juan de la cuesta · 2019-11-10 · are four innovative analyses of cervantes’s magnum opus, don...

Juan de la Cuestah i s p a n i c m o n o g r a p h s

a nEW sEriEs!UCLA Center for 17th- and 18th-Century Studies:

The Comedia in Translation and Performance

graB ThE FirsT TWo!

See page 2...

The

in Translation and Performance

LOPE DE VEGA

A

WILD

NIGHT IN

TOLEDO

MONOGRAPHSDisrupting Reality: Cervantes,

Jealousy, & Narrative Innovation / Sarah Gretter

De reyes a lobos: Seis ensayos sobre Cervantes / Eric C. Graf

ESSAY COLLECTIONS‘Los cielos se agotaron de prodigios’:

Essays in Honor of Fredrick A. de Armas

Chivalr y, the Mediter r anean, and the Crown of Ar agon

Metacr i t ic a l Cer vantes

CRITICAL EDITIONSL ope de Vega (2)

Luis Velez de G ue var a (5)

Monroy y S i l va

Juan Sánchez

TRANSLATIONSA W ild Night in Toledo

90 Monologues from C lass ic al S panish T heater

Aljamiado L egends

and Pedro the S c hemer by E dward Fr iedman

2019 NEW TITLESF FREE SHIPPINGON ALL TITLES IN THE USA

Cuesta 2019• 2 •

A NEW SERIES!The UCLA Center for 17th- and 18th-Century Studies: The Comedia in Translation and Performance

The UCLA working group The Comedia in Translation and Performance addresses issues of translation and adaptation, while also bringing together academics, playwrights, translators, directors, and actors. Under the direction of Dr. Barbara Fuchs, group members have translated four previously untranslated plays, and have held staged readings of two.

The primary goal of the UCLA working group is to make the plays easy to perform in English. They have attempted to make the language fluent to read and texts easy to adapt. To this end, they have chosen to translate every line of each play, to translate from verse into prose (with occasional exceptions), to include brief but vital footnotes, and to offer the original Spanish texts at the group’s website. Each play’s introduction offers plot summaries, key themes, performance histories, and additional information on editions consulted and other particulars. We hope that these efforts assist

theater practitioners to read, adapt, stage, and direct these plays for modern audiences.

90 Monologues from Classical Spanish TheaterIn Spanish and Englishedited and translated by Barbara Fuchs, Jennifer Monti, & Laura MuñozUCLA: The Comedia in Translation and Performance, #1ISBN 978-1-58871-320-9 (PB) $26.95.

Featuring dramatic and comedic roles for male and female actors from the works of:

Lope de Vega

CaLderón de La BarCa

Tirso de MoLina

Fernando de rojas

guiLLén de CasTro

agusTín MoreTo

sor juana inésde La Cruz

juan ruiz de aLarCón

Cuesta 2019• 3 •

Lope de Vega

A Wild Night in Toledotranslated by Barbara Fuchs and UCLA Working Group

UCLA: The Comedia in Translation and Performance, #2 ISBN 978-1-58871-322-3 (PB) $19.95.

In Spanish popular culture, the phrase “una noche toledana” refers to a long and sleep-less night of wild, often amorous intrigues, or of unrelenting annoyances. Such is the case in this funny, fast-moving play, in which young men and women cross paths at a hostel in a single night. Under the covers of darkness and disguise, they use ingenui-ty and humor to navigate personal desires, negotiate collective frustrations, and test

The in Translation and Performance

LOPE DE VEGA

A

WILD NIGHT IN TOLEDO

Available June, 2019:

Juan Ruiz de Alarcón

What We Owe Our LiesUCLA: The Comedia in Translation and Performance, #3ISBN 978-1-58871-326-1 (PB) $19.95.

Guillén de Castro

Unhappily Married in ValenciaUCLA: The Comedia in Translation and Performance, #4ISBN 978-1-58871-327-8 (PB) $19.95.

Guillén de Castro

The Force of HabitUCLA: The Comedia in Translation and Performance, #5ISBN 978-1-58871-328-5 (PB) $19.95.

Lope de Vega

The Widow of ValenciaUCLA: The Comedia in Translation and Performance, #6ISBN 978-1-58871-329-2 (PB) $19.95.

Cuesta 2019• 4 •

Disrupting Reality: Cervantes, Jealousy, and Narrative Innovation Sarah GretterDocumentación cervantina «Tom Lathrop» #41ISBN 978-1-58871-314-8 (PB) $24.95.

Disrupting Reality: Cervantes, Jealousy, and Narrative Innovation invites readers to play with the idea that Cervantes’s narrative innovation—best illustrated through Don Quixote—was underpinned by a series of novelistic explorations afforded by the power of jealousy to disrupt reality. Throughout his literary career, Cervantes constantly revisited the theme of jealousy into stories that integrated dialogue, laughter, self-parody; and more importantly, the subjectivity of engaging with an ever-changing reality. This process is what exemplified, according to Bakhtin, the narrative innovation that was the novelistic genre.

