A. Robert Lauer

The Pathos of Mencía's Death in Calderón's El médico de su honra

To this day, criticism of El médico de su honra has not emphasized sufficiently the genre to which this play belongs, the dramatic functions of the characters, and the ambiguous imagery which, contrary to current opinion, would seem to indicate that Doña Mencía (like the wives of the other honor plays) is both guilty and innocent of the social upheaval which endangers the social order of King Pedros court. To better understand what honor plays seem to portray, the author attempts to deconstruct the usual bilateral positions (if not quilty, innocent; if not Christian, pagan, etc.) which have obfuscated our vision of the tragic in Calderóns theater.

Storytelling in World Cinemas: Volume 1 – Forms

Lina Khatib’s excellent and comprehensive book on forms of world cinemas is subdivided into five parts: (1) national modes of storytelling; (2) literary and oral ways of recounting; (3) African cin...

Revaloración del concepto del honor en el teatro español del Siglo de Oro

reassessed taking into consideration anthropological, civil, legal, lexical, moral, philosophical, theological and psychological aspects. An application of this refurbished concept follows, wherein the idea of honor as a social concept and as a moral attribute clash in three villein plays: Pedro Calderon de la Barca’s The Mayor of Zalamea ( El alcalde de Zalamea ) and Lope de Vega’s All Citizens Are Soldiers ( Fuenteovejuna ), and Peribanez and the Comendador of Ocana ( Peribanez y el Comendador de Ocana ).

Strindberg and the Quest for Sacred Theatre. By Theo Malekin

quite justified, since Loughlin follows the key essay by Leonard Boyle (1982), who shows that Aquinas sought to ground Christian morality in the entirety of theology, ‘‘not as something that can safely ignore fundamental theology on the one hand, and Christology, sacramental theology, and eschatology on the other’’ (9). Over against the handbooks with which the clergy were equipped at the time, enabling them to assess the gravity of their flock’s sins as infringements of the Ten Commandments, and to award appropriate penances, Aquinas wanted to enlarge their perspectives by situating the concept of culpability in the context of deliberation, freedom, character, and so on, and ultimately against the background of a picture of the moral and spiritual life as a ‘‘journey’’ from God as creator to God as Last End. Thus Loughlin places the emphasis correctly. With the further reading that he recommends, this is a workmanlike introduction, well adapted to the readers whom the series sets out to guide.

Mentidero: Chamizal 2002

El XXVII Festival del Siglo de Oro, el cual se celebrò en el Chamizal National Memorial Auditorium (800 S. San Marciai), El Paso, Texas, EEUU, los días 1 a 9 de marzo de 2002, fue un gran éxito. Compañías teatrales de EEUU, México, Portugal, la República Dominicana y Venezuela brindaron al público una gran variedad de obras trágicas, cómicas, líricas y narrativas. A pesar de los cambios que ocurrieron al último momento como consecuencia de los tristes acontecimientos del 11 de septiembre de 2001, el programa final brindó al mundo un mensaje de paz por medio del arte dramático de tantos países hispanos. El Festival fue auspiciado, como ha sido costumbre desde su principio, por el National Park Service, US Department of the Interior. A la vez, en esta ocasión, el Superintendente Cordell Roy y la Coordinadora Virginia Ness recibieron el apoyo de las siguientes entidades: City of El Paso Arts Resources Department, Texas Commission on the Arts, los consulados de México y EEUU, la Association for Hispanic Classical Theater, Time Warner Communications, UnMsión 26 y El Paso Times. Las obras dramáticas que se presentaron en esta ocasión fueron la primera parte de La hija del aire de Pedro Calderón de la Barca, obra dirigida por Monica Raya, de la Compañía de Repertorio de la Facultad de Filosofía y Letras de la Universidad Nacional Autònoma de México; El caballero de Olmedo de Lope de Vega, dirigida por Miguel Flores y la Escuela Nacional de Arte Teatral de México; La prueba de las promesas de Juan Ruiz de Alarcón, de la Compañía Antaeus de Hollywood, California; la Farsa da Ìndia de Gil Vicente, del incomparable José Manuel Bianco Gii del Teatro Ibérico de Lisboa; y varias obras cortas de