Don Juan

El burlador de Sevilla has as its protagonist a figure that is eminently misplaced. 1 By this I mean that Don Juan, who is characterized by his constant transgressions against the social, political and divine order, comes into being during Spain's Counter-Reformation, a time when the desires of the individual were being forcefully restricted. Indeed, Don Juan's pleasures are not merely sexual. He is at his most creative when he is preparing to trick a friend, to lie to the patriarchy and to seduce and dishonour a woman. He emerges as a challenge to conformity and the law. For this very reason, critical attitudes towards the character are clearly divergent. For some, he can be equated with the devil himself, creating chaos and confusion wherever he goes. For others, he represents a needed, albeit misguided, rebellion. 2 This emphasis on the character's misplacement has led Ian Watt to consider the Don Juan myth, which is said to originate in this play, as one of the four most

Don Giovanni is an opera buffa composed by Wolfgang Amadeus Mozart with an Italian libretto by Lorenzo Da Ponte in 1787. It is an opera after Gluck’s opera reform. This essay will compare the recorded stage performance produced by The Metropolitan Opera released in 2000, and the film production by Joseph Losey released in 1979.

«Quand les statues vivantes donnent la mort: voix, mouvements, protestations», Actographe 1 (4), 2020, p. 67–98 // Les mythes des statues vivantes sont nombreux, et les études qui s’y consacrent sont fréquentes. L’aspect qui nous intéresse plus, c’est celui de la nuisance ou de la vengeance, les statues qui donnent la mort sont effectivement loin d’être rares. Tout cela prend place dans un contexte assez large et nous avons décidé ici de mettre l’accent sur les événements de 2020, année  qui a vu un mouvement de revendication pour le déboulonnement de nombreuses statues de par le monde. Mais au-delà du thème de la mise à mort par une statue, nous avons plutôt voulu ouvrir des perspectives sur les débats qui font l’aller-retour entre mythes, actualités, et  interrogations sur la démocratie directe. Dans cette première partie (cet article est en deux parties), nous nous penchons plus particulièrement sur la statue du Commandeur dans Don Juan, Athéna, Pandore, le bolchévisme statufié, et leur avatar, le robot.

The contemporary rewritings of Don Juan’s myth highlight several forms of hybridity and illustrate the stakes involved. The hybridation affects in the first place the sources of the myth since the authors appeal to numerous intertextual references. But the successive transpositions of the mythical scenario also lead to a generic hybridity. This intermediality has a reflexive dimension: it raises the question of the limits of language to talk about the myth and abolishes the frontier between fiction and critical speech.

After experiencing trouble with Tartuffe, in 1665 Molière offered the French audience a "pièce à machines", Dom Juan ou le Festin de pierre, which was enthusiastically received on the opening night, only to be almost immediately withdrawn afterwards. Critics have long argued about the real reasons of such an awkward course of action. Some believe that the performances were discontinued largely because of the virulent Observations sur une comédie de Molière intitulée Le Festin de pierre, contained by a libellous booklet obscurely signed "sieur de Rochemont". Others say Dom Juan itself is an attack aimed to the critics of Tartuffe. Is then Molière's antihero masked as a real hero just a character on stage? Or is he conveying the author's fierce response to earlier criticism?

La autoría de la obra se ha discutido largamente desde antaño: tradicionalmente se ha partido de la autoría de Tirso de Molina, pero con las candidaturas de Claramonte y Mira de Amescua ya presentadas. Evitando polémicas, considero a Tirso como autor de la obra: la princeps, único documento explícito conocido, está a su nombre (Arellano en su estudio preliminar de la comedia, 2007: 57) y no se le puede negar a Tirso ser el dramaturgo por excelencia de la burla (Vitse, 2004: 212). Aparte, se conoce una suelta titulada Tan largo me lo fiáis, atribuida sin fundamento a Calderón e impresa entre 1650 y 1660: presenta un texto similar pero con diferencias importantes, cuya relación con El burlador se discute. 2 Como señala Márquez Villanueva, «Del modo más paradójico, su naturaleza profunda consiste en no poseer otra que la que el vaivén de cada época quiera asignarle» (1996: 11). Weinstein (1959) cifra en más de quinientas las recreaciones de don Juan. 3 Para una panorámica ver Banús y Galván (1995).

