco en el marco de la conquista espanola de Chile en el siglo XVI. La hipotesis sostiene que el uso de dichos recursos no respondio solo a la tendencia literaria clasicista del Siglo de Oro espanol, sino a la necesidad discursiva de los poetas por dotar de inteligibilidad y de connotaciones epicas y universales a los acontecimientos relatados en el contexto de la conquista y comprension del Nuevo Mundo. EnglishThis article reviews the reception and use of some stylistic resources of classical epic poetry, in the poems that sang the Arauco war, within the framework of the Spanish conquest of Chile in the sixteenth century. The analysis is based on the hypothesis that the use of these resources did not respond only to the classicist literary trend of the Spanish Golden Age, but to the discursive need of poets to provide intelligibility as well as epic and universal connotations to the events narrated in the context of the conquest and understanding of the New World.

This paper studies the mother figures in La espanola inglesa by Cervantes. After a brief review of the representation of motherhood in the Spanish Golden Age and in Cervantes’ works, this research ...

For those of us who study early modern Iberian theater, there could not be a more appropriate and well-timed volume as this one, given the zeitgeist in which we find ourselves enmeshed. Social Just...

Early modern Spanish lyric's connections with music are manifold, and imagery of instruments and singing voices is virtually everywhere in the texts, often playing a part in the articulation of affect and providing a vocabulary for poets to reflect about their own verbal powers. And yet, as I argue in this article, the story of Golden Age lyric begins with tension and conflict at the center of the music–poetry relation. There is, I contend, a discrepancy between the Orphean tropes that equate writing verse with playing music, and the relative autonomy that poetry and music were developing in Renaissance Spain. In this context, I draw attention to a nostalgia that cuts across the texts: the sense that poets have only inherited one half of Orpheus's torrential and effective mixture of media, poetry, and song. To make these points, I draw from a collection of printed and manuscript sources from 1500 to 1700, by poets canonical and obscure.

En 1604 Eugenio de Narbona publie une œuvre ambiguë et controversée qui ne tarde pas à intéresser l’Inquisition, laquelle interdit sa publication. Ce petit manuel pratique de gouvernement constitué d’un peu moins de trois cents aphorismes d’inspiration ‘tacitiste’ est impubliable parce que sa forme aphoristique se prête facilement à des interprétations hétérodoxes et subversives, et que sa rédaction en espagnol rend sa diffusion incontrôlable. En 1621 l’auteur réédite avec succès son œuvre en l’amendant, au moment même où le débat politique entre la Monarchie chrétienne et une approche technique et autonome du religieux est brûlant. On a affirmé que cette œuvre réputée mineure présente un simple intérêt documentaire. Le présent article apporte des arguments visant à défendre une étroite relation entre les intentions de l’auteur, le contenu et le choix concerté d’une forme maîtrisée, l’aphorisme. In 1604 Eugenio de Narbona publishes an ambiguous and controverted book that goes quickly under the examination of the Spanish Inquisition and it is retired. The almost three hundred tacitian inspirated aphorisms collected on this little practical government manual were unacceptable because of its format, which could lead to heterodoxal and subversive interpretations, in addition to be wrote in the common use language, the spanish, with incontrolable consecuences. In 1621, during the climax of the political discussion between the new politics based on an autonomous politic technique and the traditional religious monarchy, Narbona reprints his work with some variations and better fate. Some people affirm that this minor text has no literary value except from the testimonial, but this article shows there are some arguments to defend a strong relationship between autor’s will, the content of the book and the specific discursive style chosen by Narbona, a very well calculated artifice. Eugenio de Narbona publica en 1604 una obra ambigua y controvertida que cae pronto bajo el examen de la Inquisición y se retira de la circulación. La colección de casi trescientos aforismos de inspiración tacitista que recoge ese pequeño manual práctico de gobierno resulta inaceptable porque, debido a su forma, puede conducir a interpretaciones heterodoxas y subversivas, además de estar escrita en lengua vulgar, con un alcance difícilmente controlable. En 1621, en el culmen del debate político entre la monarquía cristiana y una técnica política autónoma de la religión, Narbona reedita, enmendada, su Doctrina, esta vez con mayor fortuna. Se ha dicho que esta obra menor no tiene valor más allá del documental, pero este trabajo aporta y sistematiza argumentos encaminados a defender la estrecha relación entre las intenciones del autor, el contenido de su obra y la forma de su texto, un artificio muy bien calculado.

La tensión entre la inercia social estamental y la nueva movilidad propia de la economía dineraria es palmaria en la literatura del Siglo de Oro español. La hidalguía estaba en entredicho, devaluada y empobrecida. En ese contexto, Guillén de Castro presenta, en El pretender con pobreza, el conflicto, un tanto autobiográfico, del exsoldado linajudo y honrado que espera ser valorado, al estilo tradicional, por sus merecimientos, y no por su pobre apariencia y escaso peculio, como sucederá en la era del boato y la cortesanía. En realidad, la solución de esa pieza será harto inmovilista y conservadora, puesto que el hidalgo protagonista logrará restaurar su crédito social y recibirá la debida recompensa de los poderosos. Según Castro, la alta nobleza debería rescatar por solidaridad estamental a los caballeros dignos y valerosos, y la corona tendría que redimir a esa caballería depauperada de su triste destino. Cristóbal Suárez de Figueroa, mucho más pesimista, ni siquiera toma en consideración ese camino en El pasajero, sino que expresa una dura crítica a la nobleza y al poder mal ejercido. El primer autor se interesa por la vertiente social y el segundo más por la política.

