Paula Baldwin Lind | Universidad de los Andes (Chile) (original) (raw)

Papers by Paula Baldwin Lind

Anuario Calderoniano, 2023

La arquitectura y diseño interior de los corrales de comedias del Siglo de Oro y de los teatros p... more La arquitectura y diseño interior de los corrales de comedias del Siglo
de Oro y de los teatros públicos isabelinos, así como el rango social del público que asistía a ver las representaciones han sido detalladamente estudiados por expertos de ambas tradiciones teatrales. Sin embargo, casi no contamos con publicaciones acerca del impacto que producía la presencia de mujeres en la audiencia, ni menos con estudios comparativos acerca del tema. Este trabajo se propone subrayar la relevancia de concebir al público de la modernidad temprana como un aliado vital en la producción de significado de las obras dramáticas, al tiempo que sugiere posibles efectos de la presencia femenina en la recepción del acontecimiento teatral aurisecular e isabelino que podrían originarse no solo en convenciones dramáticas análogas, sino
en las características específicas de los espacios de representación.

Studia Litteraria, 2018

Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-co... more Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-constitutes a complex process, as most translators reckon that the semantic transfer is especially challenging, not only because of the syntactic and linguistic diff erences between the source and the target language, but also because the English text belongs to a context that is geographically and culturally distant, especially in the case of Chile. In addition, due to the fact that Shakespearean texts are scripts to be performed, translators need to consider theatrical elements inherent in the dramatic text that go beyond the textual apparatus, and that may complicate their work. Taking The Tempest, translated into Spanish by two Chilean scholars in 2010, in this article I will argue that a successful translation of Shakespeare for the stagea text that goes from the inter-lingual rewriting of the text to a cultural re-interpretation that speaks to a diversity of contemporary identities and audiences − should endeavour to be cultural, spatial, and collaborative; that is to say, that the translator should have a deep understanding of Elizabethan cultural elements that can be included in the translated text by means of paratexts − precise, relevant, and explanatory linguistic and historical notes that may shed light on directorial decisions once the play is performed, as well as consider the space where the play will be staged, and develop a collaborative system of work with translators, directors, and actors during the whole process.

Grounded in a multi-faceted theoretical framework that examines the dynamic interaction between t... more Grounded in a multi-faceted theoretical framework that examines the dynamic interaction between the public and the private spheres of Elizabethan everyday life, this thesis aims to trace how the concept of privacy and its associated terms were developed, constructed, evoked, and configured both in Shakespearean drama and in other illustrative early modern texts. The author suggests that Shakespeare's configuration of space results from a combination of the conditions of representation - empty stages - metaphorical language, technical dramatic devices, and textual markers that create a sense of space in the texts and onstage. The research also explores the place and space of early modern women and of Shakespeare's female characters in terms of their relation to the private space; that is to say, their construction of 'self-in-relation-to-space', as well as their movements and activities within and outside the private's real or imagined boundaries, thus their abili...

Although Chilean adolescent students have significantly improved the quality of reading ability i... more Although Chilean adolescent students have significantly improved the quality of reading ability in the last decade, reading scores at the elementary levels seem to stagnate, and gender and socioeconomic gaps in reading achievement have not been narrowed despite the efforts to provide students with book access and research-based reading instruction. Similarly, studies have shown that Chileans, across age, gender, and socioeconomic groups, are not inclined to choose reading as a leisure activity (Fundacion La Fuente/Adimark GFK. Chile y los libros. Santiago: Fundacion La Fuente (2010)). The current chapter analyzes motivation and reading achievement performance of 1290 Chilean students in grades 3, 4, and 5. We explore their reading ability using a silent reading comprehension assessment tool that takes into consideration reading ability to provide Lexile measures for individual students. We used (Gambrell LB, Palmer B M, Codling RM, & Mazzoni SA. The Read Teach, 49(7), 518–533 (1996)...