Using insights from the field of clinical psychology and theories of the novel—with a particular focus on Bakhtin’s approach to novelistic images—each chapter of this monograph explores novelistic aspects of jealousy as to highlight the development of Cervantes’s narrative innovation. Through the experiences of Anselmo, Carrizales, and Auristela, but also those of Lauso, Reinaldos, Cañizares, and Andrés, the book explores concepts like curiosity, satire, and love as manifestations of the novelistic affordances of jealousy.

Exposing his jealous characters’ struggles in their fight against the fear of losing control over their sub-jective truth, Cervantes uncovered how reliance on our own imagination and beliefs as a source of unique truth can lead to fatalistic consequences, while also isolating individuals who then become victims of their own minds. By contrasting the inner conflicts experienced by Cervantes’s jealous characters, the book presents a set of insights about narrative innovation, subjectivity, and dialogue that, hundreds of years later, shed a light on our Quixotic trust in today’s digital world of ideas.

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Cervantes, Jealousy, and Narrative Innovation

SARAH GRETTER

Disrupting Reality: Cervantes, Jealousy, and Narrative Innovationby Sarah Gretter

� e author invites readers to play with the idea that Cervantes’s narrative innovation—best illustrated through Don Quixote—was underpinned by a series of novelistic ex-plorations a� orded by the power of jealousy to disrupt reality. � roughout his literary career, Cervantes constantly wove the theme of jealousy into stories that integrated dia-logue, laughter, self-parody, and most importantly, the subjectivity of engaging with an ever-changing reality. � is process is what exempli� ed, according to Bakhtin, the narra-tive innovation that was the novelistic genre.

Using insights from the � eld of clinical psychology and theories of the novel—with a particular focus on Bakhtin’s approach to novelistic images—each chapter of this monograph explores novelistic aspects of jealousy as to highlight the development of Cervantes’s narrative innovation. � rough the experiences of Anselmo, Carrizales, and Auristela, but also those of Lauso, Reinaldos, Cañizares, and Andrés, the book explores concepts like curiosity, satire, and love as manifestations of the novelistic a� ordances of jealousy.

Exposing his jealous characters’ struggles in their � ght against the fear of losing control over their subjective truth, Cervantes uncovered how reliance on our own imagination and beliefs as a source of unique truth can lead to unfortunate consequences, while also isolating individuals who then become victims of their own minds. By contrasting the inner con� icts experienced by Cervantes’s jealous characters, Gretter presents insights about narrative innovation, subjectivity, and dialogue that, hundreds of years later, shed a light on our Quixotic trust in today’s digital world of ideas.

Juan de la Cuesta Hispanic Monographs

www.JuandelaCuesta.com

Documentación cervantina «Tom Lathrop», 41

Cuesta 2019• 5 •

De reyes a lobos: Seis ensayos sobre CervantesEric Clifford GrafDocumentación cervantina «Tom Lathrop» #43ISBN 978-1-58871-323-0 (PB) $24.95.

De reyes a lobos focuses on the three key texts by Miguel de Cervantes which must be central to any understanding of the ideological evo-lution of the author of the first modern novel. In six separate essays, Professor Graf unveils Cervantes’s art as a series of dissenting med-itations on the significance of Habsburg power and governance. He begins by profiling the Erasmian humanism of the aggressive prince-ly advice for Philip II found at the heart of Cervantes’s early play La Numancia (c.1580); he concludes by unveiling the stoical, late-scholas-tic cynicism that underwrites what remains Cervantes’s most enig-matic narrative, La novela y coloquio de los perros (c.1605). In the middle

are four innovative analyses of Cervantes’s magnum opus, Don Quijote de la Mancha (part one, 1605; part two, 1615), wherein Graf explains how such classical sources as Apuleius and Plato, along with the ideas of the early modern Jesuit philosopher Juan de Mariana, can help us to grasp the overarching meanings of the text that inaugurated the dominant narrative form of Western civilization.

Ensayo 1: La política teológica de La NumanciaEnsayo 2: Don Quijote y la trayectoria protofeminista de la novela clásicaEnsayo 3: Cómo leer Don Quijote como un gran libro sobre el alma y la políticaEnsayo 4: Juan de Mariana, Don Quijote y la política monetaria estadounidense modernaEnsayo 5: La temática económica en Don QuijoteEnsayo 6: La antropología subversiva de Freud y La novela y coloquio de los perros

Cuesta 2019• 6 •

Chivalry, the Mediterranean, and the Crown of Aragonedited by Antonio Cortijo OcanaEstudios de literatura medieval #14ISBN 978-1-58871-316-2, (HB) $39.95.

