In this Issue

Table of Contents

Dirty Dancing: Salome, Herodias and El retablo de las mara villas

Cory A. Reed
pp. 7-20
DOI: https://doi.org/10.1353/boc.1992.0027
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Re-Writing in the Margins: Caro's Valor, agravio y mujer as Challenge to Dominant Discourse

Amy R. Williamsen
pp. 21-30
DOI: https://doi.org/10.1353/boc.1992.0031
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Theme and Symbol in Calderón's La hija del aire

Everett W. Hesse
pp. 31-43
DOI: https://doi.org/10.1353/boc.1992.0035
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Love Melancholy in La quinta de Florencia

Debra Collins Ames
pp. 45-58
DOI: https://doi.org/10.1353/boc.1992.0016
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Asymmetry and the Spectator's Experience in Calderóns El médico de su honra

Robert M. Johnston
pp. 59-71
DOI: https://doi.org/10.1353/boc.1992.0019
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The Dual Levels of Antonio Hurtado de Mendoza's Cada loco con su tema

Anita K. Stoll
pp. 73-84
DOI: https://doi.org/10.1353/boc.1992.0022
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La dinámica del discurso dramático en La Estrella de Sevilla

Jesús García-Varela
pp. 85-102
DOI: https://doi.org/10.1353/boc.1992.0025
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The Evolution of Il Cavaliere perseguitato: Literary Interdependence in Bandello, Lope de Vega and the Commedia dell'arte

Nancy L. D'Antuono
pp. 103-112
DOI: https://doi.org/10.1353/boc.1992.0029
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Emblematics in Calderón's El médico de su honra

John T. Cull
pp. 113-131
DOI: https://doi.org/10.1353/boc.1992.0033
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Discourse and Class in El Alcalde de Zalamea

Carolyn Morrow
pp. 133-149
DOI: https://doi.org/10.1353/boc.1992.0037
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"Tuya soy": The Economics of Marriage in Cervantes's Entremés del rufián viudo llamado Trampagos

Jean Graham-Jones
pp. 151-161
DOI: https://doi.org/10.1353/boc.1992.0018
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The Dances of the Processions of Seville in Spain's Golden Age (review)

Charlotte Stern
pp. 163-165
DOI: https://doi.org/10.1353/boc.1992.0021
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Espectáculo, texto y fiesta. Juan Ruiz de Alarcón y el teatro de su tiempo (review)

Willard King
pp. 165-167
DOI: https://doi.org/10.1353/boc.1992.0024
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Calderón y el Barroco: Exaltación y engaño de los sentidos (review)

Teresa S. Soufas
pp. 167-169
DOI: https://doi.org/10.1353/boc.1992.0028
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El teatro español del siglo de oro: métodos y enfoques críticos (review)

Amy R. Williamsen
pp. 169-172
DOI: https://doi.org/10.1353/boc.1992.0032
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Eléments pour une théorie du théâtre espagnol du XVIIe siècle (review)

Thomas Austin O'Connor
pp. 172-174
DOI: https://doi.org/10.1353/boc.1992.0036
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Visions of the New World in the Drama of Lope de Vega (review)

Chester S. Halka
pp. 175-176
DOI: https://doi.org/10.1353/boc.1992.0017
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Peribáñez and the Comendador of Ocaña (review)

Michael McGaha
pp. 176-178
DOI: https://doi.org/10.1353/boc.1992.0020
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Claves de "La verdad sospechosa." Juan Ruiz de Alarcón (review)

Willard King
pp. 178-180
DOI: https://doi.org/10.1353/boc.1992.0023
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Lope's Padre Roxas and Niño Inocente are Authentic Saints

Robert Morrison
pp. 181-183
DOI: https://doi.org/10.1353/boc.1992.0026
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Mentidero: The 1991 Comediantes Banquet

Catherine Larson
pp. 185-186
DOI: https://doi.org/10.1353/boc.1992.0030
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The Seventeenth Annual International Siglo De Oro Theater Festival, Chamizal National Memorial, El Paso, Texas March 11-12, 1992

Matthew D. Stroud
pp. 187-189
DOI: https://doi.org/10.1353/boc.1992.0034
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