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ARTICLES	Pag.
María José Coperías-Aguilar. Between fictionality and reality: The “novels” in the Gentleman’s Journal	7-30
Antonio Espigares Pinilla and Renae Satterley. The three manuscript copies of Robert Ashley’s Of Honour and Sebastián Fox Morcillo’s De honore. Study of a translation plagiarism	31-65
Víctor Fernández Fernández. Guzmán de Silva and Elizabeth I: A diplomacy of emotion	67-86
Cristina Paravano. “Remembrance of things past”: Classical and Renaissance echoes in Philip Massinger’s The Roman Actor	87-110

REVIEWS	Pag.
Jorge Blanco-Vacas, ed. Mr. Turbulent. A Critical Edition (by Jorge Figueroa Dorrego)	113-117
Evelyn Gajowski, ed. The Arden Research Handbook of Contemporary Shakespeare Criticism (by Víctor Huertas Martín)	118-122
Gábor Gelléri and Rachel Willie, eds. Travel and Conflict in the Early Modern World (by Liam Benison)	123-127
Andrew James Hartley and Peter Holland, eds. Shakespeare and Geek Culture (by Larisa Kocic-Zámbó)	128-132
Victoria M. Muñoz, Spanish Romance in the Battle for Global Supremacy: Tudor and Stuart Black Legends (by Leticia Álvarez Recio)	133-137
Richard Proudfoot, Ann Thompson, David Scott Kastan and H. R. Woudhuysen, eds. The Arden Shakespeare Third Series Complete Works (by Jesús Tronch)	138-143
David Ruiter, ed. The Arden Research Handbook of Shakespeare and Social Justice (by Remedios Perni)	144-148
Kiernan Ryan, Shakespearean Tragedy (by Jonathan P. A. Sell)	149-153
Alexander Samson, Mary and Philip: The Marriage of Tudor England and Habsburg Spain (by Berta Cano Echevarría)	154-158
Jordi Sánchez-Martí, ed. Los libros de caballerías en Inglaterra, 1578-1700 (by Stefano Neri)	159-163
Jonathan P. A. Sell, Shakespeare’s Sublime Ethos: Matter, Stage, Form & Jonathan P. A. Sell, Shakespeare’s Sublime Pathos: Person, Audience, Language (by Zenón Luis-Martínez)	164-168

ARTICLES	Pag.
Luciano García García. From Lives to Discurso in the biographies of Thomas More: Roper, Harpsfield and Herrera	7-30
Antony Henk. Mending “the injurie of oblivion”: “Englishing” Chaucer and Barbour in early printed editions	31-54
Lisa Hopkins. “By Jupiter, forgot”: Volscians and Scots in Shakespeare and Arbella Stuart	55-72
Francesca Rayner. The story of what might have been: Interrogating Romeo and Juliet under the Portuguese dictatorship	73-92
José Ruiz Mas. English travelers in early modern Cyprus: Piety, commerce and anti-Ottoman sentiment	93-115
Alison Shell. Priestly playwright, secular priest: William Drury’s Latin and English drama	117-45

NOTES	Pag.
Valerie Schutte. A ballad of treason for Queen Mary I’s accession	145-58

REVIEWS	Pag.
Kate Aughterson and Ailsa Grant Ferguson, Shakespeare and Gender: Sex and Sexuality in Shakespeare’s Drama (by Jennifer Ruiz Morgan)	161-65
Sophie Chiari & Sophie Lemercier-Goddard, eds. John Webster’s “Dismal Tragedy”: The Duchess of Malfi Reconsidered (by Mª Jesús Pérez Jáuregui)	166-70
Jennifer Drouin, ed. Shakespeare / Sex: Contemporary Readings in Gender and Sexuality (by Francesca Rayner)	171-73
White Kennet, Etymological Collections of English Words, edited by Javier Ruano-García (by Christopher Langmuir)	174-77
Irene Montori, Milton, the Sublime and Dramas of Choice: Figures of Heroic and Literary Virtue (by Jonathan Sell)	178-82
Ángel-Luis Pujante and Keith Gregor, eds. Otelo en España. La versión neoclásica y las obras relacionadas (by Jesús López-Peláez Casellas)	183-87
Rocío G. Sumillera. Invention: The Language of English Renaissance Poetics (by Jonathan Sell)	188-91
Rémi Vuillemin, Laetitia Sansonetti and Enrica Zanin, eds. The early modern English sonnet. Ever in motion (by María Vera Reyes)	192-96

