1. Editor's note
  2. Edward H. Friedman
  3. pp. 5-6
  4. DOI: 10.1353/boc.2004.0025
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  1. The Nahuatization of Paul in La conversión de san Pablo
  2. Charlotte Stern
  3. pp. 7-43
  4. DOI: 10.1353/boc.2004.0015
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  1. Numancia: "nuestra historia"
  2. David H. Darst
  3. pp. 45-54
  4. DOI: 10.1353/boc.2004.0017
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  1. ¿Cómo hacer cosas con los enigmas?: La vida es sueño o el drama del desengaño
  2. Jorge Brioso
  3. pp. 55-75
  4. DOI: 10.1353/boc.2004.0019
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  1. La herencia de la commedia dell'arte italiana en la conformación del personaje de Juan Rana
  2. Francisco Sáez Raposo
  3. pp. 77-96
  4. DOI: 10.1353/boc.2004.0021
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  1. 'Un hombre sin nombre': The Mirroring of Language and Nature in Tirso's El burlador de Sevilla
  2. Candelas Gala
  3. pp. 97-114
  4. DOI: 10.1353/boc.2004.0023
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  1. Beleaguered Hegemony and Triangular Desire in Lope de Vega's Las famosas asturianas and John Ford's Stagecoach
  2. Bruce R. Burningham
  3. pp. 115-142
  4. DOI: 10.1353/boc.2004.0024
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  1. Back to Basics: What Every Comediante Should Know: Confessions of a Panel Organizer
  2. Amy R. Williamsen
  3. pp. 145-147
  4. DOI: 10.1353/boc.2004.0026
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  1. Comedia and the Art of Construction
  2. William R. Blue
  3. pp. 149-152
  4. DOI: 10.1353/boc.2004.0016
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  1. The Spanish Comedia: On Canons and Kinds
  2. James A. Parr
  3. pp. 163-168
  4. DOI: 10.1353/boc.2004.0020
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  1. What Every Comediante Mentor Should Know
  2. Laura L. Vidler
  3. pp. 169-174
  4. DOI: 10.1353/boc.2004.0022
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