Cooper, Helen. Hamlet and the Invention of Tragedy |
189-200 |
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Tronch, Jesús. Dramaturgy of the Acting Version of the First Quarto of Hamlet |
201-216 |
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Gómez Lara, Manuel. Emblems of Darkness: Othello 1604 & the Masque of Blackness 1605 |
217-226 |
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Prieto Pablos, Juan Antonio. Shakespearean Strategies of (Dis)Orientation in Othello , act I |
225-230 |
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Manzanas, Ana María. Conversion narratives: Othello and other black characters in Shakespeare’s and Lope de Vega’s plays |
231-236 |
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Gregor, Keith. The Elusive Ensign: Towards a ‘Grammar’ of Iago’s Motives |
237-242 |
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Ballesteros, Antonio: ‘Deformed, unfinished, sent before my time’: Monstrosity in Richard III and Mary Shelley’s Frankenstein |
243-248 |
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Alvarez Faedo, María José. The Epic Tone in Shakespeare’s Henry V |
249-252 |
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Cora, Jesús: Shylock’s five-facetted character |
253-260 |
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Arias Doblas, María del Rosario. Gender Ambiguity and Desire in Twelfth Night |
261-264 |
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González Campos, Miguel Angel: An Isle full of Noises, Sounds and Sweet Airs: Shakespeare’s The Tempest and Krzysztof Kieslowski’s Red |
265-268 |
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Muñoz Valdivieso, Sofía. ‘He hourly humanizes’: Transformations and Appropiations of Shakespeare’s Caliban |
269-272 |
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Soubriet, Beatriz. Ovid & Shakespeare’s Venus and Adonis: A Study of sexual-role reversal |
273-276 |
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Bueno Alonso, Jorge Luis. The Fair and the Unfair: Renaissance Images and their change in Shakespeare’s Sonnets |
277-286 |
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Martínez, Miguel. Teaching Shakespeare’s Sonnets: Time as Fracture in Sonnets 18, 60, 73 |
287-296 |
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Sánchez Escribano, F. Javier: Who’s who in Sederi (1996) |
297-318 |
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