Mi vida/anda de un hilo pendiente

Le drame espagnol du Siècle d’Or aborde très fréquemment le thème de l’ascension et de la chute du privado, ou favori du roi : c’est le cas pour de nombreuses pièces de Juan Pérez de Montalbán. La présente étude se propose d’explorer la représentation de la précarité du favori dans l’œuvre du dramaturge, en portant une attention particulière aux apariencias emblématiques.Spanish drama of the Golden Age exploited with great frequency the theme of the rise and fall of the privado, or royal favourite. It is a theme that appears in many plays by Juan Pérez de Montalbán. This study explores the dramatist’s depiction of the precariousness of the favourite, with a special focus on emblematic discovery scenes.El drama español del Siglo de Oro cultivó con una frecuencia sorprendente el tema de la subida y caída del privado. Es un tema que aparece en muchas de las obras dramáticas de Juan Pérez de Montalbán. El análisis presente explora la representación de la precariedad del privado en la obra del dramaturgo con un enfoque especial en las apariencias dramáticas emblemáticas

Shakespeare

If scholarship devoted to the influence of emblematics on Cervantes is a relatively new field, the same cannot be said for Shakespeare. The study of the debt owed by Shakespeare to emblem books began in earnest over a century ago with the publication of Henry Green's pioneering Shakespeare and the Emblem Writers: An Exposition of their Similarities of Thought and Expression. Preceded by a View of Emblem-Literature Down to A.D. 1616 (London: Trübner and Co., 1870). One constant in the approach of Shakespeare critics in their handling of possible emblematic influence is to urge caution and prudence when considering emblem literature as a possible source or influence on Shakespeare.Si la investigación dedicada a la influencia de la emblemática en Cervantes es un campo relativamente nuevo, no podemos decir lo mismo en relación a Shakespeare. El estudio de las deudas del dramaturgo con los libros de emblemas se remonta a más o menos un siglo, con la publicación del estudio pionero de Henry Green, Shakespeare and the Emblem Writers: An Exposition of their Similarities of Thought and Expression. Preceded by a View of Emblem-Literature Down to A.D. 1616 (Londres: Trübner and Co., 1870). Una constante del acercamiento de la crítica a este asunto siempre ha sido recomendar la mayor cautela y prudencia en la consideración de la literatura emblemática como fuente o influencia posible sobre los textos de Shakespeare

Cervantes

Si la intución de vincular a Shakespeare con el mundo de los emblemas fue rastreada por la crítica anglosajona desde antiguo, dando lugar a estudios extensos y minuciosos, no ha sido así con la obra de Cervantes. De hecho, no podemos hablar en rigor de unos primeros —y aún tímidos— análisis de este enlace hasta principios de los años ochenta del siglo pasado, y habrá que esperar a que acabe prácticamente el siglo para contar con una mínima bibliografía dedicada. Sin duda, la multiplicación de estudios coincide con el nuevo interés que gana en nuestro país la literatura de emblemas a impulsos de la Sociedad Española de Emblemática, de sus congresos y las publicaciones de sus miembros. Pero hay que destacar que, aún así, y hasta hoy, la figura de Cervantes se presenta escurridiza para la consolidación de esta bibliografía

The Emblematic Exemplum in Agustín Moreto y Cabaña and Other Golden Age Playwrights

Taking as a point of departure Juan de Horozco's definition: «las emblemas se pueden hazer con figuras solas, como es más ordinario o con figuras y letras que siruan de mote, y esto es, porque la emblema quanto más guardare las propiedades de la empresa tanto será mejor según yo entiendo y juzgara qualquiera» (f. 64v), this study analyzes the presence and function of dramatic emblems in the plays of Agustín Moreto y Cabaña and other Spanish Golden Age Dramatists. It postulates that the poetic images, derived in many instances from emblem books, function as exempla in order to comment on the dramatic situation. The dramatic emblems are divided into two main groups: «marked emblems and «unmarked emblems». KEYWORDS: Agustín de Moreto; argumentum emblematicum; dramatic emblems; exempla