Nueva Revista del Pacífico 73. 2, 2020

The aim of this article is to analyze the notions of poetry and poetic language proposed by W. H.... more The aim of this article is to analyze the notions of poetry and poetic language proposed by W. H. Auden (1907-1973) from his perspective of crisis of modern culture, in a selection of essays and poems, with special emphasis on “Autumn Song” (1936). In this work, the angel who does not arrive to the Earth, the paralysis of living creatures and the dominant silence show the limitations of human language when trying to account for reality and personal experiences. Although the figure of the celestial spirit, the autumn season in which the poem is framed and the images of disenchantment are key to its interpretation, it is essential to consider the religious and philosophical ideas that Auden developed during his career, which allow us to better understand his poetics. Paradoxically, at the same time that the Anglo-American poet acknowledges the limitation of words, he finds in poetic language a possible way to know and explore what it means to be human with all the mystery of it.

Multicultural Shakespeare 21.37: Shakespeare, Blackface, and Performance: A Global Exploration, 2021

This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particul... more This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particular, it focuses on two performances of the play: the first, in 1818, and the last one in 2012-2020. By comparing both productions, I aim to establish the exact date and theatrical context of the first Chilean staging of the Shakespearean tragedy using historical sources and English travellers’ records, as well as to explore how the representation of a Moor and of blackness onstage evolved both in its visual dimension — the choice of costumes and the use of blackface—, and in its racial connotations alongside deep social changes. During the nineteenth century Othello became one of the most popular plays in Chile, being performed eleven times in the period of 31 years, a success that also occurred in Spain between 1802 and 1833. The early development of Chilean theatre was very much influenced not only by the ideas of the Spaniards who arrived in the country, but also by the available Spanish translations of Shakespeare; therefore, I argue that the first performances of Othello as Other — different in origin and in skin colour — were characterised by an imitative style, since actors repeated onstage the biased image of Moors that Spaniards had brought to Chile. While the assessment of Othello and race is not new, this article contrasts in its scope, as I do not discuss the protagonist’s actual origin, but how the changes in Chilean social and cultural contexts can reshape and reconfigure the performance of blackness and turn it into a meaningful translation of the Shakespearean Moor that activates audiences’ awareness of racism and fears of miscegenation.

Revista Chilena de Literatura 102, 2020

Este artículo ofrece una comparación de algunas manifestaciones del teatro del Siglo de Oro y de ... more Este artículo ofrece una comparación de algunas manifestaciones del teatro del Siglo de Oro y de la era isabelina desde la perspectiva del espacio. Para ello, en primer lugar me refiero a la dimensión antropológica del espacio que subyace a todo acontecimiento teatral y que permite ir más allá de los aspectos técnicos de la representación. Luego describo brevemente el contexto cultural que propició el esplendor tanto del teatro barroco español –específicamente en la obra de Lope de Vega–, como del inglés de los siglos XVI y XVII, en particular, el de William Shakespeare. El análisis comparativo abarca elementos como la ubicación de los teatros públicos: los corrales de comedias de la Cruz y del Príncipe en Madrid y del teatro del Globo en Londres, así como el estudio de la arquitectura de estos espacios, su aforo, las dimensiones del escenario y la ubicación de las galerías, entre otros. Investigar la materialidad de estos espacios tiene como objetivo comprender mejor los mecanismos de configuración espacial diseñados por ambos dramaturgos, quienes mediante la palabra poética y performativa, utilizando recursos ticoscópicos, logran producir la ilusión teatral que hace visible lo invisible al crear espacios imaginarios en el escenario, en un proceso colaborativo entre los actores y el público.

Punto y Coma , 2020

La literatura universal, y la anglosajona en particular, no se apreciarían en su totalidad sin co... more La literatura universal, y la anglosajona en particular, no se apreciarían en su totalidad sin considerar las obras de autoras como Jane Austen, Emily Brontë y Elizabeth Gaskell. Su estilo narrativo está a la altura de sus contemporáneos más notables, por lo que parece relevante reivindicar su valor literario, pues muchas veces son consideradas como escritoras de temáticas “livianas” u orientadas a una época determinada, cuando en pleno siglo XXI la función de la mujer dentro del ámbito doméstico y público se cuestiona quizá con más fuerza que a inicios del siglo XIX. Además, por sus tintes costumbristas, las novelas de estas autoras constituyen una rica fuente de conocimiento de la cultura y sociedad de la Inglaterra decimonónica.