The structure of La Galatea, as it can be asserted for the rest of the Spanish pastoral books as well as for the longer works of prose of the Spanish Golden Age, is characterised by two different narrative levels, one primary and the other secondary: the main plot and the interspersed episodes, of which there are four: Lisandro and Leonida; Teolinda, Artidoro, Leonarda and Galercio; Timbrio, Silerio, Nísida and Blanca; and Rosaura, Grisaldo and Artandro. The main objective of the present study is to conduct a detailed analysis, both thematically and formally, of the fourth of them, while establishing their intratextual relations with the rest of Cervantes’ literary production., La Galatea se caracteriza, como el resto de novelas pastoriles españolas y aun de las narraciones en prosa de largo recorrido del Siglo de Oro, por estar conformada, desde una perspectiva estructural, por dos niveles narrativos distintos, uno primario y otro secundario, a saber: la trama principal y los episodios intercalados. Estos son cuatro: el de Lisandro y Leonida, el de Teolinda, Artidoro, Leonarda y Galercio, el de Timbrio, Silerio, Nísida y Blanca y el de Rosaura, Grisaldo y Artandro. Este estudio tiene por objeto principal realizar un pormenorizado análisis, tanto temática como formalmente, del cuarto de ellos, al tiempo que se establecen sus relaciones intratextuales con el resto de la producción literaria de Cervantes.

Los personajes femeninos tienen una presencia importante en las obras teatrales de Antonio Mira de Amescua (1577-1644). Dentro de su obra, recurriendo a la denominación genérica de comedia, como referida a toda producción teatral en el Siglo de Oro, cabe distinguir entre comedias serias y cómicas, atendiendo al tono general de la obra, a las peripecias argumentales y al modo en que concluye. Los personajes femeninos, no obstante, reciben un tratamiento considerablemente diferente, tanto en el pensamiento e imagen sobre la mujer como en la temática a la que sirve de vehículo. La investigación analiza catorce comedias de Mira de Amescua, siete cómicas y siete serias, para extraer el pensamiento, imagen y temática de los personajes femeninos. Se comprueban y contrastan las diferencias existentes entre ambas clases de comedias, presentando una imagen de la mujer mucho más libre en las obras cómicas, llegando incluso en ocasiones a la inversión de roles con el hombre, otorgando el protagonismo a las figuras femeninas y haciendo predominar la libertad de elección en el matrimonio. En las obras serias, en sentido contrario, se observa el predomino de los personajes femeninos como secundarios, la delegación de la elección matrimonio en figuras masculinas de autoridad y una asunción de roles convencionales o hagiográficos.

espanolEl presente estudio se propone analizar si el nombre influye en la construccion del personaje en las producciones dramaticas del Siglo de Oro, asi como si su destino en la trama esta predestinado por el. Debido a la gran cantidad de personajes y la amplia variedad en cuanto a tipologia de textos teatrales, centraremos nuestra atencion en el uso que dan del nombre de Diana en las obras de un grupo reducido de autores (Lope de Vega, Tirso de Molina y Agustin Moreto) dentro de la conocida como comedia palatina, y como remite a la diosa grecolatina homonima. EnglishThe present study intends to analyze whether the name influences the construction of the character in the dramatic productions of the Spanish Golden Age as well as how her fate in the plot is predestined by it. Due to the large number of characters and the wide variety of types of theatrical texts, we will focus our attention on the name of Diana in the plays of a small group of authors (Lope de Vega, Tirso de Molina and Agustin Moreto) within the comedy known as palatine, and how it refers to the homonymous Greco-Roman goddess.

espanolEste articulo analiza la actitud de algunos intelectuales y artistas chilenos del siglo XIX frente a las obras de los pintores mas destacados del Siglo de Oro espanol. Se reconstruye la forma en que el discurso de rechazo a la tradicion artistica y cultural del periodo colonial convivio con la admiracion por Murillo, Velazquez, Ribera y Zurbaran. Se da cuenta, al mismo tiempo, del papel que las obras de los pintores espanoles desempenaron en los espacios culturales chilenos, asi como de su impacto en la formacion de los pintores locales de la segunda mitad de la centuria. Las ideas de la elite intelectual, los viajes a Europa, las exhibiciones, el coleccionismo y las practicas artisticas permiten aproximarse a la comprension de este fenomeno. EnglishThis article analyses the attitude some nineteenth-century Chilean artists and intellectuals had towards works of the most important painters of the Spanish Golden Age. This study reconstructs the way in which rejection of the artistic and cultural colonial tradition coexisted with admiration for Murillo, Velazquez, Ribera, and Zurbaran. Attention will also be paid to the role works by these Spanish painters played within the Chilean cultural realm as well as their impact on the education of local painters in the second half of the century. The ideas of the intellectual elite, trips to Europe, exhibitions, collecting, and artistic practices in particular will be considered in order to better understand this phenomenon.

The huge dramatic corpus of the Spanish Golden Age still poses problems of authorship in a large number of plays attributed, with doubts, to their creators. The example of the Madrid playwright Agustin Moreto (1618–1669) is no exception, since he has a significant number of plays for which there are uncertainties about their authorship. The works he published in his first two parts of plays, which were printed under his supervision, offer no authorial doubts. However, many of those published in part three, or as single works, have often been accompanied by numerous bibliographical discussions. Ten of the plays in his dramatic corpus generate mistrust in relation to the identity of the playwright who composed them. The aim of this article is to analyse these texts from different stylometric methodologies in order to verify, after a comparative analysis that includes 18 works of sure authorship by the playwright and 59 by different authors of the Golden Age, which of them are or are not by Agustin Moreto.

This essay is a comparative analysis of three texts of major poets of Spain’s Golden Age: Luis de Góngora, Lope de Vega, and Juan de Jáuregui. The poets worked with a common trope, sharing a worldview that blended themes of Hebrew kingship with the Spanish Habsburg dynasty. The poems are based on the concept of Spanish Solomonism, and are related by inventive, and very different, evocations of the Temple of Jerusalem as the seat of Christian monarchy, holiness, and visual beauty.

