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Abstract Nicopolis foundation betwenn ideology and politics The paper aims at analyzing the multiple meanings that the foundation of Nicopolis by Octavianus implied. Whereas the modern scholarship commonly focuses on the ideological function of the foundation – namely the celebration of Octavianus’ victory over Antonius in the battle of Actium– it will be shown that Octavianus, by means of the foundation of the city, also aimed at conveying precise political messages both to those that supported him against Antonius and to the allies of the latter. The analysis of literary sources and epigraphic documents will also permit to explore some examples of responses among Greek communities to Octavianus’ victory at Actium and to the subsequent foundation of Nicopolis.

António Antunes é um dos mais relevantes cartoonistas mundiais. Apresenta uma produção com características muito próprias e com uma extensão significativa, quer nacional, onde colabora com o importante semanário Expresso, quer internacionalmente, com a publicação em periódicos de grande difusão e o averbamento de vários prémios. Ao longo da sua carreira não tem escapado a grandes polémicas, como a havida com Donald Trump, mas lutando sempre por causas que considera justas através da sua Arte.

Copyright of Ploutarkhos is the property of International Plutarch Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ploutarkhos is the property of International Plutarch Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Studies of Seville bookbinders from the second half of the 19th century are very scarce, only a few biographical notes having been published. The most important saga of a bindery is very possibly that of the Márquez family, the most important members of which were Luis Márquez y Echeandía and his father Antonio Márquez y Ramírez. Our work focuses on providing a fuller biography of three generations of this family of bookbinders, especially of Luis, identifying its workshops, categorizing his material and his decorative techniques, categorizing his signatures, and identifying the decorative tools he used as well as the location of his bindery. A comparing is also made of the tools used in bindings mainly found in the Casa Velázquez Library with those used in the workshop of the modern Seville bookbinder, Sebastián Rodríguez Vázquez, where they are currently to be found. [ABSTRACT FROM AUTHOR]

In 1766 the Council of Castile ordered the inspector of presses Juan Curiel to prepare a report on calendars. In order to do this, he instructed his deputies to examine the provision and distribution of these items in their respective provinces. An analysis of their responses shows how effective this system of delegating to deputies was in providing information, while the reports themselves cast light on the trade in, and distribution of, such printed matter. [ABSTRACT FROM AUTHOR]

Jacques Derrida delivered the basis of The Specters of Marx: The State of the Debt, the Work of Mourning, & the New International as a plenary address at the conference 'Whither Marxism?' hosted by the University of California, Riverside, in 1993. The longer book version was published in French the same year and appeared in English and Portuguese the following year. In the decade after the publication of Specters, Derrida's analyses provoked a large critical literature and invited both consternation and celebration by figures such as Antonio Negri, Wendy Brown and Frederic Jameson. This forum seeks to stimulate new reflections on Derrida, deconstruction and Specters of Marx by considering how the futures past announced by the book have fared after an eventful quarter century. In this third group of contributions, Jessica Auchter, Bruna Holstein Meireles and Victor Coutinho Lage draw broadly on Derrida's writings to explore the spectrality of the international or inter-state-eal: of politics itself being based on hospitality toward the ghost as foreign guest, of the possibility of enacting a politics of spectrality that might aspire to a new kind of universality, and of how a 'without international' might escape the series of prisons that constitutes the international. [ABSTRACT FROM AUTHOR]

Fıkıh eserlerinin tedviniyle birlikte, fıkıhçılar arasındaki ictihat farklılıkları alaka konusu olmuştur. Mezheplerin teşekkülünden sonra ise mezhebi savunma veya taassub sebebiyle ictihat farklılıklarıyla ilgili eserler artmıştır. Bu konuda yazılan kitaplar genellikle “ihtilâf, mesâil, mesâilü’l-hilâf, muhtelef, tâ’lik, tâ’lika, tarîka, nüket” gibi kelimelerle isimlendirilmiştir. İctihat farklılıklarını ele alan ilm-i hilâf fıkhın çokca eser yazılan alanlarındandır. Bu konudaki bazı eserlerde fıkhın bütün alanlarında ve müctehidlerin çoğunluğu arasındaki ihtilâflar ele alınırken bazı eserlerde sınırlı sayıda müçtehide ve konuya yer ayrılmıştır. Bir kısım eserlerde sadece görüşleri aktarırken bazı müellifler ise diğer mezhebin görüşlerini delilleriyle verir, müellif umumiyetle mensubu olduğu mezhEbîn görü­şünü savunur.Bu çalışmamızda hilâf ilminin tarifi, önemi, mahiyeti, benzeri ilim­lerle irtibatı ve konuyla ilgili literatür hakkında bilgi verilmiştir. Amacı­mız genel olarak hilâf alanında kaleme alınmış Hanefî fıkıh eserlerinin literatürünü çıkarmak ve ulaşabildiklerimizin tanıtımını yapmaktır.

