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Prologue
Bulletin of the Comediantes Pub Date : 2021-02-06 , DOI: 10.1353/boc.2020.0015


In lieu of an abstract, here is a brief excerpt of the content:

  • Prologue

Siento una gran soledadde hablar, y tratar con gente.Allégome a la ventana,y aunque mucha gente veo,no está allí lo que deseo,y quítaseme la gana.Aquí sobre el corazón,se me ponen unas cosas,que me quitan enfadosasla vital respiración.

Lope de Vega,El acero de Madrid

IN THE LATER WINTER OF 2020, our daily lives came into uncanny alignment with a central motif in one of our most cherished art forms. As scholars of the comedia nueva, we have long reveled in the poetry and ingenious plot twists that follow when a spirited heroine decides to break free from the home confinement expected of unmarried women of high social rank, as we see above in Belisa’s list of the symptoms of her feigned anemia. Readers who leaf through this journal’s pages in early 2021 or connect to it online will, sadly, need no reminder of how COVID-19—the respiratory illness caused by a novel strain of coronavirus—spread illness, death, and fear around the world, culminating in the declaration of a pandemic by the World Health Organization on 11 March 2020. But as an academic journal now in its eighth decade of publication, our duty is also to connect scholars today to those from the past and future. Founded in 1947, the Bulletin of the Comediantes has weathered cultural ferment and political turmoil, but never have we been so united in so unwelcome a chain of events. Just as spring daffodils and orange blossoms burst forth last spring in the Mediterranean region that is our shared literary-cultural patria, we found ourselves involuntarily immersed in lockdowns.

Our cover image is meant to capture this unsettling moment and remind ourselves to celebrate and support artists of today even as we honor and study those from the past. We commissioned the cover from Diane Donaldson Speight, a collage artist based in Winder, Georgia, who uses found materials and hand-sewn papers to create images that often center on themes surrounding family ties and memory (see dianespeight.com). In this case, we asked her to visualize confinamiento, connecting both a favorite comedia motif [End Page 5] and the communal experience of 2020. Our point of departure is an intriguing historical painting from the Musée d’Orsay (Paris): Edgar Degas’s Sémiramis construisant Babylone (1861) depicts a female attendant to the Assyrian queen, who kneels, seemingly lost in her own reverie about the city taking shape below (www.musee-orsay.fr/fr/collections/catalogue-des-oeuvres/notice.html?no_cache=1&nnumid=1071). For our cover, we reconceive this young woman as if before a window, evoking the longing of so many heroines in the comedia urbana who imagine the city beyond their confinement, concocting ingenious schemes to explore its streets, plazas, palace grounds, or nearby pasture lands. So too, Speight’s collage gestures towards a shared feeling of 2020: so many of us found ourselves watching the unfolding spring from a window, ticking off days and weeks that blended into one another.

Of course, many more toiled and continue to toil outside safe confines. We of the editorial team at the Comediantes salute the health care professionals who have put their lives at risk to save those of countless others, the essential workers who have kept food and crucial supplies available, and the librarians who have toiled to reopen the book repositories and reading rooms we need to do our work, while tirelessly updating their online portals. So, too, we thank the organizers of scholarly gatherings who have ingeniously marshalled online platforms to keep conversations alive in new virtual spaces. Last but not least, we gratefully acknowledge Editorial Board members for continuing to provide detailed and rigorous article evaluations within the requested time frame, authors at all career stages for their submissions of exciting new work, and book reviewers for keeping our readers abreast of current scholarship in comedia studies and beyond.

We send heartfelt condolences to those of you who have lost family members or friends these past many months. Beyond the devastation of the coronavirus, 2020 has already deprived us of five giants who helped us...