Chivalry, the Mediterranean,and the Crown of Aragon constitute the threefold axis of this collection of essays. The three are at the forefront of a real struggle among civilizations that took place around the border-land surrounding the Mediterranean in the late Middle Ages, namely in the Iberian and Italian peninsulas and the Balkans. In fact, it could be said that the late medieval Mediterranean came to be defined precisely because of this struggle. Chivalry thrived in its milieu both in real and fictional terms amidst conquering kingdoms, ethical chevaliers and knight kings that helped shape the identity of the Catalan-speaking territories.

This collection includes articles by the following scholars:

Chivalry, the Mediterranean,and the Crown of Aragon

Antonio Cortijo Ocana~

Chivalry, the Mediterranean, and the Crown of A

ragonCO

RTIJO

OCA

NA

, ed.~

Cuesta

316

Chivalry, the Mediterranean,and the Crown of Aragon constitute the threefold axis of this collection of essays. � e three are at the forefront of a real struggle among civilizations that took place around the borderland surrounding the Mediterranean in the late Middle Ages, name-ly in the Iberian and Italian peninsulas and the Balkans. In fact, it could be said that the late medieval Mediterranean came to be de� ned precisely because of this struggle. Chivalry thrived in its milieu both in real and � c-tional terms amidst conquering kingdoms, ethical chevaliers and knight kings that helped shape the identity of the Catalan-speaking territories.

Antonio Cortijo Ocaña

Abel Soler

Vicent Martines

Montserrat Piera

Gabriel Ensenyat Pujol

Ferran Garcia-Oliver

Òscar O. Santos-Sopena

Joan Molina Figueras

Vicent Josep Escartí

Veronica Orazi


Series: Estudios de literatura medieval «John E. Keller», 14



Edited by

Antonio Cortijo oCAñA

Abel Soler

ViCent MArtineS

MontSerrAt PierA

GAbriel enSenyAt Pujol

FerrAn GArCiA-oliVer

ÒSCAr o. SAntoS-SoPenA

joAn MolinA FiGuerAS

ViCent joSeP eSCArtí

VeroniCA orAzi

Cuesta 2019• 7 •

‘Los cielos se agotaron de prodigios’: Essays in Honor of Fredrick A. de Armasedited by Christopher B. Weimer, Kerry K. Wilks, Benjamin J. Nelson, and Julio Vélez SainzHomenajes #51ISBN 978-1-58871-311-7 (HB) $49.95.

Juan de la Cuesta Hispanic Monographs is honored to publish this stel-lar collection honoring of one of the most beloved, prolific and influen-tial scholars. In terms of authors, subjects, ideas, and the ever-changing variety of critical approaches utilized by Frederick de Armas, these studies strive to honor and illuminate the life’s work of a man whose writings have influenced and will serve as an inspiration for those in the field of Spanish Golden Age literature for years to come.

This collection brings together twenty-nine essays by Frederick de Armas’s fellow Hispanists, his past and present colleagues, and his one-time students. The first group of studies focuses on Pedro Calderón de la Barca, to whose comedias Fred devoted so much of his early career. The second group of scholars takes as their subjects plays penned by Calderón’s predecessors and contemporaries. The volume’s third part reads poetry, novellas, and novels from the Spanish Golden Age.

Cuesta 2019• 8 •

Metacritical Cervantesedited by Stephen HesselDocumentación cervantina «Tom Lathrop» #42ISBN 978-1-58871-315-5 (HB), $34.95.

The intention of this volume is to provide diverse examples of metacrit-ical approaches to Cervantes and his works without privileging one type of approach or one context over others. While some of the contrib-utors take Cervantes far afield, others focus on close textual analysis and use resources that should be recognizable to the rigorous reader.

Part I 1. From “desocupado lector” to “lector ilustre”: Reading Cervantes’s Prologues / Kaitlin M. Walsh2. Metamorphosis and Metacriticism in Don Quijote, Part II /

Dominick FinelloPart II 3. The “Brandariz Affair”: A Cervantine Approach / Leonardo Bacarreza 4. (Trans)National Cervantes: The Catalan (Pseudo)Biography of the Father of Don Quixote / Jorge Abril Sánchez

Part III 5. The Never-Ending Romantic Approach: Reading Don Quixote in Brazil / Silvia Cobelo 6. Readings of the Quixote in Contemporary Spanish Theater / María Fernández Ferreiro 7. Pedro, the Great Pretender (Pedro de Urdemalas): Metadrama and Translation / Kathleen Jeffs

Part IV 8. Metafictional Appropriations of Miguel de Cervantes and his Don Quijote: A Closer Look at Nationalisms and

Avellaneda’s Sequestered Sally / Brian Phillips 9. A Metacritical Response to Alban K. Forcione’s Vision of Aristotelianism in Cervantes / Daniel Lorca 10. Paradigms, Aporia, and the Limiting of “Cervantes” / Stephen Hessel

Series: Documentación cervantina «Tom Lathrop», 42



Metacritical C

ervantes ✹

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Jorge Abril Sánchez

Leonardo Bacarreza

Silvia Cobelo

María Fernández Ferreiro

Dominick Finello

Stephen Hessel

Kathleen Jeffs

Daniel Lorca

Brian Phillips

Kaitlin M. Walsh

Metacritical Cervantes

EDITED BY

Stephen Hessel

CU

ESTA

Cuesta 2019• 9 •

Aljamiado Legends: The Literature and Life of Crypto-Muslims in Imperial SpainMaria del Mar Rosa RodriguezSerie de traducciones críticas, #8ISBN 978-1-58871-305-6 (HB) $39.95.ISBN 978-1-58871-306-3 (PB) $29.95.