Background The current economic context calls for rationalizing health resources that can be pursued through disinvestment from low value health technologies to invest in the best performing ones, ensuring high healthcare quality. Oncology is a field where, because of high costs of health technologies and rapid innovation, disinvestment is crucial. Methods On this basis, the research team investigated through a survey, based on a questionnaire, opinions and views of representatives of European countries about disinvestment, in terms of fields of application, potential advocates and barriers, specifically focusing on cancer care. Results A total of 17 questionnaires were filled in (response rate: 32.1%). The survey showed disinvestment is applied in several countries as a tool for containing health care expenditures and identifying obsolete technologies/ineffective interventions. Clinicians' resistance to change and industries' opposition are recognized as the most important barriers to the implementation of disinvestment policies. Potential targets of disinvestment in cancer are seen in diagnostic and therapeutic areas. Conclusion Despite the agreement on fields of waste and of disinvestment policies, operational methods to put disinvestment in place are lacking. Since they should rely on an inclusive assessment of the technology, Health Technology Assessment may represent a good approach. [ABSTRACT FROM AUTHOR]

Background: Experience in real clinical practice with ceftazidime/avibactam is limited, and there are even fewer data on infections due to OXA-48-producing Enterobacteriaceae.Methods: We designed an observational study of a prospectively collected cohort of adult patients receiving ceftazidime/avibactam in our centre. Only the first treatment course of each patient was analysed. Efficacy and safety were evaluated as 14 and 30 day mortality, recurrence rate at 90 days, resistance development and occurrence of adverse effects.Results: Fifty-seven patients were treated with ceftazidime/avibactam. The median age was 64 years (range 26-86), 77% were male and the median Charlson index was 3. The most frequent sources of infection were intra-abdominal (28%), followed by respiratory (26%) and urinary (25%). Thirty-one (54%) patients had a severe infection (defined as presence of sepsis or septic shock). Most patients received ceftazidime/avibactam as monotherapy (81%) and the median duration of treatment was 13 days. Mortality at 14 days was 14%. In multivariate analysis, the only mortality risk factor was INCREMENT-CPE score >7 (HR 11.7, 95% CI 4.2-20.6). There was no association between mortality and monotherapy with ceftazidime/avibactam. The recurrence rate at 90 days was 10%. Ceftazidime/avibactam resistance was not detected in any case and only two patients developed adverse events related to treatment.Conclusions: Ceftazidime/avibactam shows promising results, even in monotherapy, for the treatment of patients with severe infections due to OXA-48-producing Enterobacteriaceae and limited therapeutic options. The emergence of resistance to ceftazidime/avibactam was not observed. [ABSTRACT FROM AUTHOR]