Se plantean diferentes aspectos de la figura de Don Juan Tenorio, presentes desde el Tan largo me lo fiáis hasta "Don Juan Tenorio", prescindiendo del manido análisis religioso, y entrando directamente en la figura del seductor compulsivo y sus diferentes estados.

El estudio de las diferencias de grado existentes entre intertextualidad y reescritura pueden permitir apreciar mejor algunos puntos de la interpretación literaria. Tras exponer un par de cuestiones teóricas sobre ambas conceptos, se analiza como ejemplo la comedia de Calderón No hay cosa como callar . Su protagonista, don Juan de Mendoza, se ha vinculado repetidamente con el mito nacido en El burlador de Sevilla, con el que mantiene débiles nexos intertextuales, mientras la relación que muestra con La fuerza de la sangre, una de las Novelas ejemplares de Cervantes, es mucho mayor: de hecho, puede considerarse la comedia calderoniana como una nueva muestra de reescritura de una novela en prosa, patrón que determina ciertas características de la obra resultante. Así, el rasgo de violador del personaje es una invariante mantenida desde el original y no una innovación consciente del poeta, pues hasta The Libertine de Thomas Shadwell no se introduce esta novedad en la estela del mito.
Étudier les différences de degré entre intertextualité et réécriture permet parfois d’aller plus loin dans l’interprétation littéraire. Après quelques considérations théoriques, on analysera le cas de la pièce de Calderón intitulée No hay cosa como callar. Son protagoniste, don Juan de Mendoza, est souvent rapproché du personaje central du Burlador de Sevilla . Mais la relation de la comedia avec La fuerza de la sangre, une des Nouvelles exemplaires de Cervantes, est en réalité beaucoup plus prégnante: la pièce est une réécriture de la nouvelle, dont elle reprend le motif du viol, trait caractéristique des deux textes et qui reste étranger à The Libertine de Thomas Shadwell, inscrit pour sa part dans la postériorité du Dom Juan de Tirso.
The study of the differences of degree between intertextuality and rewriting can allow to a better understanding of some aspects of literary interpretation. After present some theoretical questions about both concepts, I analyze Calderón’s comedy No hay cosa como callar as a perfect example of the problem. It protagonist, don Juan de Mendoza, has been linked repeatedly with the myth born in El burlador de Sevilla, play that presents soft intertextual contacts, while the relationship with La fuerza de la sangre, one of Cervantes’ Novelas ejemplares, is fare more profound: in fact, the calderonian comedy could be considered as a new example of the rewriting of a novel in prose, pattern that determines certain characteristics of the resulting work. Then, the feature of rapist of the main character is an unvariant maintained from the original, and not a conscious innovation of the poet, because until The libertine, by Thomas Shadwell, it’s not introduced this innovation in the trail of the myth.

Il mito letterario di don Giovanni, sorto nella commedia, attorno al 1800 viene riformulato in direzione del tragico. La trasformazione inizia con la versione operistica di Mozart-Da Ponte e trova compimento nel racconto di Hoffmann, che proietta il nuovo tono tragico del finale mozartiano su tutto il mito. L’articolo intende porre in rilievo la presenza nel Don Juan di numerosi richiami intertestuali al Faust di Goethe, finora non pienamente rilevati dalla critica, attraverso i quali è possibile leggere tale riscrittura tragica come una dichiarata sintesi dei due miti, in cui don Giovanni assume il ruolo di Faust-Mefistofele e donna Anna quello di Gretchen. La riscrittura del mito culmina nel finale rispecchiamento del narratore in Anna-Gretchen. Ma il valore del tragico è relativizzato in Hoffmann dall’ironica autocoscienza dell’artista romantico: confinato nel mondo fantastico dell’arte, risulta privo di senso nella prosaica realtà della vita borghese.

Se estudia la aportación del libreto de la ópera de Mozart y Da Ponte al esquema mítico tratado en las obras españolas desde El burlador de Sevilla y se analiza el Don Juan Tenorio de Zorrilla como una desviación del mito original, apuntando que la construcción dramática del mito de Don Juan y la Estatua del Comendador viene de un sustrato mítico secular.

