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388BCom, Vol. 49, No. 2 (Winter 1997) easily to Oedipal readings and continues to do so in Canonical States. For Greenberg, Calderón's play offers a resolution of the archetypal Oedipal conflict and a new sociopolitical order engendered by that resolution. Greenberg's examination of the mythic, the psychoanalytic, and the political aspects of this much-studied comedia is persuasive, again in part through an effective synthesis within his ideological context of insights which are likely familiar to many comediantes. One of Greenberg's most impressive achievements in Canonical States is the sharp differentiation he brings to his various textual analyses without undermining the theoretical unity of his project; although all five dramas partake of the same dynamic, Greenberg makes it clear that they do so in distinct ways. The author's arguments throughout Canonical States are never less than provocative and compelling, and may indeed lead scholars specializing in the various early modern national theaters to rethink both the functions performed by those theaters and the relationships between them. Christopher B. Weimer Oklahoma State University Anuario Lope de Vega, I. Ed. Grupo Prolope de la Universidad Autónoma de Barcelona. Barcelona: Editorial Mileno, 1996. Hardbound. 419 pp. The major project ofthe Grupo Prolope, directed by Alberto Blecua and Guillermo Seres, is the publication ofall Lope de Vega's theater (comedias, entremeses, loas, etc,) in critical and annotated editions; each comedia will carry an introduction discussing versification, sources, plot, motifs, dating, and a consideration of previous studies of the work in question. First to be published will be all the Partes of Lope, in chronological order, each Parte presented in three volumes; those plays which appear in ediciones sueltas will later be collected in similar volumes. The Parte primera (first published Zaragoza 1603-1604) is no doubt now in circulation. The Anuario—clearly modeled on the Anales Cervantinos published by the CSIC in Madrid—serves as a publication complementary to the central project; it proposes to offer a home for studies on Lope now published separately in diverse journals in many countries. In this first Anuario eight of the twenty-three contributors belong to the Grupo Prolope, however, since the Anuario obviously wishes to draw on as many Lope specialists outside its own circle as possible, the final section of this volume sets forth the required mode ofpresentation ofessays offered for publication. Reviews389 This Anuario contains nine articles on Lope; two short notes on passages in plays; six reviews of important books on the theater and Lope; a long "Foro" by Jesús Gómez and Paloma Cuenca devoted to the twelve volumes of comedias already published by the Biblioteca Castro (Madrid, Turner, 1993-1994) as a part of its endeavor to present, in their presumed order of composition, reliable texts ofLope's plays based on a comparison ofmanuscripts and previously published editions (these volumes, unlike those ofthe Grupo Prolope, carry no notes or commentary) and, finally, in the section called "Texto," the complete play called El bien nacido encubierto, which has been attributed to Lope. Four of the nine articles offer a preview of the contents and style of the soon-to-be-published Parte primera, Luigi Giuliani studies the number of characters and the scenic arrangements in El casamiento en la muerte—one of the plays in the Parte primera—to show how they respond to the capabilities ofa particular compañía de teatro as well as to the limitations ofthe stage on which the play was to be presented, Since Giuliani prepared the edition of this play for the new Parte primera, it is reasonable to suppose that this article summarizes the introduction that will appear there. David Roas is the author of the introduction to the Comedia de Bamba in the forthcoming Parteprimera; his informative article on that play printed here deals with Lope's manipulation of the historical sources to present the figure of a king elected by God and notable for justice, piety, and defense of Christianity. In an article which will be useful to all scholars who make critical editions of plays María Morras and Gonzalo Pontón analyze with great care the differences in the stage directions (acotaciones) between six...


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