I take the belated and confused response to Edward Said’sOrientalism(1978) as due not only to the pretentious “verbosity” of the first translation, but also to objective circumstances of a political and ideological nature. Frantz Fanon, for instance, made a significant belated presence in the 1960s through translation and ultimate appeal to the rising critique of the national elite thereafter. Gramsci was already known among the Left. Not so is the case withOrientalism. The confusion surrounding the term, the distrust of the West, and the affiliation of prominent Arabists and Orientalists in Arabic language societies in Damascus and Cairo and their significant contributions to the study of Arabic added another dimension to a blurred picture. As noticed by some scholars, the much deferred application of Said’s contrapuntal cultural criticism rather than his postcolonial drive, speaks of a different politics. Largely but not solely indebted to Marxist theory, this liberatory politics in gender, race and class, and the significant interest in social equality, justice and political/economic and cultural liberation, take a number of directions that surpass and also obfuscate postcolonial experimentations and their parlance. To demonstrate the efficacy of this massive engagement in the devaluation of postcolonial discourse, I use among others three early texts of the 1930s that put us face to face with a postcolonial consciousness that not only exposes colonialism and the cultural dependency of the elite, and sets the ground for political awareness, but also brings forth the issues of biopolitics and the implications of subalternity along a number of axes. This line of thought is predicated on a cultural and ideological script that had already taken root in urban centres since the early twentieth century. Although the Cold War situation and the enforced assimilation of the Left into statist national blocs or confederations or the denial and prosecution of opposition intensified a polarized polemic against the “West”, there was already that script that was given legitimacy and power in national democratic writings. Hence, whatever is subsumed under the rubric of the “postcolonial” sounds like “carrying dates to Hajar” (ka-nāqil tamrin 'ilā Hajar). Put together in a genealogical map, these early engagements, including the forceful critique of the “West” and its body of representations, gain further solidification that derails and incapacitates the “postcolonial” as a viable category of analysis and application in the Arab world. [ABSTRACT FROM PUBLISHER]

Comentarios y reflexiones misceláneas relativos al músico de tecla y compositor Antonio de Cabezón, al tipo de órganos europeos y españoles prevalecientes en su momento, tocando la participación de su hijo Hernando en la compilación y edición final del libro Obras de música para tecla, arpa y vihuela, con lecturas acerca de algunas partes preliminares a dicho impreso. Se aborda la recepción del libro en el ámbito americano de la Nueva España en el propio siglo XVI, dentro de un contexto de distribución comercial y circulación cultural de impresos de música teórico-prácticos que alcanza temporalmente la primera mitad del siglo XVII, particularmente de obras de tipo instrumental.

En el mes de noviembre del 1850 se estrenaba en el teatro San Fernando de Sevilla la zarzuela, también denominada ópera cómica, original de Mariano Soriano Fuertes, El tío Caniyitas, con libreto de Sanz Pérez. La obra pertenecía al género de la zarzuela andaluza, extraño cajón desastre donde cabían todos los tópicos posibles sobre Andalucía, así como la visión estereotipada y ridícula que se tenía de los extranjeros y, más concretamente, de los ingleses. El libreto era una mezcla de pronunciación andaluza, muy exagerada, y caló, con lo que crecían las dificultades para ser entendido. Algunos encuadran este tipo de zarzuela dentro del casticismo. Pero, en el momento que nos ocupa, este tipo de música- basado en recopilación de aires populares- y estos libretos empezaban a conocer su ocaso. No obstante, El Tío Caniyitas constituyó un rotundo éxito en Andalucía, aunque la acogida que tuvo por parte de la crítica madrileña fue bastante negativa. Llovieron las críticas aceradas, algunas rayas en el insulto hacia el autor, un Soriano Fuertes que siempre se vió cercado por la hostilidad de músicos y críticos contemporáneos. Pero la obra fue un éxito y, ya lo decimos, originó una fuerte controversia. Sin embargo, su autor se sentía muy satisfecho de la misma hasta el punto de que una de sus múltiples creaciones periodísticas, recibió precisamente el título de Tío Caniyitas. Y es éste el punto de enlace con la prensa musical del XIX, en la que Soriano fue pionero, y más concretamente la presencia de la actividad teatral musical andaluza en los periódicos nacionales.

La filosofía política de Gramsci fue percibida como una amenaza ideológica por los gobiernos autoritarios del Cono Sur y por los más ortodoxos comunistas, pero también fue una guía de reflexión y renovación ideológica del pensamiento crítico en Argentina en la década de 1970. Los intelectuales receptores siguieron la teoría gramsciana no como un constructo que dilucidaba la realidad de la región, sino como un método para poder volver a ella sin forzarla por las necesidades dogmáticas. Este artículo sigue la trayectoria del pensamiento de Gramsci en América Latina en dos momentos: la recepción y debate propiamente académicos de sus postulados teóricos en Argentina, y la posible influencia de estos postulados en la práctica política en la región, por medio de un breve recorrido entre varios niveles de impacto. Niveles que cubren desde la motivación a la movilización en el contexto inmediato del grupo argentino de Pasado y Presente, hasta una más difusa influencia en las apuestas literarias de los escritores latinoamericanos de esa década.

