Sederi 29 2019 IN MEMORIAM MARÍA LUISA DAÑOBEITIA FERNÁNDEZ EDITOR Ana Sáez-Hidalgo MANAGING EDITOR Francisco-José Borge López REVIEW EDITOR María José Mora PRODUCTION EDITORS Sara Medina Calzada Tamara Pérez Fernández Marta Revilla Rivas We are grateful to our collaborators for SEDERI 29: Leticia Álvarez Recio (U. Sevilla, SP) Adriana Bebiano (U. Coimbra, PT) Todd Butler (Washington State U., US) Rui Carvalho (U. Porto, PT) Joan Curbet (U. Autònoma de Barcelona, SP) Anne Valérie Dulac (Sorbonne U., FR) Elizabeth Evenden (U. Oxford, UK) Manuel Gómez Lara (U. Seville, SP) Andrew Hadfield (U. Sussex, UK) Peter C. Herman (San Diego State U., US) Ton Hoensalars (U. Utrecth, NL) Douglas Lanier (U. New Hampshire, US) Zenón Luis Martínez (U. Huelva, SP) Willy Maley (U. Glasgow, UK) Irena R. Makaryk (U. Ottawa, CA) Jaqueline Pearson (U. Manchester, UK) Remedios Perni (U. Alicante, SP) Ángel Luis Pujante (U. Murcia, SP) Miguel Ramalhete Gomes (U. Lisboa, PT) Katherine Romack (U. West Florida, US) Mary Beth Rose (U. Illinois at Chicago, US) Jonathan Sell (U. Alcalá de Henares, SP) Alison Shell (U. College London, UK) Erin Sullivan (Shakespeare Institute, U. Birmingham, UK) Sonia Villegas (U. Huelva, SP) Lisa Walters (Liverpool Hope U., UK) J. Christopher Warner (Le Moyne College, US) Martin Wiggins (Shakespeare Institute, U. Birmingham, UK) R. F. Yeager (U. West Florida, US) Andrew Zurcher (U. Cambridge, UK) Sederi 29 (2019) Table of contents María Luisa Dañobeitia Fernández. In memoriam By Jesús López-Peláez Casellas ....................................................................... 5–8 Articles Manel Bellmunt-Serrano Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation ........................................................................................................... 11–33 Delilah Bermudez Brataas The blurring of genus, genre, and gender in Margaret Cavendish’s utopias .. 35–59 Sophie Chiari The limner’s art in Shakespeare’s Macbeth .......................................................... 61–83 Clark Hulse Ovid’s urban metamorphosis .............................................................................. 85–108 Elizabeth Mazzola Suffocated mothers, stabbed sisters, drowned daughters: when women choose death on Shakespeare's stage .............................................................................. 109–33 Inmaculada N. Sánchez-García Uneasy lies the heart that wears a badge: James Gray’s We Own the Night as a Gen- X Henriad ............................................................................................................... 135–60 Notes A. S. G. Edwards William Forrest: Poetry, politics, script and power .......................................... 163–80 Reviews Patrick Cheney, English Authorship and the Early Modern Sublime (by Jonathan P. A. Sell) ........................................................................................ 183–88 Paul Edmondson and Ewan Fernie, eds. New Places: Shakespeare and Civic Creativity (by Francesca Rayner) .......................................................................................... 189–93 Keir Elam, Shakespeare’s Pictures: Visual Objects in the Dramas, and B. J. Sokol, Shakespeare’s Artists: The Painters, Sculptors, Poets and Musicians in his Plays and Poems (by Jonathan P. A. Sell) ........................................................................................ 194–98 Carme Font, Women’s Prophetic Writings in Seventeenth-Century Britain (by Beatriz Hernández Pérez) ........................................................................... 199–204 Sebastián Fox Morcillo, De honore. Estudio y traducción (by Jesús López-Peláez Casellas) ........................................................................ 205–10 José Manuel González, ed., José María Ferri and María del Carmen Irles Vicente, coord. Cervantes-Shakespeare 1616-2016: Contexto, influencia, relación = Context, Influence, Relation (by Mercedes Salvador-Bello) ............................................................................. 211–15 Ángel-Luis Pujante and Keith Gregor, eds. Romeo y Julieta en España: Las versiones neoclásicas (by Jesús Tronch) .................................................................................................. 216–20 Poonam Trivedi and Paromita Chakravarti, eds. Shakespeare and Indian Cinemas: Local Habitations (by Rosa García-Periago) ..................................................................................... 221–26 Performance Reviews Sónia Baptista, I Call Her Will (by Francesca Rayner) .......................................................................................... 227–29 About Sederi ................................................................................................................. 