UIDB/00657/2020 UIDP/00657/2020 La pérdida de don Beltrán is one of the most iconic romances (traditional Spanish ballads) of the Carolingian cycle. It has been associated with an episode of the Battle of Roncevaux and is possibly derived from a chanson de geste circulating in oral tradition. It tells the story of an veteran solider that returns to the battlefield in search of his son's body. The ballad was very popular during the 16th and the 17th centuries, transmitted orally and in manuscript and print sources. Moreover, many writers of that time made adaptations of or allusions to the ballad. The main purpose of this article is to analyse the presence and influence of this traditional ballad, La pérdida de don Beltrán, in Spanish Literature of the Golden Age. The first part of the article studies the old versions of the romance, mostly preserved thanks to musical adaptations and glosses of the 16th century. The second part analyses the literary adaptations and parodies of the ballad. The third part of the article presents a comprehensive study of the quotations from and allusions to the ballad included in literary works of the 16th and 17th centuries. This survey of the ballad's reception and adaptations will demonstrate the popularity of La pérdida de don Beltrán during the Spanish Golden Age. publishersversion published

In the early modern period, demons and evil spirits don't only occupy the minds of clergymen like Castañega, Ciruelo and Delrío as can be seen in their scientific documents, but they also crowd the stages of Spanish Golden Age theatre. On the basis of the comedia El cura de Madrilejos, this article examines the overlaps of demonological discourses coming from theology, literature, medicine, law and stage technology. The analysis is focused on the phenomena of sorcery, possession and exorcism which will be situated in their multidiscursive historical context.

La pérdida de don Beltrán es uno de los romances más emblemáticos del corpus carolingio. Identificado por gran parte de la crítica como un episodio relativo a la Batalla de Roncesvalles, posiblemente derivado por vía tradicional de un cantar de gesta, narra los esfuerzos de un viejo caballero por encontrar en el campo de batalla el cuerpo de su hijo. El romance tuvo una extraordinaria difusión, oral, manuscrita e impresa, en los siglos XVI y XVII y numerosos escritores del momento lo recrearon o se hicieron eco de él en sus obras literarias. El objetivo de este artículo es, precisamente, analizar la recepción del romance de La Pérdida de don Beltrán por parte de los poetas, dramaturgos y narradores del Siglo de Oro. En primer lugar, se presentan las versiones antiguas del romance, conservadas en su mayoría gracias a adaptaciones musicales y a glosas de poetas del siglo XVI. En segundo lugar, se estudian las adaptaciones y parodias. En tercer lugar, se realiza un recorrido por las citas y alusiones al romance incluidas en obras literarias de los siglos XVI y XVII. Este panorama de escrituras y reescrituras podrá́ dar una idea muy precisa de la popularidad que alcanzó La pérdida de don Beltrán durante Siglo de Oro. La pérdida de don Beltrán is one of the most iconic romances (traditional Spanish ballads) of the Carolingian cycle. It has been associated with an episode of the Battle of Roncevaux and is possibly derived from a chanson de geste circulating in oral tradition. It tells the story of an veteran solider that returns to the battlefield in search of his son’s body. The ballad was very popular during the 16th and the 17th centuries, transmitted orally and in manuscript and print sources. Moreover, many writers of that time made adaptations of or allusions to the ballad. The main purpose of this article is to analyse the presence and influence of this traditional ballad, La pérdida de don Beltrán, in Spanish Literature of the Golden Age. The first part of the article studies the old versions of the romance, mostly preserved thanks to musical adaptations and glosses of the 16th century. The second part analyses the literary adaptations and parodies of the ballad. The third part of the article presents a comprehensive study of the quotations from and allusions to the ballad included in literary works of the 16th and 17th centuries. This survey of the ballad’s reception and adaptations will demonstrate the popularity of La pérdida de don Beltrán during the Spanish Golden Age. Este artículo es fruto del proyecto El Romancero: nuevas perspectivas en su documentación, edición y estudio (FFI2017-88021-P), financiado por el Ministerio de Economía, Industria y Competitividad y dirigido por José Luis Forneiro en la Fundación Ramón Menéndez Pidal. También se adscribe al proyecto La «imitatio» ecléctica de modelos clásicos y humanísticos» (PAPIIT IN-401318) de la Universidad Nacional Autónoma de México, dirigido por Raquel Barragán. Asimismo, las últimas aportaciones y modificaciones se han realizado en el marco del proyecto The Golden Age of the Romancero: Echoes of Traditional Ballads in Medieval and Early Modern Spanish Literature del programa Marie Sklodowska-Curie Actions (Grant Agreement no 101029346), desarrollado por Nicolás Asensio Jiménez y Teresa Araújo. Quiero expresar mi agradecimiento al programa de «Ayudas para contratos predoctorales de la Universidad Complutense de Madrid (Convocatoria 2016)», pues me permitió desarrollar gran parte de la investigación.

This paper examines an unpublished theatre piece conventionally attributed to the famous Spanish Baroque playwright Luis Vélez de Guevara and titled El renegado de Jerusalén, little known of due to its preservation in a difficult to read manuscript. This historical drama depicts the battle of Hattin (3-4 July 1187), which led to the Third Crusade (1187-1192), emphasizing the agreement between Count Raymond III of Tripoli and Sultan Saladin against Guy of Lusignan, King of Jerusalem with his wife Sibylla. This research documents the play’s presence in catalogs and reference works, offers a description of the manuscript that contains it and summarizes its plot. In addition, its literary and historical sources are analyzed, a probable time period for its writing is proposed and its generic peculiarities are discussed in order to offer an suitable interpretation of its historical-polit-ical meaning, linked to its complex referential and propaganda potential En el presente artículo acometemos el estudio de una comedia inédita tradicionalmente atribuida al célebre dramaturgo barroco español Luis Vélez de Guevara y titulada El renegado de Jerusalén, poco conocida debido a su conservación en un manuscrito de di-fícil lectura. Este drama histórico escenifica la batalla de Hattin (3-4 de julio de 1187), predecesora de la Tercera Cruzada (1187-1192), destacando el pacto que el conde Rai-mundo III de Trípoli contrajo con el sultán Saladino contra Guido de Lusignan, rey de Jerusalén junto a su esposa Sibila. En las próximas páginas, documentaremos la presen-cia del texto en catálogos y obras de referencia, ofreceremos una descripción física del manuscrito que la contiene y resumiremos su argumento. Además, analizaremos sus fuentes literarias e históricas, propondremos un período temporal probable para su es-critura y estudiaremos sus peculiaridades genéricas con la finalidad de ofrecer una apro-piada interpretación de su sentido histórico-político, vinculado a su elaborada capacidad referencial y propagandística

Se traza una perspectiva sobre la obra de José Toribio Medina y los Siglos de Oro, centrando en ejemplos principales de sus estudios (Cervantes, Ercilla, Oña, escritores americanos celebrados por Cervantes y Lope de Vega) una propuesta que tiene que ver con el valor que conferimos a aquellos historiadores literarios de América que han tenido muy en cuenta la tradición de la literatura española. Reividicar estos trabajos, a veces olvidados, es un ejercicio didáctico y cultural necesario para la comprensión de la tradición hispanoamericana. José Toribio Medina’s view of Chilean colonial literature is an example of meditation based on his profound knowledge of the Spanish literature of the Golden Age. His broad and long-lasting Cervantism opens up paths that have not been very much explored since then. His editorial and critical work on Alonso de Ercilla, Pedro de Oña, or on the American poets sung by Cervantes and Lope de Vega, along with many others, are examples of the philological research of someone whose main and most thriving work was American bibliography and erudition. In the critical and historiographical field also abound the lessons of someone who was fusing the Hispanic tradition with his main Americanism.

