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This paper explores some of the reasons why Lope de Vega’s La discreta enamorada (LDE) has been problematic for critics, actors, and stage directors. It utilizes an actantial model, based partially on those of Souriau, Greimas, and Todorov, to explain LDE’s various actants and dramatic functions. It also studies sundry mises-en-scène of LDE at the USA Chamizal National Memorial, the Almagro Corral de Comedias, the New York Repertorio Español, and, as the zarzuela Doña Francisquita, the Théâtre du Capitole de Toulouse. LDE, although farcical, should be read and staged as a “middle” Lopean comedy: between Plautine jocularity and Terentian sobriety.

The incentives of pharmaceutical companies to innovate and how competition affects these incentives has been topical in recent years: for the general public, as evidenced by a patent race at an unprecedented pace during the ongoing Coronavirus disease 2019 (COVID-19) pandemic; and more specifically for competition authorities, as demonstrated for example by the role innovation played in the assessment of the Bayer/Monsanto (2018), Dow/DuPont (2017), and the Novartis/GSK (2015) mergers. This article contributes to the innovation debate, notably in the pharmaceutical industry, by giving an overview on firm and market-level incentives to carry out research and development (R&D). Understanding these innovation incentives is relevant for a proper competition assessment where the effect of a particular conduct or structural change on these incentives is considered, but also more generally in the context of public policy or regulatory questions. We review the fundamental elements driving innovation incentives and tentatively relate these to the development of new drugs for neurodegenerative diseases (NDD), in particular Parkinson’s disease (PD) and Alzheimer’s disease (AD). Health Economics, Pharmaceutical Products, Innovation, R&D, Information Asymmetry, Coase Conjecture, Replacement Effect, Patent Race, Neurodegenerative Diseases, Parkinson’s Disease, Alzheimer’s Disease

Traditional internal coating systems relied on phenolic, novolac, epoxy or blended resin systems. These tended to provide good barrier properties in the environments they were developed for, but as with all materials, there were limitations. One of those limitations that had to be overcome during the development and application process was that during the curing process, they can tend to shrink, so greater surface preparation processes must be followed to ensure that the system adhesion far outweighs the residual stress in the coating system. In sweet applications, this residual stress offers little to no effect on a properly applied coating system provided its design parameters are not exceeded. In the presence of higher concentrations of hydrogen sulfide, there can be a negative effect on the adhesion of most of these resin type coating systems allowing the residual stress to play a role in blistering and disbondment. A new and novel resin system has been developed that does not shrink during the curing process and can be applied as a primer-less system. Coatings developed with this new resin, benzoxazine, allows the coating system to maintain good adhesion and barrier properties in H2S concentrations two to three times greater than the current leading H2S resistant coating systems on the market today. This paper is the second in a series on the development of this product into a coating solution. Further laboratory refinement will be discussed leading to the next phase of the roll-out which will be field trials.

Hay multiples versiones dramaticas y musicales sobre Moctezuma II, el ultimo emperador de los aztecas. Me concentro aqui en dos que tratan a esta figura historica de forma tragica: la primera, una version dramatica de Bernardo Maria de Calzada, Motezuma (1784); la segunda, una version operatica, Montezuma (1755), de Federico II (el Grande), con musica de Carl Heinrich Graun. Estas dos versiones ofrecen cierta dignidad tragica a una figura enigmatica y generalmente malentendida.

A diferencia de obras esteticas, cuyas impresiones en el receptor son ‘indiferentes’, segun Kant, los textos etico-politicos causan un surplus de afecciones. Este es el caso de reales declaraciones o proclamaciones de guerra, specula principum y peticiones laico-eclesiasticas. Analizamos el fin, siempre ambiguo; el genero literario, generalmente maleable; y los multiples efectos en receptores de obras politicas de reyes como Felipe II y Enrique IV, y eclesiasticos como los jesuitas Juan de Mariana y Joseph Creswell. Estas obras modularon la historia al suscitar diversos efectos perlocutivos en sus destinatarios durante las Guerras de Religion de Francia (1562-1598) y la Guerra Anglo-Espanola (1585-1604).