ARTICLES	Pag.
Luis Javier Conejero-Magro. The School of Salamanca in the sixteenth century and the way kingship is canvassed in Shakespeare’s Richard II	7-28
Isabel de la Cruz Cabanillas. The Secrets of Alexis in Glasgow University Library MS Ferguson 7	29-46
Joan Curbet Soler. Writing and weaving: The textual and the textile in Spenser´s 1590 Faerie Queene, III.i	47-68
Irene Montori. Representing creation, experiencing the sublime: The Longinian tradition in Tasso and Milton	69-89
Katherine Romack. The romance of Nahum Tate’s King Lear	91-115
Sonia Villegas López. Truth and wonder in Richard Head’s geographical fictions	117-37

REVIEWS	Pag.
Magdalena Cieślak, Screening Gender in Shakespeare’s Comedies: Film and Television Adaptations in Shakespeare’s Comedies (by Coen Heijes)	141-44
Neil Corcoran, Reading Shakespeare’s Soliloquies: Text, Theatre, Film, and Efertpi Mitsi, ed., Troilus and Cressida. A Critical Reader (by Jonathan P. A. Sell)	145-50
Mark Hutchings, ed., The Changeling. A Critical Reader (by Cinta Zunino-Garrido)	151-55
María José Mora, ed., Restoration Comedy, 1671–1682 (by Sonia Villegas López)	157-62
Charles Ney, Directing Shakespeare in America. Historical Perspectives (by Víctor Huertas Martín)	163-67
Patricia Parker, Shakespearean Intersections: Language, Contexts, Critical Keyword (by Zenón Luis-Martínez)	169-76
Ángel-Luis Pujante, Shakespeare llega a España: Ilustración y Romanticismo (by Jesús Tronch)	177-81

PERFORMANCE REVIEWS	Pag.
West Side Story (2018–2020) (by Víctor Huertas Martín)	183-88

ARTICLES	Pag.
Bellmunt-Serrano, Manuel. Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation	11-33
Bermudez Brataas, Delilah. The blurring of genus, genre, and gender in MArgaret Cavendish’s utopias	35-59
Chiari, Sophie. The limner’s art in Shakespeare’s Macbeth	61-83
Hulse, Clark. Ovid’s urban metamorphosis	85-108
Mazzola, Elizabeth. Suffocated mothers, stabbed sisters, drowned daughters: when women choose death on Shakespeare’s stage	109-33
Sánchez García, Inmaculada N. Uneasy lies the heart that wears a badge: James Gray’s We Own the Night as a Gen-X Henriad	135-60

NOTES	Pag.
Edwards, A.S.G. William Forrest: Poetry, politics, script and power	163-78

REVIEWS	Pag.
Patrick Cheney, English Authorship and the Early Modern Sublime (by Jonathan P. A. Sell)	183-88
Paul Edmondson and Ewan Fernie, eds. New Places: Shakespeare and Civic Creativity (by Francesca Rayner)	189-93
Keir Elam, Shakespeare’s Pictures: Visual Objects in the Dramas, and B. J. Sokol, Shakespeare’s Artists: The Painters, Sculptors, Poets and Musicians in his Plays and Poems (by Jonathan P. A. Sell)	194-98
Carme Font, Women’s Prophetic Writings in Seventeenth-Century Britain (by Beatriz Hernández Pérez)	199-204
Sebastián Fox Morcillo, De honore. Estudio y traducción (by Jesús López-Peláez Casellas)	205-210
José Manuel González, ed., José María Ferri and María del Carmen Irles Vicente, coord. Cervantes-Shakespeare 1616-2016: Contexto, influencia, relación. Context, Influence, Relation (by Mercedes Salvador-Bello)	211-15
Ángel-Luis Pujante and Keith Gregor, eds. Romeo y Julieta en España: Las versiones neoclásicas (by Jesús Tronch)	216-20
Poonam Trivedi and Paromita Chakravarti, eds. Shakespeare and Indian Cinemas: Local Habitations (by Rosa García-Periago)	221-26
Sónia Baptista, I Call Her Will (by Francesca Rayne)	227-29

