Philip lorenz. 2013. the tears of sovereignty: perspectives of power in renaissance drama. new york: fordham university press Report as inadecuate




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SEDERI Yearbook 2015, 25

Author: Victor Huertas Martín

Source: http://www.redalyc.org/articulo.oa?id=333543052012


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SEDERI Yearbook ISSN: 1135-7789 sederiyearbook@yahoo.es Spanish and Portuguese Society for English Renaissance Studies España Huertas Martín, Victor Philip Lorenz.
2013.
The Tears of Sovereignty: Perspectives of Power in Renaissance Drama.
New York: Fordham University Press SEDERI Yearbook, núm.
25, 2015, pp.
189-194 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http:--www.redalyc.org-articulo.oa?id=333543052012 How to cite Complete issue More information about this article Journals homepage in redalyc.org Scientific Information System Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Non-profit academic project, developed under the open access initiative Philip Lorenz.
2013 The Tears ofSovereignty: Perspectives ofPower in Renaissance Drama New York: Fordham University Press Victor Huertas Martín Universidad Nacional de Educación a Distancia (UNED), Spain Reading Lope de Vega or Calderón de La Barcas works against Shakespeares plays olfers potentially substantial perspectives for any scholar interested in those great playwrights of the Baroque periodo Lorenzs work transcends mere cross-cultural comparisons in arder to explore larger cultural issues related to power and sovereignty and how theatrical representation deals with thenl.
In this sense, Lorenzs book can be rightly associated with the tradilional scholarship on !he power dispute between the Church and the Monarchy and the more recent interest in Shakespeares possible sympathies for the Catholic cause. Lorenzs book gains relevance given the twenty-first-century panoran1a.
This cenhuy is being marked by a rehUll to religious warfare sinlilar to the one in the seventeenth century.
Contelnporary political and religious institutions are aware of the in1portance of adequate luanipulation of iconography and imagery.
Likewise, words and images understood as metaphors collide in Baroque 1 See Wilson (2004), G...





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