La más constante mujer is a Spanish Golden Age play written by Juan Pérez de Montalbán in 1631 and published for the first time in 1632. Although he was once one of the most famous playwrights in Madrid, known for running in the same literary and social circles as Lope de Vega and Calderón de la Barca, the bulk of the dramatist\u27s work has been greatly ignored by scholars, or is referred to as being of second rate, and the author himself has nearly tragically been forgotten throughout the centuries following his short life. Although research has been conducted to chronicle the literature produced by Montalbán, his plays have been generally overlooked by modern scholars and very little of the dramatist\u27s theatrical production has been a...
Renaissance Europe was the scene of flourishing and innovative dramatic art, and seventeenth-century...
This article focuses on the mechanisms and the dramatic features of the hagiographic comedies of Jua...
La prueba was first published in 1617, when Lope included it as the first play of the first collecti...
La más constante mujer is a Spanish Golden Age play written by Juan Pérez de Montalbán in 1631 and p...
This text is made from a photostat copy of a manuscript in the National Library of Madrid. The spell...
Sor Juana Inés de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest ...
A play of doubtful authorship is included in Agustín Moreto’s Tercera parte de comedias: Empezar a s...
The purpose of this thesis is three-fold. First, it has been my aim to establish, as far as is possi...
Seventeenth-century Spain witnessed a rich flowering of dramatic activity that paralleled the Renais...
La Monja alférez (1625-26), comedia del Siglo de oro conservada en impresos que atribuyen su autoría...
This article studies a forgotten comedy, El Marte español, Guzmán by Juan de Benavides, a playwright...
For decades, scholars have denied the crucial roles played by mother figures in Early Modern Peninsu...
Lope de Vega’s <em>corpus</em> of plays is one of the most studied of Spanish Baroque theater, altho...
Guillén de Castro's play La fuerza de la costumbre (1625) depicts the process of re-teaching gender ...
Los avances fundamentales en las últimas décadas del siglo XX y en los comienzos del siglo XXI sobre...
Renaissance Europe was the scene of flourishing and innovative dramatic art, and seventeenth-century...
This article focuses on the mechanisms and the dramatic features of the hagiographic comedies of Jua...
La prueba was first published in 1617, when Lope included it as the first play of the first collecti...
La más constante mujer is a Spanish Golden Age play written by Juan Pérez de Montalbán in 1631 and p...
This text is made from a photostat copy of a manuscript in the National Library of Madrid. The spell...
Sor Juana Inés de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest ...
A play of doubtful authorship is included in Agustín Moreto’s Tercera parte de comedias: Empezar a s...
The purpose of this thesis is three-fold. First, it has been my aim to establish, as far as is possi...
Seventeenth-century Spain witnessed a rich flowering of dramatic activity that paralleled the Renais...
La Monja alférez (1625-26), comedia del Siglo de oro conservada en impresos que atribuyen su autoría...
This article studies a forgotten comedy, El Marte español, Guzmán by Juan de Benavides, a playwright...
For decades, scholars have denied the crucial roles played by mother figures in Early Modern Peninsu...
Lope de Vega’s <em>corpus</em> of plays is one of the most studied of Spanish Baroque theater, altho...
Guillén de Castro's play La fuerza de la costumbre (1625) depicts the process of re-teaching gender ...
Los avances fundamentales en las últimas décadas del siglo XX y en los comienzos del siglo XXI sobre...
Renaissance Europe was the scene of flourishing and innovative dramatic art, and seventeenth-century...
This article focuses on the mechanisms and the dramatic features of the hagiographic comedies of Jua...
La prueba was first published in 1617, when Lope included it as the first play of the first collecti...