L'interesse per questa commedia, che pur risente di tutta la fretta dell'improvvisazione e l'ingenuità dell'inesperienza giovanile, va probabilmente oltre le intenzioni di Goldoni. La sua lettura permette infatti di osservare come il mito di Don Giovanni, pur sottoposto a continue rielaborazioni, non cessi di esercitare un fascino straordinario sui lettori di ogni tempo.

De origem barroca, a figura de Don Juan se converte, ao longo da história, no arquétipo por excelência do sedutor serial. Trata-se aqui de rastrear algumas das mais significativas aparições de Don Juan, seja na literatura, no teatro, na ópera ou mesmo no cinema, apontando em cada uma delas as questões, no limite, filosóficas ensejadas pela adoção de um modo de vida rigorosamente estético. Abstract Created in 1630 by Spanish playwright Tirso de Molina, the figure of Don Juan turns out to be the quintessential archetype of the popular " womanizer ". Since his emergence as a simile of the devil to the late recognition of his human all too human pathos, the many versions of this Baroque persona have only contributed to consolidate a line of conquerors as controversial as prolific. This paper aims to trace some of the most significant appearances of Don Juan, in Literature, Theater, Opera or even in the Cinema, iluminating in each of them the philosophical questions raised by the principles that guide an strictly aesthetic conduct of life.

Abstract: The aim of the essay is a thoroughly innovative interpretation of the outcome of Machiavelli’s intellectual curriculum: an anti-Lutheran interpreter of                    Erasmus of Rotterdam (Esortazione alla penitenza, 1525 depends on De immensa Dei misericordia, 1524) in the orbit of the Roman “Arciconfraternita della carità dei cortegiani di san Girolamo”, a military leader of the pontifical army, an eulogistic Pasquinista for Clement vii, the author of four Pasquinate thus far considered anonymous. In short, Machiavelli as courtier/“cortegiano” of the Pope, who in the end will turn out to be at the origin of the myth of don Giovanni.
Keywords: Machiavelli, Erasmus, Luther, Medici Popes, War of the League of Cognac.

After experiencing trouble with Tartuffe, in 1665 Molière offered the French audience a “pièce à machines”, Dom Juan ou le Festin de pierre, which was enthusiastically received on the opening night, only to be almost immediately withdrawn afterwards. Critics have long argued about the real reasons of such an awkward course of action. Some believe that the performances were discontinued largely because of the virulent Observations sur une comédie de Molière intitulée Le Festin de pierre, contained by a libellous booklet obscurely signed “sieur de Rochemont”. Others say Dom Juan itself is an attack aimed to the critics of Tartuffe. Is then Molière’s antihero masked as a real hero just a character on stage? Or is he conveying the author’s fierce response to earlier criticism?

El cotejo de la docena de empresas biográficas dedicadas desde hace más de tres siglos a Don Miguel Mañara –desde el texto hagiográfico del jesuita Juan de Cárdenas a finales del siglo XVII, hasta un reciente ensayo polémico de Manuel Barrios– incita a una triple reflexión. Llama primero la atención la gran disparidad que caracteriza a esos textos, tanto desde el punto de vista de su enfoque metodológico como de su calidad científica. Tal heterogeneidad suscita luego una interrogación sobre las motivaciones que animan a cada uno de los biógrafos de Mañara, así como un análisis de los recursos adoptados por varios de ellos para realizar su proyecto. En otros términos, este estudio comparativo pretende ofrecer algunas claves para evitar que un discurso biográfico dedicado al fundador del hospital de la Santa Caridad se convierta en imposible « discurso de la verdad ». Throughout more than three centuries a dozen biographies of Don Miguel Mañara have been published, from a hagiography by the Jesuit Juan de Cárdenas, at the end of the 17th century, to a recent controversial essay by Manuel Barrios. A comparative analysis of these works prompts three reflections. Firstly, one is surprised by the striking differences in their methodological approaches as well as in their scientific quality. Secondly, this heterogeneity leads one to enquire about the aims of Mañara's biographers, and thence to analyse the ways and means used to achieve their goals. This comparative study sets out to provide some of the keys that serve to prevent a biographic discourse about the founder of the Hospital de la Santa Caridad from turning into an impossible 'discourse of truth'.