231–32 Submission guidelines ................................................................................................ 233–34 Style sheet and notes for contributors ....................................................................... 235–37 María Luisa Dañobeitia Fernández In memoriam Jesús López-Peláez Casellas Universidad de Jaén, Spain I met her thirty years ago, back in 1989, when I took a class she used to teach at the Universidad de Granada. Throughout her career, students’ reactions to her teaching went from passionate adoration to puzzlement, and the truth is that many could not begin to understand what she was about. Of course, she immediately blew my mind (and a few other minds too). It was a last-year survey course on medieval and early modern English literature, and I found it enthralling: so much so that, a few months later, I started under her supervision a PhD thesis on Shakespeare (and Calderón). As a matter of fact I did not know much about her (and neither did any of my fellow students): the only thing we knew for sure about María Luisa Dañobeitia was that nobody really knew who she really was, or where she came from, and her eccentric, almost bizarre, demeanor (the way she talked, the way she dressed and moved) added to the mystery. I have to say that I had enjoyed, and would later enjoy, some very good lecturers in literary subjects, in Jaén, Granada, and Cork (Ireland), but she was a class of her own, and her lessons were completely different from anything I had ever experienced. Consequently, she became, from the very first class I attended (and remains to this day), the most memorable, attractive and fascinating personality I had ever met at any university. María Luisa did not exactly introduce you to the literature of the period you were studying. She did not examine or discuss, say, The Canterbury Tales: she made you feel like you were one of the pilgrims, and took you along for the ride. She could appear as beautiful as Stella and as dangerous as the Dark Lady; as witty as Gill and as mysterious as Morgan Le Fay, although you always suspected she really was the sweet Lady of Shalott. And you could do nothing but read over and over again those texts you thought you had “understood” until you actually came to see what she suggested you might find in them. It was only then that you realized they were completely different from what you thought (and anybody thought!) they were. “Read against Sederi 29 (2019: 5-8) M.L. Dañobeitia In Memoriam the grain” was an expression invented for her, and something she generously passed on to young scholars like I was then. As I became one of her doctoral students I soon learnt that her approach to literature, radically original as it was, also stemmed from the frequent visits she had paid to the British Library while she was living in London in the late 1950s (where she arrived from her family’s Basque Country and Navarre), and mostly from having studied at the University of Toronto in the 1960s, where she became heavily and directly influenced by Northrop Frye (who taught her and later introduced her to the study of archetypes, which in a way makes me and others, through her, Frye’s academic progeny…). And, through Frye, she became conversant with the work of Carl G. Jung, Robert Graves and James Frazer, among many others. These authors and their works (Psychology and Alchemy, The White Goddess, The Golden Bough…) were with María Luisa most of her life, and left a big mark on her and on her work: hence María Luisa’s incessant production of always insightful and extraordinarily rich examinations of all kinds of symbols, motifs and signs in such different and varied literary works as Sir Gawain and the Green Knight, Shakespeare’s and Marlowe’s drama, Blake’s Book of Urizen, Richardson’s Pamela, Yeats, Chaucer, Murdoch, Spark, Tennyson, among others. However, one of the most important things she taught me (and something I now try to instill in my own students) was that criticism does not mean a thing if you don’t close read the texts first… and then read them again. All of María Luisa’s PhD students (and there were as many as six of us at the same time) had to know and practice this: it was the only thing she demanded from us: read incessantly, read up and down, backwards and sideways, read as if your life depended on it… because in a way it often does. Indeed, María Luisa’s PhD students have all eventually followed very different paths in terms of our critical approaches to the examination of literature and cultural artifacts, but I guess all of us have a certain family resemblance. I, for one thing, like to believe this is so, and I fancy I find this connection in those colleagues who, like myself, began their