This is the first collection of Aljamiado literature translated into the English language. Aljamiado texts are written in the Spanish language using the Arabic alphabet; the texts look like Arabic, but sound like Spanish when read aloud. The Aljamiado legends in-cluded in this volume tell the story of a crypto-Muslim community in Spain that managed to preserve its religion and culture in the 16th-Century Spanish-Catholic state. The anonymous authors of these legends intended to preserve their stories, folktales, and reli-

gious teachings through a secretive language that only the Muslims of Spain could decipher and understand.

The English translation of these texts gives scholars today a glimpse into the secret lives of Muslims in 16th-century Spain. The legends in this collection shed light on the crypto-Muslim’s religiosity, identity, and their own sense of self-definition.

The selected legends are grouped into four thematic areas: “Legends of Conversion and the Afterlife,” “Secular Tales of Love, Adventure and Morality,” “Legends of War, Victory and Glory,” and “Legends of the Prophet Muhammad, Jesus and Other Religious Figures.”

Aljamiado Legends: The Literature and Lives of Crypto-Muslims in Imperial Spain

A Criti cal Commentary on Religious Hybridity and English Translati on

by María del Mar Rosa-Rodríguez

This is the fi rst collecti on of Aljamiado literature translated into the English language. Aljamiado texts are writt en in the Spanish language using the Arabic alphabet; the texts look like Arabic, but sound like Spanish when read aloud. The Aljamiado legends included in this volume tell the story of a crypto-Muslim community in Spain that managed to preserve its religion and culture in the 16th-Century Spanish-Catholic state. The anonymous authors of these legends intended to preserve their stories, folktales, and religious teachings through a secreti ve language that only the Muslims of Spain could decipher and understand.

The English translati on of these texts gives scholars today a glimpse into the secret lives of Muslims in 16th-century Spain. The legends in this collecti on shed light on the crypto-Muslim’s religiosity, identi ty, and their own sense of self-defi niti on.

The selected legends are grouped into four themati c areas: “Legends of Conversion and the Aft erlife,” “Secular Tales of Love, Adventure and Morality,” “Legends of War, Victory and Glory,” and “Legends of the Prophet Muhammad, Jesus and Other Religious Figures.”



Serie de traducciones críticas, No 8

MARÍA DEL MAR ROSA-RODRÍGUEZ305

CU

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MARÍA DEL MAR ROSA-RODRÍGUEZ holds the PhD in Spanish Literature from Emory University in Atlanta, Georgia, and is currently teaching at the University of Puerto Rico, Cayey. She specializes in the literature of the Spanish Golden Age and the cultural producti on of Muslims, Jews and Christi ans in Spain up to the 17th Century. Her research focuses on the hybridity of religion in past and present issues.

ALJA

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The Literature and Life of Crypto-Muslims in Imperial Spain

Aljamiado Legends:

Aljamiado Legends:

Aljamiado Legends:

Aljamiado Aljamiado Legends:

Cuesta 2019• 10 •

Critical Editions: Luis Vélez de GuevaraEdited by WiLLiaM r. Manson & C. george peaLe

La rosa de AlejandriaEdiciones criticas #92isbn 978-1-58871-312-4 pb $24.95.

La creacion del mundoedited by C. George PealeEdiciones criticas #94isbn 978-1-58871-317-9 pb $24.95.

Correr por amor fortunaedited by C. George PealeEdiciones criticas #95isbn 978-1-58871-319-3 pb $24.95.

Celos, amor y venganzaEdiciones criticas, #90isbn 978-1-58871-321-6 pb $24.95.

LUIS VÉLEZ DE GUEVARA

William R. MANSON

C. GEORGE PEALE

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See our entire list of Vélez de Guevara plays edited by William R. Manson and C. George Peale online: www.JuandelaCuesta.com

Cuesta 2019• 11 •

Critical Editions: Luis Vélez de GuevaraEdited by WiLLiaM r. Manson & C. george peaLe

El mejor rey en rehenesEdiciones criticas, #96isbn 978-1-58871-330-8 pb $24.95.