Lo studio tematico dei miti è tutt'ora uno dei campi più praticati dalla critica letteraria. Esso ha conosciuto particolare vigore nella comparatistica francese negli anni Settanta del Novecento, quando sono apparsi, per le edizioni Armand Colin, i numerosi titoli della collana Mythes (1970-1978) curata da Philippe Sellier e Pierre Brunel; ricerche poi proseguite dal Centre de Recherche en Littérature comparée della Université Paris-Sorbonne, fondato da Brunel. Quest'ultimo è stato inoltre curatore del Dictionnaire des mythes littéraires (1988, 2ª ed. 1994), volume collettaneo di grande risonanza che si proponeva esplicitamente come summa dell'intera stagione di studi. Dal titolo stesso del Dictionnaire si evince il postulato di una specificità del 'mito letterario' quale oggetto di analisi. Esito di tali ricerche, e base per gli orientamenti successivi, è stata infine la proposta metodologica di una mythocritique letteraria, formulata da Brunel in un omonimo saggio del 1992. Scopo di questo articolo sarà analizzare i fondamenti teorici che hanno portato alle posizioni della 'mitocritica', ponendoli a confronto con altre teorie del mito coeve, in parte recepite dagli esiti più recenti di questa stessa scuola; infine, verranno tratte alcune considerazioni sul concetto di 'mito letterario' in una prospettiva storica.

This paper aims to compare and contrast the staging of opera and theatre pieces narrated in two nineteenth-century novels, Madame Bovary and La Regenta. The analysis of the performances of Lucia de Lammermoor and Don Juan Tenorio in these works by Gustave Flaubert and Leopoldo Alas "Clarín" is guided by several theories about the particularities of dramatic communication. They are employed to explain the manner in which the interaction between actors and spectators works within the fictional frame of a novel. amante) a la representación de Lucía; y como él, D. Leopoldo, no quiere ser menos que Flaubert, calcó la escena y … ¡a vivir! Compare el lector las dos situaciones y vea lo que pasa en el alma de la Regenta y lo que pasa en el alma de Madame Bovary." José María Martínez Cacheros, Hijos de la crítica. Un enfrentamiento que hizo historia. Leopoldo Alas, "Clarín" & Luis Bonafoux, "Aramis", Oviedo: Grupo Editorial Asturiano, 1991, S. 14.) Die Auseinandersetzung zwischen beiden Schriftstellern ist in dem zitierten Band ausführlich dokumentiert. 2 Leopoldo Alas, Mis plagios. Un discurso de Núñez de Arce, Madrid: Fernando Fé, 1888, S. 25, zitiert nach dem vierten Band der Obras completas, Madrid: Castro, 1998, S. 234-235: "En Madame Bovary la escena del teatro es un episodio insignificante, de los de menos relieve; en mi novela es un largo capítulo en que se estudia el alma de La Regenta por muchos lados, un capítulo de los principales para la acción interna del libro […]. DOI 101515/roma.62.13 versteht sich, dass Claríns im polemischen Eifer aufgestellte Behauptung, die Opernszene in Madame Bovary sei vollkommen bedeutungslos, ebenso unhaltbar ist. Denn in der Flaubert-Forschung ist die zentrale Rolle der Textstelle für den Fortgang der Romanhandlung unumstritten, 3 wobei immer wieder die Katalysatorfunktion für Emmas zweiten Ehebruch 4 sowie die Antizipation des Selbstmordes der Protagonistin 5 herausgestellt werden. 6 Mit der Feststellung der narrativen Funktion, die die Erzählung des Opernabends in Flauberts Roman erfüllt, ist die Bedeutung der Episode jedoch noch nicht theoretisch adäquat beschrieben. Mit Volker Roloff wäre die Frage zu stellen, wie generell bei eingeschobenen performances "die Präsenz des Theaters und der Theatralität oder auch der Oper in diesen Romanen die Struktur des Romans bestimmt und wie beide Medien, Theater und Roman, konkurrieren, interferieren und in dem Prozess der Hybridisierung jeweils neue Kombinationen entstehen lassen". 7 Nach einigen theoretischen Vorüberlegungen zu Intertextualität, Intermedialität und zur Umsetzung drama-Erzählte performance 381

This paper gives information about Lord Byron (George Gordon) and his family ancestry, as well as his being an Inner-Circle member, with Inner-Circle friends. The purpose of this paper is to further and better educate people to the true nature of history and of those who wrote literature and history. The aim is that by more people knowing of the Inner-Circle and its existence that they will be better able to understand it and benefit from the knowledge of what they left us. With this knowledge, we hold the key to knowing what the past was actually like; and once knowing that, we can better know what to do in terms of our future.