La historia del teatro del Siglo de Oro en Andalucía (y, en concreto, la actividad sevillana), no se ha cerrado todavía, pues continúa abierta la posibilidad de seguir aportando nuevos descubrimientos procedentes de los Archivos Históricos Provinciales, en concreto de los Archivos de Protocolos. Este es el caso del corral de Doña Elvira, que, siendo el más longevo y el preferido por los sevillanos, en este trabajo evidenciamos cómo en los primeros años del siglo xvii estuvo ‘techado’, hecho sorprendente y referido por primera vez en su historia. Hasta el presente teníamos que aguardar al año de 1626 para encontrar un corral sevillano cubierto (Corral de la Montería). Desde este momento, en 1602, ya está el de Doña Elvira. The history of the Spanish Golden Age theatre in Andalusia (and, specifically, the Sevillian activity), is not over yet; the possibility to continue providing new discoveries coming from the Provincial Historical Archives, more specifically from the Archives of Protocol, is still open. This is the case of the corral of Doña Elvira, the most long-lived one in its history and the preferred one by the Sevillians, which, as we show in this paper, was ‘roofed’ during the first years of the 17th century, a surprising fact referred for the first time in its history. Until the present day we had to wait until the year of 1626 to find an enclosed Sevillian corral (Corral de la Montería). From this moment onwards, in 1602, Doña Elvira’s one is already roofed.

La Inquisición estuvo muy presente durante el Siglo de Oro español. Principalmente se dedicó a controlar las obras literarias que se realizaban, sobre todo, las de carácter religioso, para evitar que las malas doctrinas se extendiesen. Una de las autoras que fue denunciada a la institución fue santa Teresa de Jesús. Parte de estas acusaciones se realizaron después de la muerte de la religiosa, cuando sus obras fueron publicadas por fray Luis de León, aunque también hay algunas cartas en las que fue defendida. Son estas acusaciones las que van a ser analizadas en el presente estudio.

La mentalidad áurea creía en la existencia de un sexo único, lo que daba lugar a una gran diversidad sexual y de género, una gradación muy heterogénea que iba desde la perfección masculina a la imperfección femenina, con una división de roles concretos desde el punto de vista social. Por ello, en este artículo ahondaremos en la concepción que se tenía de la identidad de género, qué se pensaba sobre el cuerpo femenino, cómo los cambios de sexo eran admitidos con normalidad, y esbozaremos una clasificación de estas transexualizaciones diferenciando cuatro tipos. Terminaremos señalando la disrupción que la llegada de la Ilustración supone al imponer el binarismo sexual y de género, cuyas consecuencias arrastramos hoy en día, The Spanish Golden Age mentality believed in the existence of one sex only, which gave rise to a great sexual and gender diversity, a quite heterogeneous gradation that went from the male perfection to the female imperfection, with a specific division of roles from a social point of view. Therefore, in this article we will delve into the conception of gender identity, to what consideration the female body was held, how sex changes were admitted with normality, and we will outline a classification of these transexualizations differentiating four types. In conclusion, noting the disruption that the arrival of the Enlightenment assumes by imposing sexual and gender binarism, whose consequences we still drag to this day, Este artículo se ha desarrollado dentro del proyecto «La mujer frente a la Inquisición española y novohispana» (FEM2016-78192-P), I+D de Excelencia del Ministerio de Economía y Competitividad (MINECO), financiado por la Agencia Estatal de Investigación (AEI) y el Fondo Europeo de Desarrollo Regional (FEDER, UE); y del grupo de investigación «Mentalidades mágicas y discursos antisupersticiosos (siglos xvi, xvii y xviii )», grupo consolidado por la Universidad Autónoma de Madrid

Held at Chamizal National Memorial in El Paso, Texas, since 1975, the Siglo de Oro Drama Festival has become the focal point for US theatrical stagings and scholarship on the living genre of comedia performance. Many critics would be surprised to discover that this particular festival is the oldest in the world exclusively dedicated to Hispanic early modern theatre. With an organizational mission to engage in community outreach, the Siglo de Oro Drama Festival has also become a paragon of access to the performing arts and effective intercultural dialogue about hispanismo, or legacies of Spanish American culture, presently straddling the US/Mexican border. This article will probe the cultural politics of (re)staging the comedia in El Paso, and exploring how borderland Anglo and Hispanic communities have become connoisseurs of this dramatic genre staged continuously for over forty years

This article studies the descriptio and the passions in Luis de Granada’s theory of persuasion present in his Libro de la oracion y meditacion (1554) and Retorica eclesiastica (1576). For this purpose, the study inquires into some rhetoric precepts belonging to both the Ancient World and the Reinassance, in order to outline the trajectory of this resource and identify the similarities and differences as compared to the author’s proposal. Furthermore, we analyze the place of the image and vision within Catholic religiosity in the XVI century to understand the importance of the descriptio technique given by Granada’s thinking. Finally, this article reflects upon the relationship between word and image in the Spanish Golden Age, suggesting a reformulation that comes from the distinction between narration and description.