En su intento de buscar una esquiva visión modernista de desarrollo, el gobierno de Chávez (1999-2013) en Venezuela confeccionó una lista fresca y muy binaria de un “nosotros” contra “ellos”. En su proyecto contra-hegemónico, en términos de Gramsci, Venezuela ha promovido un orientalismo subalterno que ha contado con la demonización de los Estados Unidos y sus aliados más cercanos, y a su vez una unión bastante abrupta con países y culturas asociadas con los que el gobierno de Venezuela tenía poco contacto previo, como se ejemplifica con los casos de China, Irán y Rusia. Edward Said (1978) denomina el concepto de orientalismo como la relación entre las potencias imperialistas de cara a los países en desarrollo. En el caso que nos ocupa, sin embargo, se observa un giro refrescante: aquí se observa el orientalismo entre naciones en vía de desarrollo y naciones no-occidentales con el fin de hacer frente a la lucha hegemónica de los países occidentales dominantes, o lo que yo llamo orientalismo subalterno. En el presente artículo se abordará la primera fase de la construcción de identidad en Venezuela con relación a la presencia de los chinos, árabes y, en menor medida, de Rusia.

This article examines the reception of Spanish author Antonio Muñoz Molina’s novel,Los misterios de Madrid(1992). Despite being considered one of Muñoz Molina’s minor works, this short text has attracted significant attention from scholars. This article reflects on these studies, arguing that certain paratextual markers condition critical approaches to the novel. It outlines, with reference to the Spanish literary context, the importance of extratextual signifiers as signposts of interpretation; these include the title of a work, its author, and, most importantly, the genre assigned to a work. Drawing on a number of theorists, most importantly Gérard Genette, the article argues that many readings ofLos misterios de Madridrely heavily on arbitrary genre categorizations as the starting point for interpretation. Ultimately, it questions the value of an interpretative process which ignores intentionality in favor of extratextual literary and cultural factors. [ABSTRACT FROM PUBLISHER]

Ribbentrop y Hitler en septiembre y octubre de 1940 exigieron al general Franco una isla de Canarias para disponer de una gran base aérea y marítima antes de enfrentarse a los Estados Unidos. Aunque Franco, Serrano Suñer y Tovar rechazaron esta posibilidad, la presión alemana llevó a organizar con urgencia una exposición propagandística sobre las Islas Canarias en febrero 1941 por Antonio Tovar, Subsecretario de Estado de Prensa y Propaganda, para el siguiente mes de mayo, como una parte integrante de España y del futuro Imperio español. Martínez Santa-Olalla llevó la sección de Arqueología e Historia y Pérez de Barradas la Folklórica. En las islas, los principales colaboradores fueron los dos Comisarios Provinciales de Excavaciones Arqueológicas, Jiménez Sánchez en Gran Canaria y Darias y Padrón en Tenerife. Su labor es un buen ejemplo de las actividades de las Comisarías Provinciales de Excavaciones antes de disponer de financiación en 1942. La falta de dinero y la no finalización del pabellón retrasaron sucesivamente la inauguración de la exposición, que no acabó celebrándose ese año.

During the civil war, death was considered a precious resource to legitimize and consolidate the position of the rebels. The greater importance of the deceased, the greater sacredness and legitimacy of the war and of Franco. José Antonio was the dead most important of the Civil War. From his memory they were woven all kinds of stories reaching extremes of legend. The Church and the Falange were active players in the «National» side, active players in the persistent dispute of the so called «death policies». [ABSTRACT FROM AUTHOR]

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on the drama between Antonio and Portia. Sometimes understood to embody the Christian willingness to lay down his life for his friend, Antonio is actually practicing the pagan virtue of munificence more than Christian charity. Likewise, Portia displays virtues that on the surface appear to be Christian but underneath are more appropriate to her Roman namesake. In her cunning, deft exploitation of Antonio's plight, Portia is able to subordinate Antonio, and his affection for her husband, to her own marital bliss. In this drama between her and Antonio, we see Shakespeare transposing Roman virtues to a Christian context where private happiness can be secured against threats from the outside world. [ABSTRACT FROM AUTHOR]