Uno de los entes literarios más famosos es, sin duda, don Juan, personaje mítico considerado arquetipo de conquistador de mujeres, el maestro por antonomasia en correrías amorosas 1 . Se trata de una leyenda de creación moderna que posee la peculiaridad de ser eminentemente literaria 2 , aunque haya alcanzado un estatus que supera cualquier límite, y que se metamorfosea en múltiples versiones adecuadas a cada época 3 . La estructura esencial consiste en el enfrentamiento entre don Juan y el Comendador que anuncia la inminente muerte, las conquistas femeninas y el héroe, que cambiará en sus sucesivas caracterizaciones, aunque conservando ciertos rasgos que lo harán reconocible 4 .

The present paper focuses on the codes of the theatrical writing, and more specifically οn the process of the director’s approach to the play. The transition followed by the director, from the text to a new creation on stage, is analyzed on the bases of a subversive aspect of Don Juan’s myth, as delivered by Eric-Emmanuel Schmitt in his play La nuit de Valognes. The spectacle on stage is, of course, the result of a collective creation, which evolves and mutates constantly because of the ephemeral featuring of the theatrical act. The creator-writer (sender) delivers his/her text (message), as a source of new creation, to the director (receiver) who is asked to present a theatrical reality on stage. As an instrument of the theatrical act, the actor embodies his/her role and becomes an actant, presenting a new entity, under the author's stage instructions and of course the guidance of the director. Starting with the author’s text as an intertextual creation, our research studies the presentation of the spectacle as a re-creation and as an « intersemiotic translation / transmutation » presenting the play to the spectator through the scene code. Consequently, we are concentrated on the " translation " of the textual data into stage data, through the key interventions made by Eric-Emmanuel Schmitt at the level of the existing myth, citing examples of the mise-en-scène directed by Patricia Houyoux in 2005, at the «Théâtre Royal du Parc» in Brussels.

Nel primo Barocco, in maniera più o meno scoperta, si converte in funzione letterario-teatrale il personaggio mitico — solo apparentemente classico e ermetico, in realtà già biblico (e cabalistico) — della statua animata, ricorrente in diversi generi letterari di varie nazionalità. L'indagine si focalizzerà sulla scena italiana: dalla Commedia dell'Arte con l'Ateista fulminato, passando per il Convitato di pietra di Andreini, sino a una folta serie di libretti affollati da statue.

The Original Portrayal of Mozart’s Don Giovanni offers an original reading of Mozart’s and Da Ponte’s opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone Luigi Bassi (1766–1825). Although Bassi was coached in the role by the composer himself, his portrayal has never been studied in depth before, and this book presents a large number of new sources (first- and second-hand accounts), which allows us to reconstruct his performance scene by scene. The book confronts Bassi’s portrayal with a study of the opera’s early German reception and performance history, demonstrating how Don Giovanni as we know it today was not only created by Mozart, Da Ponte and Luigi Bassi but also by the early German adapters, translators, critics and performers who turned the title character into the arrogant and violent villain we still encounter in most of today’s stage productions. 
Incorporating a discussion of the dramaturgical thinking of the late Enlightenment and the difficult moral problems that the opera raises, this is an important study for scholars and researchers from opera studies, theatre and performance studies, music history as well as conductors, directors and singers.