ARTICLES	Pag.
Carroll, William C. “I knew him in Padua”: London theatre and early modern constructions of erudition	7-32
Monterrey, Tomás. El príncipe tirano by Juan de la Cueva as the Spanish source of Thomas Lodge’s A Margarite of America: A comparative suggestion	33-53
Rubik, Margarete. The house, the city, and the colony in the works of Aphra Behn: Gendered spaces and the freedoms and dangers they afford	55-78
Yılmaz, Zümre Gizem., “The sweet fruition of an earthly crown”: Elemental mastery and ecophobia in Tamburlaine the Great and Doctor Faustus	79-96

NOTES	Pag.
Schintu, Paula. “The gully-hole of literature”: On the enregisterment of cant language in seventeenth-century England	99-117
Trofimova, Violetta. First encounters of Europeans and Africans with Native Americans in Aphra Behn’s Oroonoko: White woman, black prince and noble savages	119-128

REVIEWS	Pag.
William Shakespeare. The Comedy of Errors, ed. Kent Cartwright; and William Shakespeare. Cymbeline, ed. Valerie Wayne (The Arden Shakespeare) (by Jesús Tronch Pérez)	131-140
Alison Findlay and Vassiliki Markidou, eds. 2017. Shakespeare and Greece. London: Bloomsbury Arden Shakespeare (by Zenón Luis-Martínez)	141-146
Kirk Melnikoff, ed. 2017. Edward II: A Critical Reader. London and New York: Bloomsbury (by Veronika Schandl)	147-150
Marianne Novy. 2017. Shakespeare and Feminist Theory. Bloomsbury: London (by Francesca Rayner)	151-153
Stephen O’Neill, ed. 2018. Broadcast Your Shakespeare (Continuity and Change across Media). London and New York: Bloomsbury (by Víctor Huertas Martín)	155-159
Anthony Guy Patricia.2017. Queering the Shakespeare Film: Gender Trouble, Gay Spectatorship and Male Homoeroticism. London and New York: Bloomsbury & Goran Stanivukovic, ed. 2017. Queer Shakespeare: Desire and Sexuality. London and New York: Bloomsbury (by Juan Carlos Hidalgo Ciudad)	161-166

ARTICLES	Pag.
Amelang, David. From directions to descriptions: Reading the theatrical Nebentext in Ben Jonson’s Workes as an authorial outlet	7-26
Guerrero, Isabel. Shakespeare in La Mancha: Performing Shakespeare at the Almagro Corral	27-46
Hornero Corisco, Ana María. Translation of temporal dialects in the dubbed versions of Shakespeare films	47-79
Huertas Martínez, Víctor. Rupert Goold’s Macbeth (2010): Surveillance society and society of control	81-103
Muñoz-Valdivieso, Sofía. Shakespeare our contemporary in 2016: Margaret Atwood’s rewriting of The Tempest in Hag-Seed	105-129
Nicolaescu, Madalina. Introducing Shakespeare to the fringes of Europe: The first Romanian performance of The Merchant of Venice	129-148
Schutte, Valerie. Perceptions of sister queens: A comparison of printed book dedications to Mary and Elizabeth Tudor	149-166
Torralbo Caballero, Juan de Dios. “For know, alas, I’m dumb, alas I love”: Rhetoric of disability, female agency and tragedy in “The Dumb Virgin”	167-192

NOTES	Pag.
Bravo Lozano, Cristina. Book culture in the Irish Mission: The case of father Juan de Santo Domingo (1636–1644)	195-211
Martínez-García, Laura. Nelly or Ellen? Revamping the first English actresses in contemporary popular culture	213-228