In the mid-1870s, the playwright Lodovico Muratori (1834-1919) wrote a play based on the life of the sculptor, Antonio Canova, that focused on a fictional, unconsummated passion between Canova and his housekeeper, Luigia Giuli. This play, published by the Milanese editor Carlo Barbini concurrently with several plays about famous Italian artists, including Michelangelo, Raphael, and Tintoretto, emphasized Canova’s connection to these great masters, in particular his role as both artist and lover. By examining the way political and artistic values changed in Italy over the course of the century, this paper arges that Muratori’s insistent repetition of the trope of ‘Luigia as muse’ is an implicit critique of neoclassicism. Artistic inspiration is disengaged from imitation and the rote act of copying and located instead in the very personal and subjective emotions of the artist. By the late nineteenth century, in order to maintain the validity of an otherwise outmoded style, neoclassicism and its suffocating image of repetition were necessarily recast to fit the political, sociological and artistic developments of the time.

Antonio García Espada, Marco Polo y la Cruzada. Historia de la literatura de viajes a las Indias en el siglo XIV, Madrid, Marcial Pons, 2009, 405 pp.

Se estudia la indiscutible contribución del dramaturgo Antonio Gil y Zárate a la mejora del maltrecho panorama teatral decimonónico. Consciente nuestro autor de la inutilidad de la polémica, que enfrentaba a clasicistas radicales y románticos exaltados a propósito de cual habría de ser el modelo teatral más idóneo para nuestras letras, quiso acabar con la misma poniendo sobre las tablas su propia solución, a saber: la práctica del eclecticismo teatral entendido como aprovechamiento de lo mejor de cada pensamiento dramático a la hora de escribir las obras teatrales. Del éxito de esta fórmula nos da el autor buena cuenta en su drama Carlos 11, el Hechizado (1837), cuyos componentes escénicos y recursos dramáticos son aquí analizados

Dedicado al estudio de Cecilia, último poemario de Esta luz de Antonio Gamoneda, el artículo se centra en dos ejes. Primero, se interroga la presencia del epígrafe del poema cubano José Lezama Lima, «La luz es el primer animal visible de lo invisible.» Asimismo, se sigue el paso de un primer poema, nunca publicado como tal, hacia el libro Cecilia aún inédito (poema incluido en un Catálogo de homenaje a Lezama, en 2001), al poemario casi clandestino por poco conocido Pétalo herido (siete poemas, publicados en 2002, en la editorial francesa Trames), hasta la última etapa de un «camino de luz»: Cecilia. ¿En qué medida fue Lezama Lima «padre momentáneo» para Antonio Gamoneda? En torno a la coincidencia con la luz lezamiana, en torno a una correspondencia inexplicable pero cierta, giran aquellas páginas, atentas a la movilidad de la escritura gamonediana, que crea su realidad

Se reseñó el libro: Aspectos de la entonación española: viejos y nuevos enfoques.

Nella rielaborazione di Tabucchi del genere fantastico, l'evento strano e inspiegabile non crea una sovrapposizione di due realtà inconciliabili, semmai richiama l'attenzione su una realtà già in partenza permeata di illogico e quindi inafferrabile. Anche l'esitazione del protagonista di fronte a tale evento appare ridotta e di conseguenza limitata la sua ricerca di spiegazioni razionali. La quete del personaggio tabucchiano non si indirizza ali' evento strano e inspiegabile, ma piuttosto al passato ìrrisolto che questo fa riaffiorare. In questo senso i criteri indicati da Todorov come basilari per i riconoscimento del genere non tengono più pienamente. Indubbio è tuttavia che, pur in presenza delle trasformazioni indicate, diverse strategie narrative del fantastico continuano ad essere utilizzate da Tabucchi per costruire una dimensione multipla, sia a livello di storia che di discorso. Proprio perché la scrittura postmodema fa delll' ambiguità momento centrale di riflessione, non può non essere tentata (e sedotta) dal fantastico.