UIDB/00657/2020 UIDP/00657/2020 Este artículo se centra en El cautiverio de Guarinos, un romance vinculado con la antigua épica carolingia que tuvo una extraordinaria difusión en la imprenta del Siglo de Oro y que, además, ha pervivido hasta prácticamente la actualidad en la tradición oral. En primer lugar, se presenta una edición filológica del texto del siglo XVI con un cotejo de variantes de los principales testimonios. En segundo lugar, se realiza un estudio del romance trovadoresco «Dezime vos pensamiento» para comprobar hasta qué punto es una adaptación de El cautiverio de Guarinos. En tercer lugar, se analiza si las dos ramas de la tradición oral moderna en las que se ha conservado este romance (la judeoespañola y la tradición gitana bajoandaluza) están emparentadas con el texto del siglo XVI. This paper focuses on the Hispanic traditional ballad of El cautiverio de Guarinos.This ballad related to the ancient Carolingianepic had an extraordinary disseminationthrough the printing press of the Golden Ageand has survived almost until the present day inthe oral tradition. The first objective is to makea philological edition of the 16th century text,collating the variants of the main witnesses. Thesecond objective is to make a contrastive analysisbetween the poem «Dezime vos pensamiento»(dated in the late 15th or the early 16th century)and El cautiverio de Guarinos to verify untilwhat extent the poem is an adaptation of theballad. The third objective is to analyze if thetwo branches of the modern oral tradition thathave preserved the ballad (the Judeo-Spanishand the Romani tradition from the South ofAndalusia) are related to the 16th century text publishersversion published

espanolLa Historia de Marco Antonio y Cleopatra (1639) de Alonso de Castillo Solorzano es el repositorio mas amplio de materiales acerca de Cleopatra durante todo el Siglo de Oro espanol, y ademas el volumen posee la singularidad de ser una historia en prosa que incorpora un numero sustancial de composiciones poeticas, del mismo Castillo Solorzano y de otros escritores. El presente articulo analiza los contextos de la obra y los mensajes morales y politicos que quiere difundir el autor a traves de la presentacion de Cleopatra y otros protagonistas importantes de la historia romana (Julio Cesar, Marco Antonio, Octaviano) con quienes se entrelazaba la vida de la egipciana. Este ensayo identifica las fuentes precisas de varias secciones en prosa y demuestra como se entretejen y hacia que fines. Se escudrinan luego el caracter y los efectos de las poesias interpoladas, prestando una atencion particular a los sonetos del aragones Francisco Diego de Sayas, quien es, despues de Castillo Solorzano, el contribuidor mas importante en terminos numericos. La ultima parte del estudio propone unas conclusiones sobre la interaccion de los dos elementos, prosisticos y poeticos, en la composicion y los significados de la Historia de Marco Antonio y Cleopatra. EnglishAlonso de Castillo Solorzano’s Historia de Marco Antonio y Cleopatra (1639) is the most sustained treatment of the figure of Cleopatra in the Spanish Golden Age and the volume also has the particularity of being a prose history interspersed with a significant number of poems by the author and by other writers. This article contextualises the work and examines the moral and political lessons which emerge from the presentation of Cleopatra and of the major Roman figures (Julius Caesar, Antony, Octavian) with whom her life became entwined. The essay identifies the exact sources of much of Castillo Solorzano’s prose history and demonstrates how these are woven together and to what ends. The character and effects of the interpolated poetry are then examined, with a special emphasis on the most prolific external contributor to the volume, the Aragonese Francisco Diego de Sayas. The final part of the study offers some conclusions about the interaction or otherwise of prose and poetry in the composition and meanings of Historia de Marco Antonio y Cleopatra.

This article seeks to explore the poetics of subversion inscribed in the construction of characters in Cervantes’ works, via the analysis of Manuel de Sosa Coitiño’s episode in the Persiles. The study examines two parallel and interrelated processes that the Portuguese soldier underwent: the deification of his fiancée Leonora and the process of his construction as the stereotype of the Portuguese lover. We will show how Cervantes crafted the episode in a manner that leads to the destabilization of the stereotypical features of his character. An examination of this phenomenon could offer insight into the author’s critical attitude towards one of the most popular literary clichés of the Spanish Golden Age., Este artículo desea incursionar en la poética de subversión que caracteriza la construcción de personajes en la obra cervantina, y ello a partir del análisis del episodio de Manuel de Sosa Coitiño en el Persiles. El estudio examina dos procesos paralelos e interrelacionados a los que el soldado portugués fue sometido: la deificación de su novia Leonora y el proceso de su construcción a partir del estereotipo del enamorado portugués. Según intentaremos demostrar, Cervantes ha creado un personaje cuyos rasgos estereotípicos se ven desestabilizados en el contexto del episodio. El examen de dicho fenómeno podría esclarecer la actitud crítica del autor ante uno de los tópicos más populares de las letras del Siglo de Oro español.

El propósito del artículo es presentar veinte títulos de obras dramáticas del Siglo de Oro, acompañadas de una lista en abreviaturas de las obras y bibliotecas que se han utilizado. Esta muestra está en conexión con un Repertorio bibliográfico de textos dramáticos de los Siglos de Oro que la autora del artículo está preparando. The purpose of this article is to present twenty titles of dramatic plays that belong to the Spanish Golden Age, accompanied by a list with abbreviations of the works and libraries used. This sample is connected to a Bibliographical Repertory of Golden Age dramatic texts of that the article’s author is preparing.

espanolEl presente articulo tiene por objeto dar a conocer el hallazgo de un manuscrito perdido que contiene una traduccion aurea del Orlando furioso. A la vista del panorama de circulacion del poema de Ariosto en espanol durante el Siglo de Oro, ofreceremos una descripcion codicologica del manuscrito, senalaremos la procedencia de los diversos paratextos que lo integran, lo compararemos con las otras traducciones aureas del texto –centrandonos en la de Jimenez de Urrea–, incidiremos en la tarea de reescritura llevada a cabo sobre el, y, por ultimo, enjuiciaremos el valor que esta traduccion tiene tanto para los estudiosos del Siglo de Oro como para cualquier lector. EnglishThe purpose of this article is to announce the finding of a lost manuscript that contains a 17th century Spanish translation of the Orlando furioso. Considering the circulation of Ariosto’s poem in Spain during this period, we offer a codicological description of the manuscript, we indicate the origin of the various paratexts that make it up, we compare it with the other golden translations of the text –focusing on the one of Jimenez de Urrea–, we focus on the task of rewriting carried out on it, and, finally, we judge the value that this translation has for both the Golden Age scholars and for any reader.

