1. Sobre la autoría de tres obras “de Cepeda”, famoso dramaturgo en los albores de la Comedia Nueva
  2. Daniel Fernández Rodríguez
  3. pp. 46-70
  4. DOI: 10.1353/boc.2016.0024
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  1. Sources, Syncretism, and Significance in Calderón’s El divino Orfeo (c. 1634)
  2. Paul Joseph Lennon
  3. pp. 71-97
  4. DOI: 10.1353/boc.2016.0025
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  1. Ciencia, crítica, culteranismo, comedia, cultura: De nuevo, el caso de Don Pedro Miago
  2. C. George Peale
  3. pp. 111-130
  4. DOI: 10.1353/boc.2016.0027
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  1. La reina varonil en el teatro barroco: El ejemplo de Tomiris
  2. Ana Zúñiga Lacruz
  3. pp. 131-144
  4. DOI: 10.1353/boc.2016.0028
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  1. Entre Shakespeare y el teatro del Siglo de Oro: Dos dramaturgias complementarias desde las tablas
  2. Esther Fernández, Juan Hernando Vázquez
  3. pp. 145-157
  4. DOI: 10.1353/boc.2016.0029
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  1. Remaking the Comedia: Spanish Classical Theater in Adaptation ed. by Harley Erdman and Susan Paun de García (review)
  2. Michael J. McGrath
  3. pp. 168-173
  4. DOI: 10.1353/boc.2016.0032
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  1. Performance Reconstruction and Spanish Golden Age Drama: Reviving and Revising the Come by Laura Vidler (review)
  2. Chad M. Gasta
  3. pp. 174-177
  4. DOI: 10.1353/boc.2016.0033
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  1. Reminiscing: Comedia, BCom, Everett, Other Players, and a Strong Supporting Cast
  2. James A. Parr
  3. pp. 236-242
  4. DOI: 10.1353/boc.2016.0036
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  1. Comedia Haiku
  2. Edward H. Friedman
  3. pp. 243-246
  4. DOI: 10.1353/boc.2016.0037
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  1. Editor’s Note
  2. Edward Friedman
  3. p. vii
  4. DOI: 10.1353/boc.2016.0021
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