«COMEDIAS ESCANDERBECAS»El jenízaro de AlbaniaEl príncipe esclavo, Primera parteEl príncipe esclavo, Segunda parteEl gran Jorge Castrioto y príncipe EscanderbeyIntroduction by Germán Vega García-Luengos and Mehmet Sait ŞenerEdiciones criticas, #97, isbn 978-1-58871-331-5 pb, 564 pp. $59.95.This genuinely unique edition textually demonstrates the evolution of a single theatrical theme, the story of Albania’s national hero, Georg Skanderbeg—a theme that was popular for some 30 years. Three of the plays are authentic works by Vélez de Guevara and two versions are anon-ymous adaptations of one of these. Besides the plays’ intrinsic poetic and dramatic values, they provide new material for studying Spain’s popular culture in the first half of the 17th century.


William R. MANSON

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Cuesta 2019• 12 •

Critical Editions

Lope de Vega La prueba de los ingeniosedited by DeLys OstlundEdiciones criticas #91 isbn 978-1-58871-308-7 (PB), $24.95.La prueba was first published in 1617, when Lope included it as the first play of the first collection of his works whose publication he oversaw. In spite of this prominent position in Lope’s corpus, the play is com-paratively unknown. In the introduction to this edition, Ostlund sug-gests that the relative obscurity of the play is partly due to its provoca-tive themes.

La prueba de los ingenios includes sexual themes touching on homo-erotic desire, transvestism, and gender equality, bucking the tradition-al seventeenth century Spanish norms. In a drama containing themes still popular today, Lope de Vega presents a defense of women, primar-ily through the character of Florela, in response to misogynist criticism

found in Juan Huarte de San Juan’s popular Examen de ingenios para las ciencias of 1575, which argued that women were incapable of ingenio. Florela unequivocally demonstrates otherwise.

Although interest in La prueba has increased considerably over the last two decades, as evidenced by the growing body of critical studies discussed in the introduction, the text itself has not been readily available in print until now.

L O P E D E V E G A

DELYS OSTLUND

La prueba de los ingeniosLa prueba was � rst published in 1617, when Lope included it as the � rst play of

the � rst collection of his works whose publication he oversaw. In spite of this prominent position in Lope’s corpus, the play is comparatively unknown. In the introduction to this edition, Ostlund suggests that the relative obscurity of the play is partly due to its provocative themes.

La prueba de los ingenios includes sexual themes touching on homoerotic de-sire, transvestism, and gender equality, bucking the traditional seventeenth century Spanish norms. In a drama containing themes still popular today, Lope de Vega presents a defense of women, primarily through the character of Flo-rela, in response to misogynist criticism found in Juan Huarte de San Juan’s popular Examen de ingenios para las ciencias of 1575, which argued that women were incapable of ingenio. Florela unequivocally demonstrates otherwise.

Although interest in La prueba has increased considerably over the last two decades, as evidenced by the growing body of critical studies discussed in the introduction, the text itself has not been readily available in print until now.

•D�L�� O�� is a professor of Spanish and Associate Dean for Faculty in the College of Liberal Arts & Sciences at Portland State University in Portland, Oregon. She received the PhD in Spanish Literature from the University of Maryland, College Park.

Series: Ediciones críticas, 91

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Cuesta 2019• 13 •

Critical EditionsMonroy y SilvaEl caballero damaedited by Sidney DonnellEdiciones criticas #93isbn 978-1-58871-313-1 (PB) $27.95.isbn 978-1-58871-302-5 (HB) $32.95. El mayor objetivo de la presente edición crítica es sacar a la luz del día El caballero dama (c. 1638), una obra de teatro de la primera mitad del siglo XVII que hace honor a su título seductor. ¿Será hombre o mu-jer de la corte española el protagonista titular? ¿Habrá dos personajes que comparten el mismísimo cuerpo? ¿Se tratará de transformaciones o transmutaciones de sexo o género? Por analogía el título de esta co-media de Cristóbal de Monroy y Silva (1612–1649) evoca otros de carác-ter oximorónico de la misma época, como la obra famosa de Juan Pé-rez de Montalbán, La monja alférez (1625), cuyo título recuerda el oficio religioso de las mujeres y la profesión militar de los hombres, ambos pertenecientes a la misma figura histórica.

El tema principal de El caballero dama se basa en el mito de Aquiles en la isla de Esciros. A pesar de sus orígenes clásicos, es imposible separar El caballero dama del momento histórico en que apareció la obra. No se sabe si Monroy y Silva simpatizaba con los ambiciosos planes del conde-duque Oliva-res, ministro favorito del rey Felipe IV, para fortalecer la monarquía imperial. No obstante, a través de una lectura cuidadosa de la obra, se perciben las ansiedades culturales que giraban en torno de la empresa imperial en general. A primera vista El caballero dama sí apoya la monarquía absoluta, pero a lo largo de esta comedia, el joven dramaturgo pierde control de sus personajes travestis; como conse-cuencia también pierde su autoridad sobre el discurso promonárquico. Aunque Monroy no propone una alternativa a las monarquías imperiales, el mundo que satiriza se pone tan al revés y se vacía de tanto significado que apenas se rectifica al final.