El viaje de Hernán Cortés a la corte mexica del emperador Moctezuma II, aunque históricamente real, se modifica cada vez que es recontado. Tres versiones de este viaje se analizan en este estudio: la primera es la narrada en la Historia de la conquista de México, población y progresos de la América Septentrional, conocida por el nombre de Nueva España (Madrid, 1684), una obra panegírica de Antonio de Solís y Rivadeneira; la segunda es la cantada en el dramma per musica de Antonio Vivaldi intitulado Montezuma (Venecia, 1733), una ‘comedia’; la tercera, también sustentada en Solís, es la representada en la tragedia per musica llamada Montezuma (Berlín, 1755), del compositor Carl Heinrich Graun y el estadista—y libretista—Friedrich II (der Groβe), de la Casa de Hohenzollern. Tenemos pues tres visiones radicalmente diferentes, aunque aceptables, del viaje cortesiano en tierras americanas: una encomiástica, una trágica y otra consoladora.

reassessed taking into consideration anthropological, civil, legal, lexical, moral, philosophical, theological and psychological aspects. An application of this refurbished concept follows, wherein the idea of honor as a social concept and as a moral attribute clash in three villein plays: Pedro Calderon de la Barca’s The Mayor of Zalamea ( El alcalde de Zalamea ) and Lope de Vega’s All Citizens Are Soldiers ( Fuenteovejuna ), and Peribanez and the Comendador of Ocana ( Peribanez y el Comendador de Ocana ).

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La comedia cortesana La firmeza en el ausencia, unica de la poetisa y dramaturga espanola Leonor de la Rua Cueva y Silva, aborda la milenaria tradicion misogina sobre la inconstancia de la mujer. Esta tradicion, originalmente atribuida a Aristoteles, cobra vigor con Juvenal y llega a su cuspide en los siglos XIV y XV con autores como Giovanni Boccaccio, Jean de Meung, Pere Torrellas, Luis Ramirez de Lucena y Fernando de Rojas. Sin embargo, es retada por Plutarco en la edad clasica y, posteriormente, por autores como Christine de Pizan, Alfonso Martinez de Toledo, Alvaro de Luna y Juan Rodriguez de la Camara. Otrosi, aunque la firmeza moral de la mujer es un tema central de esta obra, el drama versa tambien sobre el cambio humoral y moral del rey: de caprichoso a responsable. Por lo tanto, La firmeza en el ausencia es, ademas de una pieza dramatica profeminista, una de valor etico y politico, similar a las que forman parte de la tradicion politica del speculum principum. (ARL)

Cervantes’s “El coloquio de los perros,” has been judged as an independent work from the alleged first part, “El casamiento enganoso,” as a continuation of the latter, or indeed as the end of a narrative process that encompasses in part the other Novelas ejemplares. The (re)apparition in 2013 of Gines Carrillo Ceron’s “Novela o coloquio que tuvieron Cipion y Berganza, perros que llaman de Mahudes, segunda parte de la que hizo Miguel de Cervantes Saavedra en sus novelas” (1635) demonstrates that a second colloquy would be necessarily different from the first. Since this last work does not retake the fabula of “El casamiento enganoso,” both colloquies, hence, seem to be independent of the “Casamiento” and, to some extent, even of the series that encompasses the Novelas ejemplares, a literary work seemingly still in transitu.

Volume 2 (Contexts) of Lina Khatib’s book on world cinemas is about what stories are told and why, throughout the world, taking into consideration political, religious, historical, and social conte...

JONATHAN JARRETT, Rulers and Ruled in Frontier Catalonia, 880–1010: Pathways of Power . Studies in History, New Series. Woodbridge: Boydell for the Royal Historical Society. 2010. xii + 208 pp. The...

Using Run Lola Run as an example of hyper-filmic or alternative-ending movies that go back to Kurosawa's Rashomon (1950), this article suggests that these and future films will inevitably present multiple endings that are to be accepted simultaneously in spite of their incongruities. This multiplicity of options is the result of the easily available resources made possible by the Web, as well as the latest advances in supersymmetrical physics. Moreover, these new discoveries, taken together with the worldviews such discoveries engender, are connected with Nietzsche's ideas about eternal recurrence and to the cyclical vision of the world first envisioned in Hindu philosophy.

In English, honor corresponds to a mark of honor, respect for a person or a deity, reverence, a sacrifice and an honorary gift, and including the one used to refer to property or a seigniory of several manors held under a baron or lord paramount in a hereditary fashion and granted originally by a king. In a similar vein, Webster's Third New International Dictionary, Unabridged includes as a 7th acceptance the idea of chastity and purity and, in its 8th acceptance, a keen sense of ethical conduct or integrity. King Alphonse X's Second Partida, is quite specific on the qualities required of carefully selected men who excel in the kingdom and become its knights and defenders: they must be strong and capable of endurance in war and battle, they must be practiced in the use of weapons, and they must show no pity towards the enemy.Keywords: honor; King Alphonse X's Second Partida; Unabridged; Webster's Third New International Dictionary

(2000). El leal traidor de La vida es sueno de Calderon. Bulletin of Hispanic Studies: Vol. 77, No. 1, pp. 133-144.

This text is a remarkable work on aesthetics, the product of seasoned thinking on a multiplicity of media and theoretical constructs. It consists of three parts: the first on what the author calls ...