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Reviews219 from the encumbrance and vulnerability of the body, convincing or compelling . Dana Bultman University of Georgia Calderón 1600-2000. Jornadas de investigación calderoniana. Ed. Aurelio González. México: El Colegio de México, Fondo Eulalio Ferrer, 2002. 200 pp. Calderón 1600-2000. Jornadas de investigación calderoniana is a collection of nine essays originally presented at the commemoration of Calderón's 400m birthday at the Centro de Estudios Lingüísticos y Literarios ofthe Colegio de México. The essays in the volume are organized in three sections. In the first, Calderón's relation with printing is studied; in the second, the Calderonian theater's form and context are examined; and in the third are gathered essays dealing with hitherto seldom studied aspects of Calderón's production. In his "El predominio de Calderón también en las librerías: consideraciones sobre la difusión impresa de sus comedias," Germán Vega GarcíaLuengos explains that Calderón, in addition to being one of the most important of all Spanish Golden Age dramatists, was also a force to be contended with in the realm of the printed book, his published works comprising some of the most widely read fictional material in Spain between the appearance ofhis first editions around 1630 through the next two centuries. In the following contribution, J. Enrique Duarte's "El proyecto editorial de los autos sacramentales," the author discusses the enormous difficulty of creating editions of Calderón's autos for modern readers, given the nature of the auto as an integral part of the Corpus Christi festival and depending for its reconstruction on all the lived elements of those festivals. The volume's central section, "Forma y contexto del teatro calderoniano ," contains three of the nine contributions. Of great interest is "Los espacios del barroco en Calderón," by Aurelio González. In it the author argues that the paradoxical intricacies ofthe Calderonian theater are best understood not in light of the traditional literary categories of "conceptismo " and "culteranismo," but rather in the broader context of the 220BCom, Vol. 57, No. 1 (2005) Baroque as a social and cultural phenomenon reverberating through all forms of cultural production. Susana Hernández Araico's contribution, "Sensualidad musical en Calderón: La púrpura de la rosa, Apolo y Climene y Las armas de la hermosura" explores in greater detail one of these extra-literary elements, namely, music. Against a critical tradition that has aligned Calderón with a Neoplatonic disdain for the musical arts, Hernández Araico argues that musical sensuality is central to the aesthetic project ofhis theater. In her article, "Los sonetos de Calderón sin contexto ," Martha Elena Venier inveighs against attempting to understand Calderonian sonnets on an individual basis; rather, the sonnets are and remain the work of a dramatist and must be seen in their dramatic context . The collection's final section includes four contributions dealing with disparate and under-examined elements of Calderón's theater. The first, Juan Escudero 's "EI bestiario fantástico en los autos sacramentales de Calderón (I: La hidra)," examines Calderón's use of fantastic and mythological animals in his works and concentrates on appearances of the hydra. According to his analysis, Calderón mixes ancient and New Testament manifestations of this mythological beast in order to produce an emblematic allegory of the diabolical. In her "Yo soy quien soy: Lágrimas y risas," Margo Glantz studies the role ofthe gracioso Coquin in Calderón's tragic El medico de su honra, arguing that in this manifestation the stock character becomes something of a social conscience for a regime and a king whose obsession with honor has devolved into a terminal disease affecting the entire society. A. Robert Lauer's contribution also studies the role of a Calderonian gracioso, this time that of Clarín from La vida es sueño. The problem he confronts is that ofhow to understand the figure of Clarín: ifhe is merely a type, as is supposed in general for the gracioso, then he fails at the very least in that his ironic and pathetic death interrupts his comic and potentially...


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