This study seeks to catalogue in alphabetic order the paremias that are included in the dramatic works of the ill-fated Madrid poet and friend and disciple of Lope de Vega, Juan Perez de Montalban, as a manifestation of a very popular convention in Spanish Golden Age dramas: the systematic incorporation of proverbs, refrains and other paremias in the dramatic text, generally issuing from the mouth of the gracioso. This corpus is based on a total of 46 dramas, that include 25 plays universally accepted as authentic, 11 plays of probable authorship and 10 plays of dubious attribution. Once the corpus is established, the article proceeds to a brief analysis of the function of paremias en Golden Age comedy in general, and in the dramatic works of Perez de Montalban in particular.

Reviewed by Gregary J. RaczIn his foundational essay, “Forms of Verse Translation and the Translation of Verse Forms,” James S. Holmes posits the dominance of the “content-derivative” methodology o...

Our article aims at determining a scheme in order to group the main information about the merchant in the Spanish Golden Age theater, having a look at both the positive and negative images, in perfect agreement with the doctrines of that time. In order to achieve our purpose, we will be using a wide corpus of plays belonging to Alarcon, Calderon, Guillen de Castro, Juan de Matos, Lope de Vega, Tirso de Molina, focusing on the commercial vocabulary (to have, to give, to buy, to sell), the relation between the merchant and power, the allegorical image of the merchant´s ship or the relation between the merchant and women.

For historical reasons, antisemitism is an overarching theme in the Spanish society of the 16th and 17th centuries, and in the literature of the Spanish Golden Age. This essay explores Calderon’s morality plays and seeks to discover our author’s standpoint in regards to Judaism.

The parable of the prodigal son is circumscribed as a predominant theme for the authors of the Spanish Golden Age to develop the plot of some of his autos sacramentales. However, among all these playwrights, the figure of Alonso Remon and his piece have been largely ignored. This article reviews the sacramental career of this author and highlights its importance and differences compared to other comedies that address the same theme.

Theater is constituted by a double and correlative tension between auditory and visual elements, on one hand, and verbal and factual components, on the other. Due to restrictions in staging or to aesthetic preference, in the Spanish Golden Age Comedia there is an initial preference for auditory constituents over visual elements. However, this partiality does not entail, as could be expected from the double binary, a supremacy of the verbal over the factual, but rather requires an equivalence between both dimensions. Given the original diminished role of visual action, in the Spanish Comedia the word becomes the action; both are one and the same. From this hypothesis, I propose an analytical model wherein the play’s plot appears as set of verbal incidents that could be reduced to four: utterance of a statement, silence, correct and incorrect interpretation of an utterance. To prove or test the validity and the critical fruits of this theorization of the Comedia and the analytical method derived from it, the essay reviews (or better, rehears) a corpus of representative plays: El medico de su honra, El desden con el desden, El condenado por desconfiado, and Entre bobos anda el juego.

RESUMO Este artigo é oriundo da pesquisa resultante na tese de doutorado Antônio José da Silva: uma dramaturgia de convenções1. No presente texto, discute-se o princípio de carnavalização no teatro ibérico a partir de diferentes perspectivas teóricas, dentre as quais a de Mikhail Bakhtin. Nesse sentido, a partir da descrição da personagem-tipo do gracioso, o criado carnavalizado originalmente inserido no teatro pelos autores do Século de Ouro espanhol, pretende-se problematizar embates de classe e artifícios discursivos da narrativa tragicômica. Tal análise é embasada pela teoria de análise de textos barrocos ibéricos desenvolvidas em Espanha, nos estertores do século XX e no início do XXI, especialmente em Hermenegildo (1995). Desse modo, analisa-se como a personagem-tipo, seja em sua formulação tradicional masculina ou na feminina, como criada, participa das intrigas, de modo a tornar mais contundentes as questões centrais do enredo disparador. Como exemplificação da teoria trabalhada, trazemos a obra do autor português setecentista Antônio José da Silva, Precipício de Faetonte. Nela, é possível perceber a participação dessas personagens baixas entremeando a intriga principal: o que pode ser lido, em nossa perspectiva, como uma forma de carnavalização do teatro ibérico de tal período, dentro da perspectiva bakhtiniana. ABSTRACT This article derives from the research which resulted in the doctoral thesis Antonio Jose da Silva: a dramaturgy made of conventions.1 It discusses the principle of carnivalization in Iberian theatre from different theoretical perspectives, including that of Mikhail Bakhtin. Through an analysis of the stock character of the gracioso, the carnivalized servant figure originally introduced by the dramatists of the Spanish Golden Age, the intention is to problematize the class tensions and discursive artifices of the tragicomic narrative. This analysis is based on the theory for studying Iberian baroque texts developed in Spain at the end of the 20th century and the beginning of the 21st, and which is particularly present in Hermenegildo (1995). This article therefore examines the ways in which this stock character, either in its traditional male version or as its female counterpart - the maid -, participates in the development of dramatic intrigue, amplifying the impact of the central issues of a given play’s main plot. To demonstrate the aforementioned theory, this article will examine the play Precipício de Faetonte by 18th-century Portuguese playwright Antonio José da Silva. In this work the actions of these low-status characters can be seen to be interwoven with the development of the central intrigue, a fact which, from a Bakhtinian perspective, can be interpreted as a form of carnivalization explored by the Iberian theatre of the period.