Dans la société féodale, la trahison était l'un des plus grands crimes qui fussent. On appelait "traîtres" les païens et les hérétiques, parce qu'ils manquaient à la parole de Dieu, ou ceux qui ne respectaient pas les serments, sur lesquels étaient basées les relations sociales et humaines. Le premier des traîtres était Satan lui-même, car il s'était rebellé le premier contre la loi de Dieu : la trahison était l'une des principales facettes du Mal. Or, don Juan, s'il n'exista pas en tant que tel avant la pièce de Tirso de Molina, est enraciné dans le moyen-âge et le catholicisme, ne serait-ce que parce que dans la pièce fondatrice, il est censé avoir vécu au XIVe siècle. Ainsi, d'une certaine façon, peut-on dire que le mythe de don Juan est une légende médiévale qui a survécu. Mais, d'un autre côté, don Juan n'est plus un personnage médiéval, et son mythe est proprement moderne : Rutebeuf nous montrait un Théophile sauvé en dernière instance par l'intervention de la sainte Vierge, mais Tirso nous montre un don Juan qui persiste jusqu'au bout dans le mal et qui est irrémédiablement précipité aux enfers.
Don Juan trahit les hommes et les femmes ; il trahit son rang ; il trahit son souverain, et il va jusqu'à trahir Dieu lui-même. Et pourtant, c'est un traître admirable, qui laisse parler en lui la force de la Nature, qui se rit des hommes et des lois, qui est habité par un véritable souffle cosmique. Alors, subreptiscement, les ennemis de don Juan deviennent eux aussi des traîtres, car ils s'opposent aux "Forces qui Vont", dont il est une incarnation. Les trahisons, dans le mythe de don Juan, sont aussi variées et diverses que les oeuvres qui l'ont exploité ; c'est la nature même de la trahison qui évolue selon les temps et les lieux, ou selon les auteurs eux-mêmes : il s'est joué là une question plus qu'importante dans la représentation du mythe, l'art lui-même ayant été considéré de manières diverses par les individus : tantôt source de vérité, tantôt source d'illusion, le langage est tantôt créatif, tantôt artificiel. C'est l'histoire de la littérature elle-même qui se trouvera impliquée.

En el siguiente trabajo proponemos argumentar que la seducción tal como la entiende Kierkegaard abre la posibilidad del Kitsch. Tal relación se verá cristalizada en la obra Diario de un Seductor. La consideración principal será la de tratar a la figura del seductor desde una doble perspectiva: como individuo y como ejecutante instrumental de una fuerza que lo trasciende, esto es, de la seducción como Principio. Así, el Kitsch se abre paso en un individuo enmascarado, perdido para si y para los demás, en definitiva un individuo que lleva una existencia inauténtica, un individuo propio del estadio estético.

This essay explores the claim made by Robert Southey that Lord Byron and his "satanic school" were subverting the morals of readers. As Byron did not appreciate this term coined by Mr. Southey, he decided to write a mock poem that challenged the harsh critique. Byron was, instead, a symbol of freedom and a mouth piece for a new liberal age. By exploring Byron's writings and his appreciation for rebellious figures, like Milton's Satan and Napoleon Bonaparte, we begin to see an image of Byron that was not necessarily "mad, bad, and dangerous to know."

Como observa el prologuista de esta edición, F. Rico “La autoría de El burlador de Sevilla y de Tan largo me lo fiáis y en particular la relación y la posible dependencia de una de las dos comedias respecto de la otra, se cuentan entre los máximos enigmas de la literatura española del Siglo de Oro.” Palabras que son un reconocimiento claro de que cualquier edición de la obra tiene que atender a dos cuestiones todavía no resueltas: quién es el autor y cómo se ha transmitido el texto.

Chacun de leur côté, un historien reconnu (Fernand Hallyn) et un célèbre metteur en scène (Jean-Pierre Vincent) ont récemment suggéré qu’il est possible que Dom Juan ne meure pas à la fin de la pièce de Molière — alors que le texte dit explicitement le contraire. Cette hypothèse procède-t-elle d'une infidélité de lecture ? Produit-elle un contresens ? Elle se fonde en tout cas sur une manière de lire les textes dramatiques qui, en France, est encouragée. Après avoir montré la différence entre le fait de lire un texte dramatique et le fait de le lire comme un texte de théâtre —texte qu’on peut alors lire au passé, au futur antérieur ou au futur simple—, cet article prête attention aux interférences que ces manières de lire peuvent produire entre elles dans le présent de la lecture. Il explique ainsi pourquoi il n’est pas simple de s’accorder sur un fait en apparence aussi facile à établir que la mort d’un personnage dans une pièce de théâtre. Par là, il invite à considérer les incidences que cette spécificité de la lecture des textes dramatiques (non naturelle, mais tributaire d'une histoire — éditoriale, théâtrale, critique, théorique...) peut avoir sur l’exercice de l’analyse de texte.