REVIEWS	Pag.
Dominic Cooke, dir. The Hollow Crown: The Wars of the Roses (by Víctor Huertas Martín)	231-237
Sonia Hernández-Santano, ed. William Webbe, A Discourse of English Poetry (by Rocío G. Sumillera)	239-241
Robert D. Hume and Judith Milhous. The Publication of Plays in London 1660-1800: Playwrights, Publishers and the Market (by Jorge Jiménez Rodríguez)	243-247
John Knox. El primer toque de la trompeta contra el monstruoso gobierno de las mujeres. Edited by José Luis Martínez-Dueñas and Rocío G. Sumillera (by Carme Font Paz)	249-253
Zenón Luis-Martínez, ed. Abraham Fraunce. The Shepherds’ Logic and Other Dialectical Writings (by Jonathan P.A. Sell)	255-261
Richard McCabe. “Ungainefull Arte”: Poetry, Patronage, and Print in the Early Modern Era (by Nora Rodríguez-Loro)	263-268
Thomas O’Connor. Irish Voices from the Spanish Inquisition: Migrants, Converts and Brokers in Early Modern Iberia (by Óscar Recio Morales)	269-272

PERFORMANCE REVIEWS	Pag.
The Globe to Globe Hamlet Tour: A Celebratory Performance in Elsinore (by Remedios Perni)	273-277

ISSN 1135-7789 SEDERI, Yearbook of the Spanish and Portuguese Society for English Renaissance Studies, is an annual open-access publication devoted to current criticism and scholarship on English Renaissance Studies. It is peer-reviewed by external referees, following a double-blind policy. The SEDERI Yearbook is included in the following indexes and repertories: Annual Bibliography of English Language and Literature […]

Yearbook

Sederi 26

Publicado en por sederi

Sederi 26
Sederi 26 — 2016
EDITOR
Ana Sáez-Hidalgo
MANAGING EDITOR
Francisco J. Borge López
REVIEW EDITOR
María José Mora
ISSN 1135-7789

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ARTICLES	Pag.
Drakakis, John. Money makes the world go round: Shakespeare, commerce and community	7-30
McJannet, Linda. Timür’s theatrical journey: Or, when did Tamburlaine become black?	31-66
Ortiz-Salamovich, Alejandra. Anthony Munday’s Palmerin d’Oliva: Representing sexual threat in the Near East	67-84
Pascual Garrido, Mª Luisa. Re-Humanising Coriolanus: Community and the ethical self	85-108
García-Periago, Rosa M. More than an Indian teen shrew: Postcolonial and transnational feminism in Isi Life Mein	105-128
Tronch, Jesús. Database-oriented annotation of early modern plays: A proposal	129-156

NOTES	Pag.
Oliveira, Susana. «The intolerable business»: Religion and diplomacy under Elizabeth’s rule	159-164
Schintu Martínez, Paula. «The mobile shall worship thee»: Cant language in Thomas Shadwell’s The Squire of Alsatia (1688)	175-193

REVIEWS	Pag.
Manuel J. Gómez-Lara, María José Mora, Paula de Pando, Rafael Portillo, Juan A. Prieto-PAblos and Rafael Vélez Núñez, eds. Restoration Comedy 1660-1670. A Catalogue (by Ángeles Tomé Rosales)	197-199
Justin Kurzel dir. Macbeth (by Victor Huertas)	201-207
James Mabbe. The Spanish Bawd. Edited by José María Pérez Fernández (by Jordi Sánchez-Martí)	209-216
Bartolomé Sanz Albiñana. La expresión de la sexualidad en las traducciones españolas de «Hamlet» (by María José Álvarez Faedo)	219-222
Oana-Alis Zaharia. Cultural Reworkings and Translations in/of Shakespeare’s Plays (by Mādālina Nicolaescu)	223-225

PERFORMANCE REVIEWS	Pag.
Las Alegres Casadas, Almagro, 2015 (by Isabel Guerrero)	227-231
Recreating Shakespeare: You are my destiny (Lostupro di Lucrezia), Zagreb, 2014 (by Remedios Perni)	232-238

Yearbook

Information for Authors

Publicado en por sederi

EDITORIAL PROCESS

Submissions will be sent to two referees for assessment, following a blind peer-review policy. In case of disagreement, a third report will be decisive. If the paper is accepted for publication, the authors may be asked to consider the suggestions made by the referees and to bring it into line with our style sheet. The contributions, in its final form, will then go through copyediting, layout, and proofreading. Once published, the authors will receive a copy of the issue in which their work is included.