Cuesta 2019• 14 •

Critical Editions

El Licenciado Juan Sánchez, natural de Piedrahíta Two Golden Age Comedias Featuring the Muslim Corsair Barbarroja:I. El cerco de Túnez y ganada de La Goleta por el Emperador Carlos QuintoII. Segunda parte del cosario Barbarroja y [el] huérfano desterrado

edited by Constance RoseEdiciones criticas, #89isbn 978-1-58871-310-0 (PB) $29.95.In the early sixteen-hundreds, Spain responded to a century of failed military incursions in North Africa by expelling the moriscos from Spanish soil and by writing and staging comedias commemorating

its few and often ephemeral victories. Two of these dramatic works deal with the corsair Jeredín Barbarroja, the great obstacle to Spanish domination of the Mediterranean, who preyed on Spanish shipping, thereby threatening the economy, transported beleaguered moriscos from its eastern shore to a safe haven in North Africa, and sailed up and down the coast from Barcelona to Cartagena, kid-napping the residents of small villages and large cities to enslave and hold them for ransom. The two plays are included in Doce comedias de varios autores, printed in Tortosa by Francisco Mutorell [sic] in 1638. The author of the two plays is listed as one Juan Sánchez. - from the Introduction.

El Licenciado Juan Sánchez, natural de Piedrahíta

Two Golden Age Comedias Featuringthe Muslim Corsair Barbarroja

El cerco de Túnez y ganada de La Goletapor el Emperador Carlos Quinto

�Segunda parte del cosario Barbarroja

y [el] huérfano desterrado

Constance H. Rose

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Two Golden Age Comedias Featuringthe Muslim Corsair Barbarroja Critical edition by Contance H. Rosewith introduction and notes

In the early sixteen-hundreds, Spain responded to a century of failed military incursions in North Africa by expelling the moriscos from Spanish soil and by writing and staging comedias commemorating its few and o� en ephemeral victories. Two of these dramatic works deal with the corsair Jeredín Barbarroja, the great obstacle to

Spanish domination of the Mediterranean, who preyed on Spanish shipping, thereby threatening the economy, transported beleaguered moriscos from its eastern shore to a safe haven in North Africa, and sailed up and down the coast from Barcelona to Cartagena, kidnapping the residents of small villages and large cities to enslave and hold them for ransom. � e two plays are included in Doce comedias de varios autores, printed in Tortosa by Francisco Mutorell [sic] in 1638. � e author of the two plays is listed as one Juan Sánchez. - � om the Introduction

Cuesta 2019• 15 •

A New Adaptation from Edward Friedman

Pedro the Schemer: A Work in ProgressAn Adaptation of Miguel de Cervantes’s Pedro de Urdamalas

Edward Friedmanisbn 978-1-58871-309-4 (PB). $24.95.The carefully crafted episodic plot of Pedro de Urdemalas, first published in 1615, makes the play—arguably, at least—the most archetypical of Miguel de Cervantes’s full-length works for the theater. Before Lope de Vega’s formula for the “new art of writing plays” (el arte nuevo) became the model for dramatic composition in Spain, Cervantes created a sin-gular vision, ultimately far less successful than that of the younger play-wright. Nonetheless, the plays by the author of Don Quixote have a style and a dynamism of their own. A dominant theme of Pedro de Urdemalas is identity, presented in a dual plotline in which Pedro de Urdemalas and the gypsy/noblewoman Belica/Isabel exemplify two approaches to the concept of roleplaying.

Cervantes captures the motif of “the world as stage” and the related idea of metatheater, dramatic self-consciousness—in impressive and unique ways. The character of Pedro de Urdemalas is defined by his adaptability—by his protean nature—and this makes for good theater. The gypsy Belica’s insistence that she is of noble blood provides a fascinating contrast to Pedro’s worldview. Belica (who becomes Isabel) is nothing if not “dramatic.” In one way or another, Cervantes treats questions of class, justice, psychology, points of contact between illusion and reali-ty, and, especially significantly, language.

Pedro the Schemer: A Work in Progress, an adaptation of Pedro de Urdemalas, maintains these elements in order to underscore the junctures of art and life, the examination of identity, the episodic (but unified) structure, the exploration of language, and the irony and humor of the original. It would be hard not to appreciate the fact that, in the end, Pedro has become an actor and Isabel has been recog-nized as a noblewoman, and that their paths have interconnected.

