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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).

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 ).

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...

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 ...

To this day, criticism of El medico de su honra has not emphasized sufficiently the genre to which this play belongs, the dramatic functions of the characters, and the ambiguous imagery which, contrary to current opinion, would seem to indicate that Dona Mencia (like the wives of the other honor plays) is both guilty and innocent of the social upheaval which endangers the social order of King Pedro's court. To better understand what honor plays seem to portray, the author attempts to deconstruct the usual bilateral positions (if not quilty, innocent; if not Christian, pagan, etc.) which have obfuscated our vision of the tragic in Calderon's theater.