L’Europa riconosciuta, «dramma per musica» di Antonio Salieri su libretto di Mattia Verazi con cui fu inaugurato nel 1778 il teatro alla Scala — riproposta nel dicembre 2004 come spettacolo inaugurale per la riapertura dopo i lavori di ammodernamento dello stesso teatro —, costituisce un’esemplare testimonianza delle novità e dei mutamenti in atto nel teatro d’opera europeo nella seconda metà del Settecento. Il primo atto culmina nel Ballo primo, che possiede un grande impatto drammatico. Si è pensato che esso fosse perso tanto che la produzione di Europa riconosciuta a Milano al Teatro alla Scala nel 2004 era sfortunatamente priva di questo Ballo. Esso è stato rintracciato da chi scrive in uno dei fascicoli autografi di Balli di Salieri conservati a Vienna, il presente breve articolo ne contiene la disanima e ne ricostruisce l'ordinamento. Si tratta d'un documento completo in se stesso che contiene le indicazioni che dimostrano che fu riutilizzato parzialmente dal compositore molti anni più tardi per la nuova versione di Tarare che andò in scena il 3 febbraio 1819 nel Teatro dell’Académie Royale de Musique, per la quale il compositore apprestò una nuova partitura autografa.

Don Juan de Gonzalo Torrente Ballester reconstruye el mito profundizando en la psicología del famoso seductor. Don Juan se condena pero, a diferencia de otras versiones, no se debe a que deshonre a las mujeres, sino a que las abandona por miedo a perder su libertad. Torrente Ballester enfrenta una visión de la sexualidad como pecado con otra de la sexualidad como expresión divina que sirve de motor a la narración. También, emplea procesos de desmitificación y mitificación para construir su propio don Juan. La novela explica las motivaciones de don Juan, pero conserva la ambigüedad necesaria para que su mito siga vivo.

Don Juan by Gonzalo Torrente Ballester reconstructs the myth deepening in the famous seducer psychology. Don Juan is damned but, unlike other versions, it is not due to dishonouring women, but to abandoning them because he’s afraid of loosing his freedom. Torrente Ballester brings face to face a view of sexuality as sin and another of sexuality as an expression of divinity as driving force to the narration. Moreover, he uses mythification and demythification to build his own don Juan. The novel explains don Juan’s motivations, but it keeps the necessary ambiguity to maintain the myth alive.

Se estudian varias obras de Claramonte en las que aparecen variantes de las figuras de Don Juan (seductores que suplantan al novio, homicidas por celos o venganza) y de la Estatua del Comendador (estatuas animadas a las que se afrenta, espectros que regresan y muertos  que vuelven para reclamar o administrar justicia.
Se trata de la versión completa de lo que se presentó en el Coloquio sobre El burlador de Sevilla y Don Juan en la UCLA, Universidad de California at Los Angeles, el 18 de mayo. No se publicarán actas, por lo que este texto es una invitación a participar en una revisión de ideas sobre la atribución del Burlador a Claramonte, con vistas a una publicación posterior algo más amplia.

Analizo el entramado de referencias míticas del episodio de la seducción de la pescadora Tisbea por Don Juan Tenorio, básicamente las figuras de Ulises, Jasón y Eneas, y resumo algunos de los numerosos pasajes homólogos de estos tres personajes míticos en las comedias de Andrés de Claramonte. La hipótesis helénica, asociada a Claramonte, resulta más consistente para entender el sustrato mítico que la hipótesis teológica asociada a Tirso de Molina.

This work contains only just under 40% of Serres's Hermès I: La Communication (Paris: Les Editions de Minuit, 1968). I have collected all the existing pieces that have been translated and ordered them along the lines of the original. This work contains a short untitled preface, the “Introduction”, the first and third parts of Chapter 1, entitled respectively “Platonic Dialogue and the Intersubjective Genesis of Abstraction” and “Mathematical Anamneses”, and the Conclusion, “The Apparition of Hermes: Don Juan”. “Platonic Dialogue” and “The Apparition of Hermes” are both retranslations of the original translations from Hermes: Literature, Science, Philosophy, translated by D. Bell and J. Harari.

Analysis of the gender, ethnicity, and class aspects of Mauricio Garcés's representation of Don Juan. Garcés plays with the classic elements of Claramonte's and Zorrilla's character but his roles evince the politics and social tensions of the 1960s and 1970s in Mexico. The emphasis is on the complex and ambiguous screen masculinity created by Garcés, that transcends the strict hypermasculine tropes established by the male leads of the Mexican Golden Age of cinema.