PEDRO THE SCHEMER:A WORK IN PROGRESS

Edward Friedman

An Adaptation of Miguel de Cervantes’s Pedro de Urdemalas

The carefully crafted episodic plot of Pedro de Urdemalas, first published in 1615, makes the play—arguably, at least—the most archetypical of Miguel de Cervantes’s full-length works for the theater. Before Lope de Vega’s formula for the “new art of writing plays” (el arte nuevo) be-came the model for dramatic composition in Spain, Cervantes created a singular vision, ulti-mately far less successful than that of the younger playwright. Nonetheless, the plays by the author of Don Quixote have a style and a dynamism of their own. A dominant theme of Pedro de Urdemalas is identity, presented in a dual plotline in which Pedro de Urdemalas and the gypsy/noblewoman Belica/Isabel exemplify two approaches to the concept of roleplaying. Cervantes captures the motif of “the world as stage” and the related idea of metatheater, dramatic self-consciousness—in impressive and unique ways. The character of Pedro de Urdemalas is defined by his adaptability—by his protean nature—and this makes for good theater. The gypsy Belica’s insistence that she is of noble blood provides a fascinating contrast to Pedro’s worldview. Belica (who becomes Isabel) is nothing if not “dramatic.” In one way or another, Cervantes treats ques-tions of class, justice, psychology, points of contact between illusion and reality, and, especially significantly, language. Pedro the Schemer: A Work in Progress, an adaptation of Pedro de Urdemalas, maintains these elements in order to underscore the junctures of art and life, the examination of identity, the episodic (but unified) structure, the exploration of language, and the irony and humor of the original. It would be hard not to appreciate the fact that, in the end, Pedro has become an actor and Isabel has been recognized as a noblewoman, and that their paths have interconnected.

EDWARD FRIEDMAN is Gertrude Conaway Vanderbilt Professor of Spanish and Profes-sor of Comparative Literature at Vanderbilt University. He is the author of plays based on Miguel de Cervantes’s Don Quixote (Crossing the Line) and El laberinto de amor (The Labyrinth of Love), Lope de Vega’s La dama boba (Wit’s End), Juan Ruiz de Alarcón’s Mudarse por mejorarse (Trading Up), and Miguel de Unamuno’s Niebla (Into the Mist), as well as a translation of Leandro Fernández de Moratín’s El sí de las niñas (The Little Woman) and a collection of poetry, Quixotic Haiku. He has served as president of the Cervantes Society of America, editor of Bulletin of the Comediantes, and director of the Robert Penn Warren Center for the Humanities at Vanderbilt.

Juan de la Cuesta—Hispanic Monographswww.JuandelaCuesta.com Edward Friedman

PEDRO TH

E SCHEM

ER: A W

ORK IN

PROG

RESS FRIEDMA

N 309 CUESTA

LinguaTexT 2019

Tom Lathrop

LATHROP

LING

UATEX

T

60

The Spanish Acquisition: An U

nderground Gram

mar ¡Ser!

¡No! ¡Estar!The Spanish Aquisition is a play on “� e Spanish Inquisition.” It has nothing to do with that institu-tion, of course, and it also has nothing to do per se

with acquiring language. Its purpose is to help make gram-matical concepts easy for students to learn so that acquisition can come more easily. You are not going to be subjected here to simpli� ed falsi� cations about the language, but rather how these concepts really work, and how easy they truly are.

by Tom Lathrop

The Spanish

AcquisitionAN GRAMMARUNDERGROUND

The Spanish AcquisitionAN UNDERGROUND GRAMMAR

LinguaText Children’s Classics #1newark, delaware

Illustrations by Jack Davis

DON QUIXOTE

c e r v a n t e s

the misadventures of

Retold by Tom Lathrop

Also Available from our friends at LinguaText:

The Spanish Acquisition: An Underground Grammarby Tom Lathropisbn 978-0-942566-60-4 (pb, 134 pp.) $14.95The SpaniSh aquiSiTion is a play on “The Spanish Inquisition.” It has nothing to do with that institution, of course, and it also has nothing to do per se with acquiring language. Its purpose is to help make grammatical concepts easy for students to learn so that acquisition can come more easily. You are not going to be subjected here to simplified falsifications about the language, but rather how these concepts really work, and how easy they truly are.

See a preview at Amazon.com or write for an examination copy if you are considering classroom adoption (sent to departmental addresses only).

The Misadventures of Don QuixoteThe classic story of Don Quixote, retold

by Tom LathropIllustrated by Jack Davis

isbn 978-0-942566-58-1 (hb) $24.95

“An appealing first exposure for younger readers,” - Kirkus Reviews

• 16 •

CervanTes & Co. 2019• 17 •

The 2019 edition of Lathrop’s Quijote!CervantesDon QuijoteThe Definitive Spanish Edition for Students:The 2019 Dictionary Editionedited by Tom Lathropisbn 978-1-58977-102-4 (pb, 1118 pp.) $54.95

Lathrop’s student edition is now available for the first time with the complete Don Quijote Dictionary in a single volume!

Until Tom Lathrop’s first Spanish edition for students was pub-lished in 1998, students had to use editions of Don Quijote published in Spain for Spaniards. Vocabulary and syntactic structures that are difficult (or impossible) for students are usually not annotated in those editions. Cultural information which educated Spanish

speakers already know, but students simply do not, is equally not annotated. Students have thus been deprived of much of what they need to know in order to un-derstand the text.