Se reseñó el libro: Profetisas y solitarios. Espacios y mensajes de una religión dirigida por ermitaños y beatas laicos en las ciudades de Nueva España.

Se reseñó el libro: Monjas, cortesanos y plebeyos. La vida cotidiana en la época de sor Juana.

Copyright of Anuario Musical is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nos acerca a la evolución de Antonio Machado, a través de su poesía, desde el yo intimista al tu objetivo para llegar al nosotros.

Se reseñó el libro: El discurso de la espiritualidad dirigida: Antonio Núñez de Miranda, confesor de Sor Juana.

this paper offers a descriptive analysis of the treatment of Romanticism in three works of Colombian literature history: Evolución de la novela en Colombia (1952) by Antonio Curcio Altamar, Manual de literatura colombiana (1988) published by Procultura and Planeta, and Historia de la poesía colombiana (2001), edited by Casa de Poesía Silva. The study of these works allows establishing the logic implied in the different points of view of the authors when they approach the concept of Romanticism. Based on those results, an evaluation is accomplished in order to define if these uses of the concept are pertinent for the literary studies. This analysis is based on the idea that every history is a construction and therefore, it supposes an interpretation and the proposal of a model to represent a reality, in this case a reality that exists in the literary works produced in a certain period of time. [ABSTRACT FROM AUTHOR]

As the Jesuits showed their devotions to father Antonio Núñez de Miranda (1618-1695) through various buildings, great prestige and many alms, it is difficult to admit that he would have had problems in his own Order. Nevertheless, the thesis of this article is that father Antonio was much less powerful within the home than in Mexico City. Our point of departure is the recent discovery of J.A. Rodríguez Garrido in Lima: two eulogies of Sor Juana Inés de la Cruz that prove the great power of Sor Juana’s admirers in 1691, and they also teach us that the young and brilliant Jesuit Juan Antonio de Oviedo, denounced until now as a supporter of Nuñez, was a friend and once an accomplice of Sor Juana. A more prudent reading of the hagiography of the deceased father (1702) leaves to be seen a series of accidents and anomalies. We know that in the Peninsula, Sor Juana had an intelligent friend, Diego Calleja; it also has to be taken into account the unexpected and enthusiastic praises of the three Jesuits in the paratexts of the second volume of the works of the poet (1692). [TRANSLATION]

The Church of the Annunciation is built on one of the most sacred places for the Catholic world. According to the New Testament, this is where the angel Gabriel announced to the Virgin Mary that she would bear the son of God (Luke 1:26-38). In 1969, an Italian architect, Giovanni Muzio, built the modern church on the site, and this monumental Christian symbol stimulates political struggles to the present day. This article analyzes the various tensions and decisions pertaining to the Church of the Annunciation, including attempts to thwart its construction and to limit its size, as well as the political interests that enabled the largest Franciscan church in the Middle East to be built. [ABSTRACT FROM AUTHOR]

El hombre ha caído del tiempo paradisíaco y se ve diferente en la historia. Sin embargo, aunque esté alejado de él, ocupa el centro de su conciencia, pues el tiempo no está hecho para ser conocido, sino para ser vivido

In "Boys Will Still Be Boys," Keith Dorwick does a double-reading of Shakespearean sources and adaptations by looking at what is surely one of Shakespeare's most queer plays, the 1601 Twelfth Night (TN) and one of his most "heterosexual" of plays, the 1597 Romeo and Juliet (RJ), which have very differing approaches to the problem of cross-dressing. In the first part of his essay, he explores the bisexuality of the Elizabethan male actor playing against the romantic leads as performed by boy actresses. These kinds of male romantic leads might seem to present a seemingly unproblematic heterosexuality (in contrast to the very problematic sexuality of the boy actresses), until one realizes the ways in which the presence of the boy actresses on the Elizabethan stage would necessitate a bisexual position for the men playing opposite them. In the second half, Dorwick will examine the relatively recent film adaptations of each currently available: Andy Fickman's 2006 "She's the Man" with Amanda Bynes and Baz Luhrmann's 1996 "Romeo + Juliet" with Leonardo DiCaprio and read the ways in which they offer the same kind of double-edged bisexualily even when the female leads are portrayed by women. [ABSTRACT FROM AUTHOR]