Beckettiana 15 , 2016

Resumen: La simbología del árbol en la literatura y en el imaginario cultural puede adquirir una ... more Resumen: La simbología del árbol en la literatura y en el imaginario cultural puede adquirir una dimensión relevante para el análisis de obras literarias. Si pensamos en las tradiciones religiosas y mitológicas, nos encontramos con ejemplos como el árbol de la ciencia del bien y del mal del Paraíso, el árbol de las Hespérides, las múltiples metamorfosis de mortales en árboles o, por último, el Yggdrasil. En este trabajo analizaremos cómo en dos obras de teatro de Samuel Beckett y de Antón Chéjov respectivamente, este elemento es protagónico al utilizarse como símbolo invertido que transmite y condensa con mayor intensidad una de las claves hermenéuticas que permiten comprender mejor la trama dramática y las relaciones entre los personajes.

REVISTA DE HUMANIDADES , 2020

Resumen: En su oficio de dramaturgo, William Shakespeare trabajó frecuentemente con la noción de ... more Resumen: En su oficio de dramaturgo, William Shakespeare trabajó frecuentemente con la noción de espacio, pero ¿cómo logró configurarlo y representarlo en el escenario vacío de El Globo, en la corte, o en la sala privada de Blackfriars? ¿Cómo creó ese sentido de espacio y de lugar en un texto con escasas acotaciones? Tomando como caso de estudio La tempestad, analizaré el modo en que Shakespeare comunica el sentido de espacio sobre el escenario y a lo largo del texto para argumentar que la configuración.
Este artículo es parte del proyecto Fondecyt de iniciación 11170923, "Female Spaces in Shakespeare's Four Major Tragedies".

Studia Litteraria Universitatis Iagellonicae Cracoviensis , 2018

Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-co... more Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-constitutes a complex process, as most translators reckon that the semantic transfer is especially challenging, not only because of the syntactic and linguistic diff erences between the source and the target language, but also because the English text belongs to a context that is geographically and culturally distant, especially in the case of Chile. In addition, due to the fact that Shakespearean texts are scripts to be performed, translators need to consider theatrical elements inherent in the dramatic text that go beyond the textual apparatus, and that may complicate their work. Taking The Tempest, translated into Spanish by two Chilean scholars in 2010, in this article I will argue that a successful translation of Shakespeare for the stage-a text that goes from the inter-lingual rewriting of the text to a cultural re-interpretation that speaks to a diversity of contemporary identities and audiences − should endeavour to be cultural , spatial, and collaborative; that is to say, that the translator should have a deep understanding of Elizabethan cultural elements that can be included in the translated text by means of paratexts − precise, relevant, and explanatory linguistic and historical notes that may shed light on directorial decisions once the play is performed, as well as consider the space where the play will be staged, and develop a collaborative system of work with translators, directors, and actors during the whole process.

Why are Romeo and Juliet prominent characters in Shakespeare's play of the same name? Contrary to... more Why are Romeo and Juliet prominent characters in Shakespeare's play of the same name? Contrary to what common sense might suggest, the academic literature does not provide a unique answer to this question. Indeed, there is little agreement on who the main character is and which elements of a script contribute to establishing a character's leading role. The objective of this article is to explore and compare the prominence of characters in Romeo and Juliet by using social network analysis. To this end, we calculate the centralities of several characters in Romeo and Juliet using a method based on Social Network Analysis. Comparing the scores generated by this analysis, we found that Romeo's centrality is more stable than Juliet's while hers is lower and supported by the 'strength of the bonds' she develops with other characters. Thus, the comparison of different centrality rankings and clusters provides new knowledge about the plays of Shakespeare. We show that the 'strength' of the relationships affects the prominence of the characters. This finding opens new directions for analyzing Shakespeare's scripts and determining who the main character is using weighted centrality measures. Finally, we discuss some theoretical and practical implications of the method used

on his recently published second volume of Lewis's letters: 1931Lewis's letters: -1949 As C. S. L... more on his recently published second volume of Lewis's letters: 1931Lewis's letters: -1949 As C. S. Lewis's close friend, biographer, personal secretary, and editor, you have been able to know the author and the man profoundly. Probably, this allows you to approach and interpret his works with a particular insight into his mind and intention. Readers of Lewis are faced with a vast variety of genres -from children's stories to deep philosophical essays -and naturally try to find in them some hints of the writer's personality. You have had access to his diaries, to his friends' recollections and to his letters and have edited several of these miscellaneous writings as well.