To help solve the vocabulary problem, Lathrop has included 10,459 vocabulary glosses in the mar-gin opposite the line where the Spanish word to be defined appears. If too many words need to be put in the margin, phrases are translated in footnotes. In all, there are 3,742 footnotes. These also deal with cultural items, historical, geographical, biblical, mythological, textual references, and all kinds of other information. Footnotes will not offer interpretations: that is for instructors and their students to figure out.

This edition features many of the 1863 etchings by Gustav Doré and a new cover by Anna Teather.

Imprint: Cervantes & Co. (the student edition imprint of LinguaText)

M i g u e l d e C e r v a n t e s S a a v e d r a

DICTIONARY EDITIONDICTIONARY EDITION

Cervantes

LATHROP

U�� Tom Lathrop’s �irst Spanish edition for students was published in 1998, our students had to use editions of Don Quijote published in Spain for Spaniards. Vocabulary and syntactic structures that are dif�icult (or impossible) for our students are usually not annotated in those editions. Cultural information which educated Spanish speakers already know, but our students simply do not, is equally not annotated. Our students have thus been deprived of much of what they need to know in order to understand the text.

To help solve the vocabulary problem, Lathrop has included 10,450 vocabulary glosses in the margin opposite the line where the Spanish word to be de�ined appears. If too many words need to be put in the margin, phrases are translated in footnotes. In all, there are 3,742 footnotes. These also deal with cultural items, historical, geographical, biblical, mythological, textual references, and all kinds of other information. Footnotes will not offer interpretations—that’s for instructors and their students to �igure out.

This edition—the D�� E��—includes all the marginal glosses again at the back of the book, compiled for easy reference. Previously, Lathrop’s Quijote glosses were available as a separate book, called The Don Quijote Dictionary. The publisher is pleased

to present, for the �irst time ever, Lathrop’s Dictionary included as an appendix to his groundbreaking edition of the Quijote.

Series: Cervantes & Co. No 1

This edition also contains: The Don Quijote Dictionary compiled by Tom Lathrop

www.CervantesandCo.com

CERVANTES & CO.

Edited by

Tom LathropCervantes & Co.

DDDDD

DONQUIJOTE

102

EL INGENIOSO HIDALG O

D E L A M A N C H AD O N Q U I J O T E

to present, for the �irst time ever, Lathrop’s appendix to his groundbreaking edition of the

THE DEFINITIVE SPANISH EDITION

FOR STUDENTSWith the complete Dictionary!

DONQUIJOTE

Founding EditorTom Lathrop

Cervantes Society of America

Managing EditorMichael J. McGrath

Georgia Southern University

Editorial BoardVincent BarlettaStanford University

Annette Grant CashGeorgia State University

David CastilloSUNY-Buffalo

Gwen Kirkpatrick Georgetown University

Mark P. Del MastroCollege of Charleston

Juan F. EgeaUniversity of WI-Madison

Sara L. LehmanFordham University

Mariselle MeléndezUIL-Urbana-Champaign

Eyda MeredizUniversity of Maryland

Dayle Seidenspinner-NúñezUniversity of Notre Dame

Elzbieta Skłodowska Washington Univ. in St. Louis

Noël ValisYale University

Amy R. WilliamsenUNC-Greensboro

Michael P. Bolan, publisherjuan de La CuesTa HispaniC MonograpHs

[email protected]

Juan de la Cuesta is a celebrated name in Hispanic publications, most particu-larly because the first editions of Don Quijote—1605 and 1615—were printed on Cuesta’s presses; but even without Cervantes’ masterwork, Cuesta would have been famous through carefully prepared editions of other literary monuments and works of humanistic erudition.

The modern Juan de la Cuesta Hispanic Monographs, founded in 1978 by Tom Lathrop, is a descendent in spirit of its Madrid namesake since it strives to publish only the worthiest of manuscripts, in the handsomest of editions, and at reasonable prices.

Within the monographs, aside from the more general works, we have developed specialty areas which include:

Documentacíon cervantina ‹‹Tom Lathrop››Estudios linguisticosEdiciones críticasHomenajesEstudios de literatura latinoamericana ‹‹Irving A. Leonard›› Estudios de literatura medieval ‹‹John E. Keller›› Estudios judeoespañoles ‹‹Samuel G. Armistead y Joseph H. Silverman››Estudios de la literature moderna «Russell P. Sebold»Serie de traducciones críticasUCLA Center for 17th- and 18th-Century Studies: The Comedia in Translation and

Per formance

Juan de la Cuesta Hispanic Monographs invites inquiries from scholarly authors in all fields of Hispanic language and literature. To be eligible to be published, man-uscripts submitted to Juan de la Cuesta must pass internal review, be approved by an expert reader, and be endorsed by appropriate members of the Editorial Board.

Address inquiries to:

Michael J. McGrath, managing editorDept. of Foreign Languages/Box 8081Georgia Southern UniversityStatesboro, GA 30460 [email protected]

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