El príncipe perseguido offers an interesting example of theatrical rewriting. The comedia was written by three authors –Luis Belmonte Bermúdez, Agustín Moreto and Antonio Martínez de Meneses– before 16th of April 1645. The three poets used a relatively early play by Lope de Vega El gran duque de Moscovia y Emperador perseguido (Parte séptima, 1616). The comparison of both texts –the comedia colaborada and its source– allows to investigate the modes of collaborative writing for stage in the Spanish Golden Age theatre. The analysis concentrates on the plot (based on the history of the false Dmitry) and macro- and microtextual quotes. The study refers to one of the most complex moments in the history of public theatre in the 17th century Spain (1644-1651). El príncipe perseguido ofrece un interesante ejemplo de reescritura teatral. La comedia fue escrita por tres autores –Luis Belmonte Bermúdez, Agustín Moreto y Antonio Martínez de Meneses– antes del 16 de abril de 1645. Los tres dramaturgos se sirvieron de una relativamente temprana comedia de Lope de Vega, El gran duque de Moscovia y Emperador perseguido (Parte séptima, 1616). La comparación de los dos textos –la comedia colaborada y su fuente– permite conocer los modos de la escritura de consuno en el teatro del Siglo de Oro español. El análisis se concentra en el argumento (basado en la historia del falso Demetrio), que manifiesta un alto grado de compenetración a nivel macro- y microtextual entre los tres poetas. El estudio se centra en uno de los momentos más complejos en la historia de los espectáculos públicos en la España del Siglo de Oro (1644-1651).

A play of doubtful authorship is included in Agustín Moreto’s Tercera parte de comedias: Empezar a ser amigos is a play about a common theme in Spanish Golden Age theatre, i.e. loyalty between friends that love the same woman. The play is conserved in a suelta whose author is Juan Pérez de Montalbán but also in two manuscripts and a print edition all ascribed to Moreto. The research presents an hypothesis of dating and debates the question of authorship. Together with the philological and critical instruments, we analyse the play with package Stylo in order to support with stylometry the thesis that Empezar a ser amigos is a play written in collaboration between Calderón, Rojas Zorrilla y Montalbán. En la Tercera parte de comedias de Moreto se inserta una de dudosa atribución, Empezar a ser amigos, que vuelve a tratar un tema bastante difundido en el teatro del Siglo de Oro, la lealtad entre amigos frente a los celos motivados por el amor hacia una misma dama. La comedia se conserva también en una suelta atribuida a Juan Pérez de Montalbán y además en dos manuscritos y una edición impresa, todas estas atribuidas a Moreto. El estudio presenta una hipótesis de datación y trata de los problemas asociados a su atribución de autoría. Además de los instrumentos de filología e interpretación textual, se llevará a cabo un análisis estilométrico con el paquete Stylo que servirá de refuerzo para presentar una hipótesis de atribución para la que consideramos una comedia en colaboración posiblemente entre Calderón, Rojas Zorrilla y Montalbán.

The story of Saint Theodora of Alexandria served as the basis for two Spanish Golden Age plays: Andrés de Claramonte’s Púsoseme el sol, saliome la luna, and La adúltera penitente, written in collaboration by Juan de Matos Fragoso, Jerónimo de Cáncer and Agustín Moreto. This article analyses the relationship between the two and concludes that the latter constitutes a recast of the former, so that they constitute a new example of play written in collaboration by authors of the Calderón school that use, as a procedure to compose their work, the recasting of an earlier one. La historia de santa Teodora de Alejandría sirvió de base a dos comedias del Siglo de Oro: Púsoseme el sol, saliome la luna, de Andrés de Claramonte, y La adúltera penitente, escrita en colaboración por Juan de Matos Fragoso, Jerónimo de Cáncer y Agustín Moreto. En este artículo se analiza la relación entre ambas y se llega a la conclusión de que la segunda constituye una refundición de la primera, de manera que La adúltera constituye un nuevo ejemplo de comedia escrita en colaboración por autores de la escuela de Calderón que utilizan, como procedimiento para componer su obra, la refundición de una anterior.

This paper provides a first consideration of the dissemination and impact of the novels by Sebastiano Erizzo and Niccolò Granucci in the Spanish Golden Age, focusing on two of their main works, Le sei giornate (1567) and La piacevol notte et lieto giorno (1574), respectively. The characteristics of the identified copies, some coincidences with texts by Lope and Cervantes, and the information collected on the circulation of these two works, whose focus on morality may have favoured their dissemination, lead to the suggestion that their novels had a certain influence on Spanish literature. These circumstances should encourage Hispanists to turn their eyes towards the novels of Niccolò Granucci —who may have contributed to spread novels by other novellieri— and Sebastiano Erizzo when considering the traces of the Italian novella in the Spanish Golden Age., En este artículo se ofrece un primer panorama acerca de la difusión y repercusión de las novelas de Sebastiano Erizzo y Niccolò Granucci en el Siglo de Oro, en particular de dos de sus obras principales, Le sei giornate (1567) y La piacevol notte et lieto giorno (1574). Las características de los ejemplares localizados y los datos recabados en torno a la circulación de ambas obras por tierras españolas permiten suponer que sus novelas, cuyo carácter moralista probablemente favoreciese su difusión, ejercieron un cierto influjo en la literatura áurea. Esta circunstancia invita a volver los ojos hacia las novelas de Sebastiano Erizzo y Niccolò Granucci, hasta ahora poco atendidas en el ámbito del hispanismo, a la hora de valorar la huella de la novella en la España del Siglo de Oro, particularmente en autores como Lope o Cervantes.

Biopics of writers abound in cinema; however, of all the canonical Spanish Golden Age authors, only Lope’s biography has attracted cinematographic attention. In this paper we analyse the way the Fenix is presented in Lope , by Andrucha Waddington (2010), the last biopic of the author, in which reality and fiction intertwine to show the life of the «primer Lope». We show that the image of the poet in Waddington’s film is drawn from features created both by Lope himself and other authors, and that some of these particular features contribute to dilute the singularities of his life and personality.