Breve biografía de WIlliam Shakespeare en español.

Si bien es sabido que Shakespeare debe varias de las descripciones acerca de una Commonwealth (“r... more Si bien es sabido que Shakespeare debe varias de las descripciones acerca de una Commonwealth (“república”) ideal en algunas de sus obras a los ensayos de Michel de Montaigne, también es posible examinar la noción de Utopía moreana en obras como La tempestad donde se cuestiona el gobierno y el estilo de vida en la isla, o en Como gustéis donde el bosque de Arden representa el mundo pastoril idealizado en el que predomina la vida sencilla.

First Call for Papers: “Symbolic Intersections: Birds in British and Latin American Poetry of the... more First Call for Papers: “Symbolic Intersections: Birds in British and Latin American Poetry of the Nineteenth and Twentieth Centuries”, 15-16 June, 2017 (University of the Andes, Santiago, Chile).

Anuario Calderoniano, 2023

La arquitectura y diseño interior de los corrales de comedias del Siglo de Oro y de los teatros p... more La arquitectura y diseño interior de los corrales de comedias del Siglo
de Oro y de los teatros públicos isabelinos, así como el rango social del público que asistía a ver las representaciones han sido detalladamente estudiados por expertos de ambas tradiciones teatrales. Sin embargo, casi no contamos con publicaciones acerca del impacto que producía la presencia de mujeres en la audiencia, ni menos con estudios comparativos acerca del tema. Este trabajo se propone subrayar la relevancia de concebir al público de la modernidad temprana como un aliado vital en la producción de significado de las obras dramáticas, al tiempo que sugiere posibles efectos de la presencia femenina en la recepción del acontecimiento teatral aurisecular e isabelino que podrían originarse no solo en convenciones dramáticas análogas, sino
en las características específicas de los espacios de representación.

Studia Litteraria, 2018

Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-co... more Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-constitutes a complex process, as most translators reckon that the semantic transfer is especially challenging, not only because of the syntactic and linguistic diff erences between the source and the target language, but also because the English text belongs to a context that is geographically and culturally distant, especially in the case of Chile. In addition, due to the fact that Shakespearean texts are scripts to be performed, translators need to consider theatrical elements inherent in the dramatic text that go beyond the textual apparatus, and that may complicate their work. Taking The Tempest, translated into Spanish by two Chilean scholars in 2010, in this article I will argue that a successful translation of Shakespeare for the stagea text that goes from the inter-lingual rewriting of the text to a cultural re-interpretation that speaks to a diversity of contemporary identities and audiences − should endeavour to be cultural, spatial, and collaborative; that is to say, that the translator should have a deep understanding of Elizabethan cultural elements that can be included in the translated text by means of paratexts − precise, relevant, and explanatory linguistic and historical notes that may shed light on directorial decisions once the play is performed, as well as consider the space where the play will be staged, and develop a collaborative system of work with translators, directors, and actors during the whole process.

Grounded in a multi-faceted theoretical framework that examines the dynamic interaction between t... more Grounded in a multi-faceted theoretical framework that examines the dynamic interaction between the public and the private spheres of Elizabethan everyday life, this thesis aims to trace how the concept of privacy and its associated terms were developed, constructed, evoked, and configured both in Shakespearean drama and in other illustrative early modern texts. The author suggests that Shakespeare's configuration of space results from a combination of the conditions of representation - empty stages - metaphorical language, technical dramatic devices, and textual markers that create a sense of space in the texts and onstage. The research also explores the place and space of early modern women and of Shakespeare's female characters in terms of their relation to the private space; that is to say, their construction of 'self-in-relation-to-space', as well as their movements and activities within and outside the private's real or imagined boundaries, thus their abili...