ASSESSMENT CRITERIA

Relation to SEDERI areas of interest.
Originality and interest of the topic in relation to current research.
Use of concepts and methods of analysis.
Interest of data analysed, results obtained and conclusions reached.
Depth of discussion of issues, problems and theoretical concerns.
Coherence and cohesion in the thread of argument and structure.
Clarity, conciseness and command of the language.
Knowledge and review of bibliographical references and sources.
Engagement with and discussion of other studies on the topic.
Title: its adequacy, clarity and informative quality.

AREAS OF INTEREST

Early Modern English Literature
Early Modern English History and Culture
Early Modern English Language
Restoration English Studies
Early Modern Anglo-Spanish cross-cultural studies
Early Modern Anglo-Portuguese cross-cultural studies

SUBMISSION INFORMATION

Time from submission to decision: 3-4 months
Time from decision to publication: 6-9 months
Number of readers prior to decision: 2-3
Articles/Notes submitted per year: 10-15
Articles/Notes published per year: 30-40%
Information last updated: May 2022

ORIGINALITY AND COPYRIGHT POLICY

Only original research is published by SEDERI. Therefore, we do not consider research pieces that have been published elsewhere (either in print or online) or are under simultaneous consideration with another publisher; translations are not considered either.
Authors will be asked to sign a declaration stating that their contributions have not been previously published, in whole or in part, and do not infringe the copyright or property right of another journal, author or publisher.
Permission for publication of copyrighted material (pictures, photographs, etc.) should be obtained by the author.
The copyright holder of the published contributions is SEDERI.
The issues will be available online in the SEDERI website (www.sederi.org/yearbooks.htm), in OJS (https://recyt.fecyt.es/index.php/SEDY), in Academia.edu (https://sederi.academia.edu/SEDERISpanishPortugueseSocietyforEnglishRenaissanceStudies), in Dialnet (https://dialnet.unirioja.es/servlet/revista?codigo=7539) and other repositories that have signed an agreement with SEDERI.
Those authors who wish to republish or rewrite their contributions for another journal/book or include the published article in their personal repositories should contact the editors to obtain permission to do so. This will entail citing SEDERI as the original source and sending the editors a copy of the new version.

INFORMATION FOR READERS

SEDERI publishes scholarly research pieces, which will be available both in print and online. These will be Open Access, in the spirit of sharing knowledge. Moreover, SEDERI does not charge authors a publication fee. Remember, however, that the journal is copyrighted, and therefore any kind of usage of SEDERI material must give credit to the journal by citing the authorship and full publication details. The usage of SEDERI material for commercial purposes is not allowed without the journal’s permission.

CONTACT THE EDITORS

If you have any further queries, do not hesitate to contact the editors
SEDERI, Yearbook of the Spanish and Portuguese Society for English Renaissance Studies
Marta Cerezo, EDITOR
Isabel Guerrero, MANAGING EDITOR
Miguel Ramalhete, REVIEW EDITOR
Tamara Pérez-Fernández, David J. Amelang, PRODUCTION EDITORS

SEDERI
http://www.sederi.org/yearbook/ sederiyearbook@yahoo.es
https://recyt.fecyt.es/index.php/SEDY

Yearbook

Issues

Publicado en por sederi

Sederi 32 – 2022 Sederi 31 – 2021 Sederi 30 – 2020 Sederi 29 – 2019 Sederi 28 – 2018 Sederi 27 – 2017 Sederi 26 – 2016 Sederi 25 – 2015 Sederi 24 – 2014 Sederi 23 – 2013 Sederi 22 – 2012 Sederi 21 – 2011 Sederi 20 – 2010 Sederi 19 – […]