中文翻译:

序幕

代替摘要,这里是内容的简要摘录:

  • 序幕

Siento UNA大索莱达去hablar,Y TRATAR CON GENTEAllégome一拉本塔纳ÿaunque木栅GENTE VEO没有ESTA阿利老阙DESEOÿquítasemeLA加纳褐自我EL科拉松本身我ponen UNAS COSAS阙我quitan enfadosas LA至关重要respiración

洛佩德维加,厄尔尼诺阿塞罗马德里

在2020年下半年的冬天,我们的日常生活以一种我们最珍惜的艺术形式中的核心图案变得与众不同。作为新喜剧的学者,我们早已陶醉于诗意和巧妙的情节转折,当一个充满活力的女主角决定摆脱对社会地位较高的未婚妇女的家庭禁闭时,就会发生诗意的曲折,正如我们在Belisa的假性贫血症状清单中所见。不幸的是,在2021年初浏览该期刊页面或在线连接该期刊的读者将无需提醒COVID-19(一种由新型冠状病毒引起的呼吸道疾病)如何在世界范围内传播疾病,死亡和恐惧,最终,世界卫生组织于2020年3月11日宣布大流行。但是,作为现已出版八十年的学术期刊,我们的职责也是将当今的学者与过去和将来的学者联系起来。成立于1947年的《喜剧演员公报》经历了文化和政治动荡,但我们从来没有如此团结过如此不受欢迎的事件。就像春天的水仙和橙花迸发去年春天在是我们共同的文学文化地中海地区的祖国,我们发现自己不由自主地沉浸在lockdowns。

我们的封面图片旨在捕捉这一令人不安的时刻,并提醒我们在庆祝和支持当今艺术家的同时,也要纪念和研究过去的艺术家。我们委托来自乔治亚州温德市的拼贴画艺术家黛安·唐纳森·斯皮特(Diane Donaldson Speight)制作封面,他使用已发现的材料和手工缝制的纸来创建图像,这些图像通常以围绕家庭纽带和记忆的主题为中心(请参阅dianespeight.com)。在这种情况下,我们要求她可视化confinamiento,将最喜欢的喜剧主题[End Page 5]和2020年的公共体验联系起来。我们的出发点是奥赛博物馆(巴黎)的一幅引人入胜的历史绘画:埃德加·德加(Edgar Degas)的Sémiramis狂热的巴比伦(1861年)描绘了一位亚述王后的女服务员,她跪着,似乎在自己对这座城市在下面的塑造中的遐想中迷失了(www.musee-orsay.fr/fr/collections/catalogue-des-oeuvres/notice.html? no_cache = 1&nnumid = 1071)。为了掩饰自己,我们重新构想了这位年轻女子,就像在窗前一样,唤起了喜剧演员Urbana中如此众多女主人公的渴望,他们想象着这座城市超出了他们的限制,精心策划了一些方案来探索其街道,广场,宫殿场地或附近的牧场土地。Speight的拼贴画也向着2020年的共同感觉迈进:我们中的许多人发现自己正在看着窗外不断涌现的春天,勾勒出彼此融合的日子和日子。

当然,还有更多的人在安全的范围内劳作并继续劳作。我们喜剧演员的编辑团队向那些冒着生命危险要拯救无数其他人的卫生保健专业人员致敬,向他们提供食物和重要物资的重要工作人员,以及努力重新打开图书资料库和阅览室的图书馆员,向我们致敬工作,同时不懈地更新其在线门户。因此,我们也感谢学术聚会的组织者,他们巧妙地整理了在线平台,使对话在新的虚拟空间中保持活跃。最后但并非最不重要的一点,我们深表感谢编辑委员会成员在要求的时间范围内继续提供详细而严格的文章评估,所有职业阶段的作者提交令人兴奋的新作品,以及书评人让读者了解最新奖学金情况在喜剧表演研究及其他领域。

我们向过去几个月来失去家人或朋友的人们表示由衷的慰问。除了冠状病毒的毁灭性破坏之外,2020年已经使我们失去了五个帮助我们的巨人。

更新日期:2021-03-16
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