Hélisenne de Crenne | Copyright Page
ISSN 0740-2880
Volume 119
Thomas J. Schoenberg Lawrence J. Trudeau
Project Editors
Literature Criticism from 1400 to 1800, Vol. 119
Project Editors
Thomas J. Schoenberg and Lawrence J. Trudeau
Editorial
Jessica Bomarito, Kathy D. Darrow, Jeffrey W. Hunter, Jelena O. Krstovi´c, Michelle Lee, Rachelle Mucha, Russel Whitaker
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Acknowledgments
The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of LC. Every effort has been made to trace copyright, but if omissions have been made, please let us know.
COPYRIGHTED MATERIAL IN LC, VOLUME 119, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:
Bibliotheque d’Humanisme et Renaissance, v. 30, 1968. Reproduced by permission.—Bulletin of the Comediantes, v. 47, summer, 1995; v. 52, 2000. Both reproduced by permission.—Canadian Review of Comparative Literature, fall, 1978. © Canadian Comparative Literature Association. Reproduced by permission.—Cincinnati Romance Review, v. 14, 1995. Copyright © 1995 by the Cincinnati Romance Review. Reproduced by permission.—Classical and Modern Literature: A Quarterly, v. 18, fall, 1997. Copyright © 1997 CML, Inc. Reproduced by permission.—Comitatus: A Journal of Medieval and Renaissance Studies, v. 31, 2000. Copyright © 2000 Regents of the University of California. Reproduced by permission.—Comparative Literature, v. 31, spring, 1979. Copyright © 1979 by University of Oregon. Reproduced by permission of Comparative Literature.—French Studies Bulletin, n. 21, winter, 1986-87; autumn, 1997. Copyright © 1986, 1997 Society for French Studies. Both reproduced by permission.—Harvard Library Bulletin, v. 20, April, 1972. Reproduced by permission of the President and Fellows of Harvard College.—Hispanic Review, v. 69, winter, 2001. Reproduced by permission.—Hispanofila, 2001. Reproduced by permission.—Kentucky Romance Quarterly, v. 19, 1972. Copyright © 1972 by Helen Dwight Reid Educational Foundation. Reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 1319 18th Street, NW, Washington, DC 20036-1802.—Renaissance and Reformation, v. 17, 1993. Copyright © 1993 by Canadian Society for Renaissance Studies/ Société Canadienne d’Etudes de la Renaissance. Reproduced by permission.—Renaissance Quarterly, v. 48, spring, 1995. Reproduced by permission.— Romance Studies, v. 19, June, 2001. Copyright © 2001 University of Wales Swansea. Reproduced by permission.— Romanic Review, v. 77, May, 1986; v. 78, January, 1987. Both reproduced by permission.—Studi Francesi, v. 85, 1985. Reproduced by permission.—The USF Language Quarterly, v. 20, spring-summer, 1982 for “The Dido Legend and the Evolution of French Tragic Drama” by Michael G. Paulson. Reproduced by permission of the author.—Word & Image, v. 5, October-December, 1989 for “From Mirror to Emblem: A Study of Peacham’s Use of Mikrokosmos in Minerva Britanna” by Mason Tung. Reproduced by permission of the author and Taylor & Francis, Ltd at www.tandf.co.uk/journals.