Paremias in the Plays of Juan Pérez de Montalbán

This study seeks to catalogue in alphabetic order the paremias that are included in the dramatic works of the ill-fated Madrid poet and friend and disciple of Lope de Vega, Juan Pérez de Montalbán, as a manifestation of a very popular convention in Spanish Golden Age dramas: the systematic incorporation of proverbs, refrains and other paremias in the dramatic text, generally issuing from the mouth of the gracioso. This corpus is based on a total of 46 dramas, that include 25 plays universally accepted as authentic, 11 plays of probable authorship and 10 plays of dubious attribution. Once the corpus is established, the article proceeds to a brief analysis of the function of paremias en Golden Age comedy in general, and in the dramatic works of Pérez de Montalbán in particular

"Ahórquese en buen día claro": more on the paremias in the "Comedia Eufrosina"

Se ha señalado la importancia evidente de la paremiología en la construcción literaria de la “Comedia Eufrosina”, pero no se había rastreado hasta ahora de manera exhaustiva la presencia concreta de las fuentes usadas por Ferreira de Vasconcelos. Este trabajo, partiendo del análisis de la traducción de los refranes portugueses llevado a cabo por Fernando de Ballesteros y Saavedra en su versión de la obra (1631), subraya la presencia de “La segunda Celestina” de Feliciano de Silva y del “Libro de Refranes” de Pedro Vallés, pero también de otros refraneros castellanos, concluyendo que ya debió conocerlos y utilizarlos Ferreira de Vasconcelos en el momento de elaborar la versión portuguesa original.The clear importance of paremiology in the literary construction of the “Comedia Eufrosina”, has been noted previously, but up until now the possible sources utilized by Ferreira de Vasconcelos have not been exhaustively studied. In this article, using as our point of departure the analysis of the translation of the Portuguese proverbs and refrains incorporated by Fernando de Ballesteros y Saavedra in his Spanish version of the work (1631), we point out the importance of “La segunda Celestina” by Feliciano de Silva and of the “Libro de Refranes” by Pedro Vallés, as well as other Spanish refraneros of the period, concluding from the evidence that Ferreira de Vasconcelos must have been familiar with them and utilized them while composing the Portuguese original.peerReviewe

Gene Expression Changes in GABAA Receptors and Cognition Following Chronic Ketamine Administration in Mice

Ketamine is a well-known anesthetic agent and a drug of abuse. Despite its widespread use and abuse, little is known about its long-term effects on the central nervous system. The present study was designed to evaluate the effect of long-term (1- and 3-month) ketamine administration on learning and memory and associated gene expression levels in the brain. The Morris water maze was used to assess spatial memory and gene expression changes were assayed using Affymetrix Genechips; a focus on the expression of GABAA receptors that mediate a tonic inhibition in the brain, was confirmed by quantitative real-time PCR and western blot. Compared with saline controls, there was a decline in learning and memory performance in the ketamine-treated mice. Genechip results showed that 110 genes were up-regulated and 136 genes were down-regulated. An ontology analysis revealed the most significant effects of ketamine were on GABAA receptors. In particular, there was a significant up-regulation of both mRNA and protein levels of the alpha 5 subunit (Gabra5) of the GABAA receptors in the prefrontal cortex. In conclusion, chronic exposure to ketamine impairs working memory in mice, which may be explained at least partly by up-regulation of Gabra5 subunits in the prefrontal cortex

Single Center Review of Femoral Arteriovenous Grafts for Hemodialysis

It is unclear how to manage high risk hemodialysis patients who present with an indwelling catheter. The National Kidney Foundation Practice Guidelines urge prompt removal of the catheter, but the guidelines do not specifically address the problem of patients whose only option is a femoral arteriovenous (AV) graft.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/41306/1/268_2005_Article_62.pd