espanolLa poesia visual experimento un auge en la Espana de los Austrias. Por ello, no es de extranar que uno de los grandes poemas del Siglo de Oro, las Soledades de Luis de Gongora (1561–1627), destacara por sus descripciones poeticas de la naturaleza. El presente articulo abordara el reflejo de la maxima horaciana ut pictura poesis (la poesia es como la pintura) en la obra de Gongora mediante un analisis de la vista panoramica que admira el peregrino desde un risco en la Soledad primera, versos 182–211. Mi primera tesis es que este pasaje ofrece una representacion en clave pictorica del escenario en el que transcurrira la accion del poema (mise en abyme). Mi segunda tesis es que estos versos son un ejemplo de lo que Gracian llamaria agudeza paradoja, pues hay cierta contradiccion entre los objetivos de (i) ofrecer una vision total ubicando al protagonista en un lugar elevado (teicoscopia); y (ii) describir poeticamente el paisaje como una deslumbrante obra pictorica (ecfrasis). Esta paradoja se resolvera recurriendo a teoria del arte, concretamente, a la nocion de Idea de Erwin Panofsky EnglishPictorial poetry underwent a revival in Habsburg Spain. It is therefore not surprising that one of the landmark Baroque poems of the Spanish Golden Age, the Soledades, written by Luis de Gongora (1561–1627), should have excelled in providing visual descriptions of the natural world. This essay will address the reflection of Horace’s famous pronouncement ut pictura poesis (painting is like poetry) in Gongora’s work, paying particular attention to the panoramic landscape admired by the pilgrim from a cliff in the Soledad primera, lines 182–211. The first thesis is that this passage delivers a pictorial representation of the scenery where the action of the poem will take place through a mise en abyme. The second thesis is that it also offers an agudeza paradoja — to use Gracian’s terminology — for there is a paradoxical dissonance between the objectives of (i) offering a total vision by placing the protagonist on a high vantage point (teichoscopy), and (ii) poetically describing the landscape he sees as a dazzling work of art (ekphrasis). This paradox will be resolved by resorting to art theory, and more particularly, to Erwin Panofsky’s notion of Idea.

From the 15th century on, the practitioners of the mechanical arts obtain a new self-confidence and do no longer want to be regarded merely as manual workers. In this context, they frequently underline the mathematical basis of their discipline in order to increase its value from the status of a mechanical to that of a liberal art. In the Spanish golden age period, the military art, amongst others, is conceived as a mathematical discipline. A particularly curious case is the Libro de las grandezas de la espada (1600) whose author, Luis Pacheco de Narvaez (1570-1640), propagates the art of swordsmanship, which he names «the true skill», as a science based on the disciplines of the quadrivium . The present article outlines the arguments applied by Pacheco in a preliminary chapter in order to prove the mathematical and scientific status of his discipline.

Regarding some formulae at the beginning of the dialogical turns that profusely appear at Erasmus’s Colloquia familiaria and its Castillian translations, we study in this paper how these formulae become a discursive strategy which characterizes the dialogical tradition at the Renaissance and Baroque. Its routinization in texts of this kind may be interpreted as an expression of the ideal of natural style that succeeded since the first half of the 16th century in Castilian literature., Atendiendo a diversas fórmulas de inicio de turno conversacional que aparecen profusamente en los Colloquia familiaria de Erasmo y sus traducciones castellanas, se analiza en este artículo cómo dichas fórmulas se convierten en una estrategia discursiva característica de la tradición del diálogo renacentista y barroco. Su rutinización en este tipo de textos puede interpretarse como una manifestación del ideal de naturalidad estilística en boga a partir de la primera mitad del siglo XVI en la literatura castellana.

Una de las tendencias actuales de la investigación del teatro español de los Siglos de Oro es la segmentación dramática. En este sentido, destaca la metodología de Marc Vitse, que propone estructurar la obra en función de los cambios métricos. Aplicaremos esta teoría a una comedia de un dramaturgo hoy desconocido: Renegado, rey y mártir de Cristóbal de Morales. Comprobaremos que efectivamente la versificación es muy útil a la hora de localizar y jerarquizar los diversos momentos dramáticos de la obra. En la nuestra, la violencia desempeña un papel esencial en tanto que propicia los cambios de metro y la estructura. A current tendency in Spanish Golden Age theatre studies is dramatic segmentation. In this sense, we must emphasize Marc Vitseʼs methodology, which suggests structuring the play according to the versification changes. We are going to put into practice this theory with a work by an unknown playwright: Renegado, rey y mártir by Cristóbal de Morales. We will verify that versification does actually help when dividing and hierarchising the different moments of the play. At Renegado, rey y mártir violence is important due to the fact that it causes the strophic changes and structures the plot.

The presence of Don Quixote in the history of children’s films amounts to seven motion pictures that begin in the Silent Period, where we find the one directed by Emile Cohl (1909), the first to show the famous knight on the big screen, followed by a small number of films that culminate with Las aventuras de Don Quijote , by Antonio Zurera (2010). This article analyzes in detail the context of production and reception of a production by Filmax Animation, Donkey Xote (Jose Pozo, 2007), which passed inadvertently through our cinemas, highlighting its structure, narrators, echoes of films by Disney, Pixar and DreamWorks, especially Shrek , and above all, its faithfulness –which will not be appreciated by most of the children (and parents)– to the Spanish Golden Age and to the Second Part of the immortal novel by Cervantes.

Spanish literature written by captives or about captivity in North Africa distinguished itself from the majority of Spanish Golden Age works because of its positive portrayal of Jews. Not only were these literary representations benevolent, but they were also quite realistic. Like many of their historical counterparts, the literary Jews Brahín (Los cautivos de Argel) and David (Guzmán el Bravo) practiced their religion clandestinely in Spain before moving to the Maghreb, where they enjoyed greater freedoms and privileges, including the ability to legally own Christian slaves. Multiple 17th-century autobiographical accounts from Spanish captives in Algiers and Tunis can serve as historical templates to corroborate the precarious, yet simultaneously prosperous, situation of those two literary Jews. Finally, the similarities found in historical sources and these two North African works challenges the notion of Lope de Vega being unequivocally anti-Jewish.

Much critical work has been dedicated in recent years to the transgressive representation of gender in the plays of the Spanish Golden Age, an interest sparked in great measure by Melveena McKendrickʼs sem­inal work: Woman and Society in the Spanish Drama of the Golden Age. A Study of the «Mujer Varonil» (Cambridge, Cambridge University Press, 1974). This article examines the depiction of gender ambiguity and confu­sion in the plays of the Andalusian dramatist Cristobal de Monroy y Silva, with a special focus on El caballero dama and La batalla de Pavia y prision del rey Francisco . While Monroy y Silvaʼs depictions of gender ambigui­ty usually correspond to the conventional categories of mujer vestida de hombre or mujer varonil , these two plays offer interesting and original case studies. La batalla de Pavia y prision del rey Francisco presents an almost unheard of case of gender dysphoria.