COPYRIGHTED MATERIAL IN LC, VOLUME 119, WAS REPRODUCED FROM THE FOLLOWING BOOKS:
Baird-Lange, Lorrayne Y. From “Victim Criminalized: Iconographic Traditions and Peacham’s Ganymede,” in Traditions and Innovations: Essays on British Literature of the Middle Ages and the Renaissance. Edited by David G. Allen and Robert A. White. University of Delaware Press, 1990. Copyright © 1990 by Associated University Presses, Inc. Reproduced by permission.—Brereton, Geoffrey. From French Tragic Drama in the Sixteenth and Seventeenth Centuries. Methuen & Co. Ltd., 1973. Copyright © 1973 Geoffrey Brereton. Reproduced by permission of the Estate of the author.—Brownlee, Marina Scordilis. From The Poetics of Literary History: Lope de Vega’s Novelas a Marcia Leonarda and Their Cervantine Context. Studia Humanitatis, 1981. Copyright © 1981 Marina Scordilis Brownlee. Reproduced by permission.— Campbell, Catherine E. From “‘Medieval’ and ‘Renaissance’ in French Renaissance Comedies,” in Lapidary Inscriptions: Renaissance Essays for Donald A. Stone, Jr. Edited by Barbara C. Bowen and Jerry C. Nash. French Forum Publishers Inc., 1991. Copyright © 1991 by French Forum Publishers, Inc. All rights reserved. Reproduced by permission of the University of Nebraska Press.—Duncan-Irvin, Hayden. From “Three Faces of Diana, Two Facets of Honor: Myth and the Honor Code in Lope de Vega’s El perro del hortelano,”in A Star-Crossed Golden Age: Myth and the Spanish Comedia. Edited by Frederick A. de Armas. Bucknell University Press, 1998. Copyright © 1998 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Dundas, Judith. From Deviceful Settings: The English Renaissance Emblem and its Contexts. Edited by Michael Bath and Daniel Russell. AMS Press Inc., 1999. Copyright © 1999 by AMS Press, Inc. Reproduced by permission.—Fox, Dian. From Refiguring the Hero: From Peasant to Noble in Lope de Vega and Calderon. The Pennsylvania State University Press, 1991. Copyright © 1991 by The Pennsylvania State University. All rights reserved. Reproduced by permission of the publisher.—Griffiths, Richard. From Garnier: Les Juifves. Grant &
Cutler Ltd, 1986. Copyright © 1986 Grant & Cutler Ltd. Reproduced by permission.—Hill, Christine M., and Mary G. Morrison. From Two Tragedies: Hippolyte and Marc Antoine. The Athlone Press, 1975. Copyright © 1975 C. M. Hill and M. G. Morrison. Reproduced by permission of The Continuum International Publishing Group.—McKendrick, Melveena. From Playing the King: Lope de Vega and the Limits of Conformity. Tamesis, 2000. Copyright © 2000 Melveena McKendrick. All rights reserved. Reproduced by permission of the author.—P´erez-Magall´en, Jes´us. From “The Poetic and Dramatic Construction of Isabel la Cat´olica in the Theater of Lope de Vega,” in Isabel la Cat´olica, Queen of Castile: Critical Essays. Edited by David A. Boruchoff. Palgrave, 2003. Copyright © 2003 David A. Boruchoff. All rights reserved. Reproduced by permission.—Shannon, Robert M. From “Introduction: Allegory in El Nuevo Mundo,”in The New World Discovered by Christopher Columbus: A Critical and Bilingual Edition. Edited and translated by Robert M. Shannon. Peter Lang, 2001. Copyright © 2001 Peter Lang Publishing, Inc., New York. All rights reserved. Reproduced by permission.—Smith, Marlene K. From The Beautiful Woman in the Theater of Lope de Vega: Ideology and Mythology of Female Beauty in Seventeenth-Century Spain. Peter Lang, 1998. Copyright © 1998 Peter Lang Publishing, Inc., New York. All rights reserved. Reproduced by permission.—Trueblood, Alan S. From an Introduction to A Sor Juana Anthology. Harvard University Press, 1988. Translated by Alan S. Trueblood. Copyright © 1988 by the President and Fellows of Harvard College. All rights reserved. Reprinted by permission of the publisher.—Tung, Mason. From The English Emblem and the Contintental Tradition. Edited by Peter M. Daly. AMS Press, 1988. Copyright © 1988 by AMS Press, Inc. Reproduced by permission.—Wright, Elizabeth R. From Pilgrimmage to Patronage: Lope de Vega and the Court of Philip III 1598-1621. Bucknell University Press, 2001. Copyright © 2001 by Rosemont Publishing & Printing Corp. Reproduced by permission.—Yarbo-Bejarano, Yvonne. From Feminism and the Honor Plays of Lope de Vega. Purdue University Press, 1994. Copyright © 1994 by Purdue Research Foundation. All rights reserved. Reproduced by permission.—Young, Alan. From “The Emblems of Henry Peacham: Implications for the Index Emblematicus,” in The European Emblem. Edited by Peter M. Daly. Wilfrid Laurier University Press, 1980. Copyright © 1980 by Wilfrid Laurier University Press. Reproduced by permission.—Young, Alan R. From Henry Peacham. Twayne Publishers, 1979. Copyright © 1979 by G. K. Hall & Co. Reproduced by permission of The Gale Group.
PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN LC, VOLUME 119, WERE RECEIVED FROM THE FOLLOWING SOURCES:
De Vega Carpio, Felix Lope, original engraving by Zschoch, c. 1600. Getty Images. Reproduced by permission.
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