In this Issue

Table of Contents

Editor's note

Edward H. Friedman
pp. 5-6
DOI: https://doi.org/10.1353/boc.2004.0025
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The Nahuatization of Paul in La conversión de san Pablo

Charlotte Stern
pp. 7-43
DOI: https://doi.org/10.1353/boc.2004.0015
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Numancia: "nuestra historia"

David H. Darst
pp. 45-54
DOI: https://doi.org/10.1353/boc.2004.0017
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¿Cómo hacer cosas con los enigmas?: La vida es sueño o el drama del desengaño

Jorge Brioso
pp. 55-75
DOI: https://doi.org/10.1353/boc.2004.0019
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La herencia de la commedia dell'arte italiana en la conformación del personaje de Juan Rana

Francisco Sáez Raposo
pp. 77-96
DOI: https://doi.org/10.1353/boc.2004.0021
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'Un hombre sin nombre': The Mirroring of Language and Nature in Tirso's El burlador de Sevilla

Candelas Gala
pp. 97-114
DOI: https://doi.org/10.1353/boc.2004.0023
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Beleaguered Hegemony and Triangular Desire in Lope de Vega's Las famosas asturianas and John Ford's Stagecoach

Bruce R. Burningham
pp. 115-142
DOI: https://doi.org/10.1353/boc.2004.0024
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Back to Basics: What Every Comediante Should Know: Confessions of a Panel Organizer

Amy R. Williamsen
pp. 145-147
DOI: https://doi.org/10.1353/boc.2004.0026
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Comedia and the Art of Construction

William R. Blue
pp. 149-152
DOI: https://doi.org/10.1353/boc.2004.0016
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Why We Don't Get No Respect and What We Are Doing About It; Or, The Rapprochement of Body and Mind and the Return of Comedia Studies

Catherine Connor (Swietlicki)
pp. 153-161
DOI: https://doi.org/10.1353/boc.2004.0018
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The Spanish Comedia: On Canons and Kinds

James A. Parr
pp. 163-168
DOI: https://doi.org/10.1353/boc.2004.0020
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What Every Comediante Mentor Should Know

Laura L. Vidler
pp. 169-174
DOI: https://doi.org/10.1353/boc.2004.0022
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