Although Chilean adolescent students have significantly improved the quality of reading ability i... more Although Chilean adolescent students have significantly improved the quality of reading ability in the last decade, reading scores at the elementary levels seem to stagnate, and gender and socioeconomic gaps in reading achievement have not been narrowed despite the efforts to provide students with book access and research-based reading instruction. Similarly, studies have shown that Chileans, across age, gender, and socioeconomic groups, are not inclined to choose reading as a leisure activity (Fundacion La Fuente/Adimark GFK. Chile y los libros. Santiago: Fundacion La Fuente (2010)). The current chapter analyzes motivation and reading achievement performance of 1290 Chilean students in grades 3, 4, and 5. We explore their reading ability using a silent reading comprehension assessment tool that takes into consideration reading ability to provide Lexile measures for individual students. We used (Gambrell LB, Palmer B M, Codling RM, & Mazzoni SA. The Read Teach, 49(7), 518–533 (1996)...

Nueva Revista del Pacífico 73. 2, 2020

The aim of this article is to analyze the notions of poetry and poetic language proposed by W. H.... more The aim of this article is to analyze the notions of poetry and poetic language proposed by W. H. Auden (1907-1973) from his perspective of crisis of modern culture, in a selection of essays and poems, with special emphasis on “Autumn Song” (1936). In this work, the angel who does not arrive to the Earth, the paralysis of living creatures and the dominant silence show the limitations of human language when trying to account for reality and personal experiences. Although the figure of the celestial spirit, the autumn season in which the poem is framed and the images of disenchantment are key to its interpretation, it is essential to consider the religious and philosophical ideas that Auden developed during his career, which allow us to better understand his poetics. Paradoxically, at the same time that the Anglo-American poet acknowledges the limitation of words, he finds in poetic language a possible way to know and explore what it means to be human with all the mystery of it.

Multicultural Shakespeare 21.37: Shakespeare, Blackface, and Performance: A Global Exploration, 2021

This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particul... more This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particular, it focuses on two performances of the play: the first, in 1818, and the last one in 2012-2020. By comparing both productions, I aim to establish the exact date and theatrical context of the first Chilean staging of the Shakespearean tragedy using historical sources and English travellers’ records, as well as to explore how the representation of a Moor and of blackness onstage evolved both in its visual dimension — the choice of costumes and the use of blackface—, and in its racial connotations alongside deep social changes. During the nineteenth century Othello became one of the most popular plays in Chile, being performed eleven times in the period of 31 years, a success that also occurred in Spain between 1802 and 1833. The early development of Chilean theatre was very much influenced not only by the ideas of the Spaniards who arrived in the country, but also by the available Spanish translations of Shakespeare; therefore, I argue that the first performances of Othello as Other — different in origin and in skin colour — were characterised by an imitative style, since actors repeated onstage the biased image of Moors that Spaniards had brought to Chile. While the assessment of Othello and race is not new, this article contrasts in its scope, as I do not discuss the protagonist’s actual origin, but how the changes in Chilean social and cultural contexts can reshape and reconfigure the performance of blackness and turn it into a meaningful translation of the Shakespearean Moor that activates audiences’ awareness of racism and fears of miscegenation.

Revista Chilena de Literatura 102, 2020

Este artículo ofrece una comparación de algunas manifestaciones del teatro del Siglo de Oro y de ... more Este artículo ofrece una comparación de algunas manifestaciones del teatro del Siglo de Oro y de la era isabelina desde la perspectiva del espacio. Para ello, en primer lugar me refiero a la dimensión antropológica del espacio que subyace a todo acontecimiento teatral y que permite ir más allá de los aspectos técnicos de la representación. Luego describo brevemente el contexto cultural que propició el esplendor tanto del teatro barroco español –específicamente en la obra de Lope de Vega–, como del inglés de los siglos XVI y XVII, en particular, el de William Shakespeare. El análisis comparativo abarca elementos como la ubicación de los teatros públicos: los corrales de comedias de la Cruz y del Príncipe en Madrid y del teatro del Globo en Londres, así como el estudio de la arquitectura de estos espacios, su aforo, las dimensiones del escenario y la ubicación de las galerías, entre otros. Investigar la materialidad de estos espacios tiene como objetivo comprender mejor los mecanismos de configuración espacial diseñados por ambos dramaturgos, quienes mediante la palabra poética y performativa, utilizando recursos ticoscópicos, logran producir la ilusión teatral que hace visible lo invisible al crear espacios imaginarios en el escenario, en un proceso colaborativo entre los actores y el público.

