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Still, there have been some notable versions of the story across the globe. As early as 1688, English playwright Aphra Behn translated a French version of the tale into an English novella. This was then adapted for the stage by another woman, Catharine Trotter, and played at Drury Lane in 1696. Titled Agnes de Castro, its plot had already wandered a fair way from the original, introducing new characters as part of a complex plot that becomes about the perils of female rivalry and jealousy.

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VERBAL SUBTLETY IN CASTRO'S EL AMOR CONSTANTE Georgia Pappanastos, Marquette University In a recent article investigating the malediction device in Golden Age drama Raymond R. MacCurdy makes the following comment: "By and large, whatever his merits, Castro is not usually thought of as a subtle dramatist."1 Certainly Professor MacCurdy's statement echoes the general sentiments of comedia scholars with regard to the dramatic technique of the Valencian playwright. But such views may have preconditioned critics to disregard the possibility of subtlety in Guillen de Castro and consequently to divert their analytical efforts eleswhere. By discussing two examples of verbal subtlety in the dramatist's first play, El amor constante, I would hope to prove that Castro is perhaps a more complex author than is usually thought and at the same time offer an alternative to previous interpretations of the play's title in relationship with the dramatist's purpose . Since an extensive plot summary of El amor constante is readily available in Jos Mara Roca Franquesa's study of this play,2 1 shall only briefly present the situation preceding the passages under consideration. In Act I the King of Hungary has just freed his brother Prince Celauro after 15 years in prison in order to verify his suspicions that Nisida, a dama of the court who has long disdained the ruler's amorous advances , is in love with the prince. In the reunion of the two lovers, Nisida reveals to Celauro that at the time of his imprisonment she was pregnant, that subsequently in the privacy of her chambers she gave birth to their son whom she then entrusted to a servant after first placing around the baby's neck a jeweled cross together with "la sortija . . . / del diamante que me diste, / diciendo, al drmela, que era / menos que tu pecho firme" ( I, 9b) .3 Thereafter Nisida had been unable to ascertain the whereabouts of the child. As the scene progresses, Nisida expresses her fears of the King and has a vision of death which causes her to feel faint. When Celauro tries to comfort her, the King enters and what he sees confirms his suspicions. Overcome with jealousy, the monarch dismisses Celauro from his presence and then attempts to force himself upon Nisida, only to be interrupted by the Queen. Before her arrival, however, during the struggle between pursuer and pursued, the King describes his burning passion and then suddenly the conversation veers in another direction : Rey. Es del infierno mi pena; 1 herido te ha tu sortija. 2 Sangre te pudo sacar; 3 si es diamante, no te espante,4 pues es cierto que un diamante5 con otro se ha de labrar. 6 Nisida. Mi sangre has visto, y el velia7 no me ha sido de provecho;8 ms duro tienes el pecho, 9 pues no se ablanda con ella; / 10 mas qu efetos ... 11 Rey.No des voces.12 Nsida. . . . har en ti, duro homicida,13 pues siendo tan conocida, 14 la ves y no la conoces? 15 (I, 12b)4 17 There are several levels of meaning in this exchange which depend upon the two key words sangre and diamante and their inter-action. On the purely literal level, Nisida, in struggling with the King, has scratched herself with her ring and drawn blood; but even the sight of the blood does not restrain her attacker. In a metaphorical sense, however, sangre is synonymous with parentesco.5 And indeed it is in this latter sense that, upon the arrival of the Queen, Nisida uses the fact of her lineage (sangre) as a weapon in her defense as she pleads for the Queen's support.6 Thus on a metaphorical level Nsida's sangre (lineage) "tan conocida" likewise fails to have a restraining influence upon the King. According to Covarrubias (p. 469), the word diamante is derived from the Latin a domo "por ser indomable, segn la opinin de algunos, a razn de ser tan dura que con ningn instrumento se labra, si no es con otro diamante y con la sangre del cabrn caliente." The lexicographer also points out that because of its...

Social media use is linked with the development and maintenance of romantic relationships, exhibiting both positive and negative effects on relationship quality depending on the social media behavior. However, many of these studies focus on a singular social media platform rather than multiple social media platforms. Also, studies on Facebook have linked anxious attachment to more surveillance and Facebook-induced jealousy (Marshall, Benjanyan, Di Castro, & Lee, 2013). Thus, the impact of social media behaviors for relationship quality may depend on attachment behaviors. Therefore, the goal of the current study is to examine how attachment avoidance and attachment anxiety predict relationship quality for established and developing relationships. Data comes from 183 college students (86.9% female, 87.4% heterosexual) who completed an online survey for ten consecutive days regarding their social media use and quality of their relationship with a romantic partner or crush. Results of linear regression analyses illustrated that avoidance was negatively associated with relationship quality for established relationships, whereas minutes spent private messaging a crush was positively associated with relationship satisfaction. Additionally, anxiety moderated the relationship between commenting and posting photos of partners for relationship satisfaction for established relationships. Avoidance moderated the relationship between commenting and relationship satisfaction for established relationships. No interactions were found between attachment behaviors and social media behaviors for quality of relationships between single participants and crushes. Attachment anxiety and avoidance may explain how social media promotes and hinders the quality of established relationships. Implications regarding attachment security and social media use will be discussed.

BC: I don't think Drift tried to invert the trope. Certainlynot with the instrument of the cancerous imperial mothers. The noveldemonstrates the continuing nineteenth-century fixation upon motherlands andthe damage they do to those who violate the matrix of the rhetoric of loveand land--as distinct from patriotism, which is all silent devotion. Noticehow the national rhetoric is redefined under pressure of indictments ofracism and extremism: Pauline Hanson describes herself as `the mother of allAustralians'. But motherhood is no longer immune from nationalist andracist agendas. Its ties of wombs and blood are made even stronger becausehaving shifted the emphasis of docility and pacifism from itself, motherhoodtakes on a cultural and familial inflection whose appeal to the origins andthe hearth extorts symbolic (foetal) dependence and trust. It is more correctand manageable than Oedipalised conflict and jealousy. The great mother, themagna mater, is the apocalypse upon which devoted sons feed. That's whyCamus' L'etranger was so shocking for contemporary readers and atthe same time so understandable, when his character could not feel remorsefor his mother's death. Mother-worshippers would have hated it, as theywould have hated Drift.

This week we welcome very special guest Billy Procida, host of The Manwhore Podcast: A Sex Positive Quest for Love. We dig into all kinds of topics in this one: sex positivity, sex party etiquette, being a single hetero man in the swinging scene, quick fixes for handling jealousy at a play party, and just a little bit about butt stuff. 2351a5e196