These dialogues express different world visions. If the expected cultural exchange takes place, then an enduring relationship of tolerance and understanding forms between the two worlds. Bonds that surpass temporal, geographic, and philosophical specificity attest to humankind's universal and atemporal need for myth. The questions, proposed answers, and subsequent revisions will, it is hoped, coexist in an ongoing dialogue among ancient, Golden Age, and contemporary individuals.

The theatrum mundi metaphor was well-known in the Golden Age, and was often employed, notably by Calderón in his religious theatre. However, little account has been given of the everyday exploitation of the idea of the world as stage in the mainstream drama of the Golden Age. This study examines how and why playwrights of the period time and again created characters who dramatize themselves, who re-invent themselves by performing new roles and inventing new plots within the larger frame of the play. The prevalence of metatheatrical techniques among Golden Age dramatists, including Lope de Vega, Tirso de Molina, Calderón de la Barca and Guillén de Castro, reveals a fascination with role-playing and its implications. Thacker argues that in comedy, these playwrights saw role-playing as a means by which they could comment on and criticize the society in which they lived, and he reveals a drama far less supportive of the social status quo in Golden Age Spain than has been traditionally thought to be the case.

The Signifying Self: Cervantine Drama as Counter-Perspective Aesthetic offers a comprehensive analysis of all eight of Cervantes's Ocho comedias (published 1615), moving beyond conventional anti-Lope approaches to Cervantine dramatic practise in order to identify what, indeed, his theatre promotes. Considered on its own aesthetic terms, but also taking into account ontological and socio-cultural concerns, this study compels a re-assessment of Cervantes's drama and conflates any monolithic interpretations which do not allow for the textual interplay of contradictory and conflicting discourses which inform it. Cervantes's complex and polyvalent representation of freedom underpins such an approach; a concept which is considered to be a leitmotif of Cervantes's work but which has received scant attention with regards to his theatre. Investigation of this topic reveals not only Cervantes's rejection of established theatrical convention, but his preoccupation with the difficult relationship between the individual and the early modern Spanish world. Cervantes's comedias emerge as a counter-perspective to dominant contemporary Spanish ideologies and more orthodox artistic imaginings. Ultimately, The Signifying Self seeks to recuperate the Ocho comedias as a significant part of the Cervantine, and Golden-Age, canon and will be of interest and benefit to those scholars who work on Cervantes and indeed on early modern Spanish theatre in general.

The Roman poet Ovid, author of the famous Metamorphoses, is widely considered one of the canonical poets of Latin antiquity. Vastly popular in Europe during the Renaissance and Early Modern periods, Ovid's writings influenced the literature, art, and culture in Spain's Golden Age. The book begins with examinations of the translation and utilization of Ovid's texts from the Middle Ages to the Age of Cervantes. The work includes a section devoted to the influence of Ovid on Cervantes, arguing that Don Quixote is a deeply Ovidian text, drawing upon many classical myths and themes. The contributors then turn to specific myths in Ovid as they were absorbed and transformed by different writers, including that of Echo and Narcissus in Garcilaso de la Vega and Hermaphroditus in Covarrubias and Moya. The final section of the book centers on questions of poetic fame and self-fashioning. Ovid in the Age of Cervantes is an important and comprehensive re-evaluation of Ovid's impact on Renaissance and Early Modern Spain.

In 1991, Laura Slatkin published The Power of Thetis: Allusion and Interpretation in the Iliad, in which she argued that Homer knowingly situated the storyworld of the Iliad against the backdrop of an older world of mythos by which the events in the Iliad are explained and given traction. Slatkin’s focus was on Achilles’ mother, Thetis: an ostensibly marginal and powerless goddess, Thetis nevertheless drives the plot of the Iliad, being allusively credited with the power to uphold or challenge the rule of Zeus. Now, almost thirty years after Slatkin’s publication, this timely volume re-examines depictions and receptions of this ambiguous goddess, in works ranging from archaic Greek poetry to twenty-first century cinema. Twenty authors build upon Slatkin’s readings to explore Thetis and multiple roles she played in Western literature, art, material culture, religion, and myth. Ever the shapeshifter, Thetis has been and continues to be reconceptualised: supporter or opponent of Zeus’ regime, model bride or unwilling victim of Peleus’ rape, good mother or child-murderess, figure of comedy or monstrous witch. Hers is an enduring power of transformation, resonating within art and literature.

Tirso de Molina has been the subject of less than half as much scholarly research as either of his Golden Age counterparts, Lope de Vega and Calderón de la Barca. Tirso's only mythological play, El Aquiles, remains one of the least studied of his plays, and when studied, is generally considered in isolation from the rest of his dramatic production. The Achillean Hero in the Plays of Tirso de Molina traces the development of the figure of the Achillean hero in three of Tirso's plays, El Aquiles, La vida y muerte de Herodes, and La venganza de Tamar, and in doing so connects the early mythological play to the dramatist's later works.

Sins of the Fathers considers sins as nodes of cultural anxiety and explores the tensions between competing organizational categories for moral thought and behaviours, namely the Seven Deadly Sins and the Ten Commandments. Hilaire Kallendorf explores the decline and rise of these organizational categories against critical transformations of the early modern period, such as the accession of Spain to a position of world dominance and the arrival of a new courtly culture to replace an old warrior ethos. This ground-breaking study is the first to consider Spanish Golden Age comedias as an archive of moral knowledge. Kallendorf has examined over 800 of these plays to illustrate how they provide insight into aspects of early modern experience such as food, sex, work, and money. Finally, Kallendorf engages the theoretical terminology of Marxist literary criticism to demonstrate the inherent ambiguity of cultural change.