Punto y Coma , 2020

La literatura universal, y la anglosajona en particular, no se apreciarían en su totalidad sin co... more La literatura universal, y la anglosajona en particular, no se apreciarían en su totalidad sin considerar las obras de autoras como Jane Austen, Emily Brontë y Elizabeth Gaskell. Su estilo narrativo está a la altura de sus contemporáneos más notables, por lo que parece relevante reivindicar su valor literario, pues muchas veces son consideradas como escritoras de temáticas “livianas” u orientadas a una época determinada, cuando en pleno siglo XXI la función de la mujer dentro del ámbito doméstico y público se cuestiona quizá con más fuerza que a inicios del siglo XIX. Además, por sus tintes costumbristas, las novelas de estas autoras constituyen una rica fuente de conocimiento de la cultura y sociedad de la Inglaterra decimonónica.

Beckettiana 15 , 2016

Resumen: La simbología del árbol en la literatura y en el imaginario cultural puede adquirir una ... more Resumen: La simbología del árbol en la literatura y en el imaginario cultural puede adquirir una dimensión relevante para el análisis de obras literarias. Si pensamos en las tradiciones religiosas y mitológicas, nos encontramos con ejemplos como el árbol de la ciencia del bien y del mal del Paraíso, el árbol de las Hespérides, las múltiples metamorfosis de mortales en árboles o, por último, el Yggdrasil. En este trabajo analizaremos cómo en dos obras de teatro de Samuel Beckett y de Antón Chéjov respectivamente, este elemento es protagónico al utilizarse como símbolo invertido que transmite y condensa con mayor intensidad una de las claves hermenéuticas que permiten comprender mejor la trama dramática y las relaciones entre los personajes.

REVISTA DE HUMANIDADES , 2020

Resumen: En su oficio de dramaturgo, William Shakespeare trabajó frecuentemente con la noción de ... more Resumen: En su oficio de dramaturgo, William Shakespeare trabajó frecuentemente con la noción de espacio, pero ¿cómo logró configurarlo y representarlo en el escenario vacío de El Globo, en la corte, o en la sala privada de Blackfriars? ¿Cómo creó ese sentido de espacio y de lugar en un texto con escasas acotaciones? Tomando como caso de estudio La tempestad, analizaré el modo en que Shakespeare comunica el sentido de espacio sobre el escenario y a lo largo del texto para argumentar que la configuración.
Este artículo es parte del proyecto Fondecyt de iniciación 11170923, "Female Spaces in Shakespeare's Four Major Tragedies".

Studia Litteraria Universitatis Iagellonicae Cracoviensis , 2018

Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-co... more Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-constitutes a complex process, as most translators reckon that the semantic transfer is especially challenging, not only because of the syntactic and linguistic diff erences between the source and the target language, but also because the English text belongs to a context that is geographically and culturally distant, especially in the case of Chile. In addition, due to the fact that Shakespearean texts are scripts to be performed, translators need to consider theatrical elements inherent in the dramatic text that go beyond the textual apparatus, and that may complicate their work. Taking The Tempest, translated into Spanish by two Chilean scholars in 2010, in this article I will argue that a successful translation of Shakespeare for the stage-a text that goes from the inter-lingual rewriting of the text to a cultural re-interpretation that speaks to a diversity of contemporary identities and audiences − should endeavour to be cultural , spatial, and collaborative; that is to say, that the translator should have a deep understanding of Elizabethan cultural elements that can be included in the translated text by means of paratexts − precise, relevant, and explanatory linguistic and historical notes that may shed light on directorial decisions once the play is performed, as well as consider the space where the play will be staged, and develop a collaborative system of work with translators, directors, and actors during the whole process.

