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Table of Contents

  1. Prologue
  2. pp. 5-6
  3. DOI: https://doi.org/10.1353/boc.2020.0015
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  1. Roman Machiavels on the Spanish Stage: Pérez de Montalbán’s Amor, privanza y castigo
  2. Barbara Simerka
  3. pp. 11-31
  4. DOI: https://doi.org/10.1353/boc.2020.0017
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  1. “Que los reyes nunca están lejos para castigar los malos”: Space and the Imperialization of History in Lope de Vega’s El mejor alcalde, el rey
  2. Javier Lorenzo
  3. pp. 33-49
  4. DOI: https://doi.org/10.1353/boc.2020.0011
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  1. Corporate Honor and Conflictive Subjectivity in Calderón’s El alcalde de Zalamea
  2. Charles Oriel
  3. pp. 51-71
  4. DOI: https://doi.org/10.1353/boc.2020.0013
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  1. Tragic Resonance: Listening for Women’s Voices in the Myth of Echo and Narcissus
  2. Margaret R. Greer
  3. pp. 73-101
  4. DOI: https://doi.org/10.1353/boc.2020.0004
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  1. Inextinguishable Curiosity and Questioning”: The Education of Robert ter Horst
  2. Robert ter Horst, Eleanor ter Horst, Laura R. Bass
  3. pp. 103-115
  4. DOI: https://doi.org/10.1353/boc.2020.0001
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  1. The True Mind of Marriage: Ironies of the Intellect in Lope’s La dama boba
  2. Robert ter Horst
  3. pp. 117-133
  4. DOI: https://doi.org/10.1353/boc.2020.0006
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  1. Commedia dell’Arte in Context ed. by Christopher B. Balme, Piermario Vescovo, and Daniele Vianello (review)
  2. Erith Jaffe-Berg
  3. pp. 135-139
  4. DOI: https://doi.org/10.1353/boc.2020.0007
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  1. Nadie fíe su secreto by Pedro Calderón de la Barca (review)
  2. Simon Kroll
  3. pp. 141-143
  4. DOI: https://doi.org/10.1353/boc.2020.0010
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  1. Hearing Voices: Aurality and New Spanish Sound Culture in Sor Juana Inés de la Cruz by Sarah Finley (review)
  2. Alice Brooke
  3. pp. 145-147
  4. DOI: https://doi.org/10.1353/boc.2020.0002
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  1. Science on Stage in Early Modern Spain ed. by Enrique García Santo-Tomás (review)
  2. Shifra Armon
  3. pp. 149-152
  4. DOI: https://doi.org/10.1353/boc.2020.0000
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  1. The Captive Sea: Slavery, Communication, and Commerce in Early Modern Spain and the Mediterranean by Daniel Hershenzon (review)
  2. Kathryn Burns
  3. pp. 153-155
  4. DOI: https://doi.org/10.1353/boc.2020.0003
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  1. The Potency of Pastoral in the Hispanic Baroque by Anne Holloway (review)
  2. Felipe Valencia
  3. pp. 157-159
  4. DOI: https://doi.org/10.1353/boc.2020.0018
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  1. Staging Habla de Negros: Radical Performances of the African Diaspora in Early Modern Spain by Nicholas R. Jones (review)
  2. Emily Weissbourd
  3. pp. 161-163
  4. DOI: https://doi.org/10.1353/boc.2020.0020
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  1. Performing the King Divine: The Early Modern Spanish Aulic Festival by Lucas A. Marchante Aragón (review)
  2. Alejandra B. Osorio
  3. pp. 165-168
  4. DOI: https://doi.org/10.1353/boc.2020.0014
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  1. Une épopée ibérique. Alonso de Ercilla et Jerónimo Corte-Real (1569–1589) by Aude Plagnard (review)
  2. Lara Vilà
  3. pp. 175-177
  4. DOI: https://doi.org/10.1353/boc.2020.0019
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  1. “La bella España”: El teatro de Lope de Vega en la Rusia soviética y postsoviética by Veronika Ryjik (review)
  2. David Rodríguez-Solás
  3. pp. 179-181
  4. DOI: https://doi.org/10.1353/boc.2020.0016
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  1. Comedias Parte XVI by Lope de Vega (review)
  2. Anthony J. Grubbs
  3. pp. 183-184
  4. DOI: https://doi.org/10.1353/boc.2020.0005
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  1. Romances de senectud by Lope de Vega (review)
  2. Mark J. Mascia
  3. pp. 185-187
  4. DOI: https://doi.org/10.1353/boc.2020.0012
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