Why are Romeo and Juliet prominent characters in Shakespeare's play of the same name? Contrary to... more Why are Romeo and Juliet prominent characters in Shakespeare's play of the same name? Contrary to what common sense might suggest, the academic literature does not provide a unique answer to this question. Indeed, there is little agreement on who the main character is and which elements of a script contribute to establishing a character's leading role. The objective of this article is to explore and compare the prominence of characters in Romeo and Juliet by using social network analysis. To this end, we calculate the centralities of several characters in Romeo and Juliet using a method based on Social Network Analysis. Comparing the scores generated by this analysis, we found that Romeo's centrality is more stable than Juliet's while hers is lower and supported by the 'strength of the bonds' she develops with other characters. Thus, the comparison of different centrality rankings and clusters provides new knowledge about the plays of Shakespeare. We show that the 'strength' of the relationships affects the prominence of the characters. This finding opens new directions for analyzing Shakespeare's scripts and determining who the main character is using weighted centrality measures. Finally, we discuss some theoretical and practical implications of the method used

on his recently published second volume of Lewis's letters: 1931Lewis's letters: -1949 As C. S. L... more on his recently published second volume of Lewis's letters: 1931Lewis's letters: -1949 As C. S. Lewis's close friend, biographer, personal secretary, and editor, you have been able to know the author and the man profoundly. Probably, this allows you to approach and interpret his works with a particular insight into his mind and intention. Readers of Lewis are faced with a vast variety of genres -from children's stories to deep philosophical essays -and naturally try to find in them some hints of the writer's personality. You have had access to his diaries, to his friends' recollections and to his letters and have edited several of these miscellaneous writings as well.

Breve biografía de WIlliam Shakespeare en español.

Si bien es sabido que Shakespeare debe varias de las descripciones acerca de una Commonwealth (“r... more Si bien es sabido que Shakespeare debe varias de las descripciones acerca de una Commonwealth (“república”) ideal en algunas de sus obras a los ensayos de Michel de Montaigne, también es posible examinar la noción de Utopía moreana en obras como La tempestad donde se cuestiona el gobierno y el estilo de vida en la isla, o en Como gustéis donde el bosque de Arden representa el mundo pastoril idealizado en el que predomina la vida sencilla.

First Call for Papers: “Symbolic Intersections: Birds in British and Latin American Poetry of the... more First Call for Papers: “Symbolic Intersections: Birds in British and Latin American Poetry of the Nineteenth and Twentieth Centuries”, 15-16 June, 2017 (University of the Andes, Santiago, Chile).

William Shakespeare's The Tempest, translation into Spanish including Introduction and notes.

Shakespeare's Twelfth Night Translation into Spanish, which includes critical Introduction and no... more Shakespeare's Twelfth Night Translation into Spanish, which includes critical Introduction and notes.

Traducción, introducción y notas de El rey Lear de William Shakespeare

What is the relationship between literature and film? What is meant when speaking about “adapting... more What is the relationship between literature and film? What is meant when speaking about “adapting” a literary work to the screen? Is it possible to adapt? And if so, how? Are there films that have “improved” their literary sources? Is adaptation a “translation” or, rather, a “re-interpretation”? What is the impact of adapting literary classics to a modern context? This collection of articles offers a comprehensive and authoritative study of literary adaptation to film which addresses these and other unresolved questions in the field of Literary Adaptation Studies. Within five different sections, the volume’s international team of contributors offers valuable study cases, suggesting both the continuity and variety of adaptation theories. The first section traces recurring theoretical issues regarding the problems and challenges related to the adaptation of literary works to the particular nature and dynamics of cinema. The second and third parts focus on the specific problems and technical challenges of adapting theatre and narrative works to film and TV series respectively. The fourth section includes the study of Latin American authors whose works have been adapted to the screen. The fifth and final part of the book deals with the structures and devices that film directors use in order to tell stories.