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| Acknowledgments | |
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| Introduction | |
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| Icons of Early Spain | |
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| The Existential Rodrigo, Last of the Goths | |
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| The Cid: Four Operatic Transformations of a Spanish Classic | |
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| Bridges of Song: Christian, Judaic, and Islamic Influences in Poetry and Music | |
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| The Spanish Muse in Italy: Tirante el Blanco, La vida es sueno, and Don Quijote | |
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| The Golden Age Revisited in Twentieth-Century Art Songs | |
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| The Universal Don Quixote | |
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| Don Quixote on the Western Frontier | |
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| Don Quixote chez Donizetti, chez Massenet | |
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| George Eliot's Dorothea in Light of Cervantes's Dorotea | |
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| Cervantes in Bolivia: The Painter Walter Solon Romero as Spokesman of Don Quixote | |
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| Don Quixote as Theatre | |
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| "Monsignor Quixote": Graham Greene Rewriting Unamuno Rewriting Cervantes | |
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| The Filmic Quixote of The Fisher King: Sancho as Radio Talk-Show Host | |
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| The Peripatetic Don Juan | |
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| Mythic Misnomers: Reinventing Don Juan in Moliere and Mozart | |
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| Byron's Don Juan: The Burlador Burlesqued | |
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| Don Juan in Hell: George Bernard Shaw's Perverse Sexual Politics | |
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| Don Juan Tenorio: From the "Romancero" to Don Juan de Marco | |
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| Don Juan in the New World: The Erotics of Conquest in Chocano, Fuentes, and Walcott | |
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| Point of Contact: New Spain | |
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| A Diverse Legacy: The Hispanic Impact on Mask Use in Mexico | |
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| Poetry of Praise to the Virgin of Guadalupe | |
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| Century XX: Legacy of the Spanish Exiles in Mexican Music | |
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| Spanish Romantics et al. in Opera and Ballet | |
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| La Forza del Destino: Destiny as Portrayed by Rivas and Verdi | |
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| Garcia Gutierrez's Bequest to Verdi: Il Trovatore and Simon Boccanegra | |
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| The Fatal Triangle: Don Carlos, King Philip, and Elizabeth of Valois in Literature and Opera | |
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| El sombrero de tres picos and Its Projection in Opera and Ballet | |
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| Albeniz's Pepita Jimenez: The Strange Expropriation of Juan Valera's Novel | |
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| Modern Writers in Musical Transcription | |
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| Federico Garcia Lorca and His Influence on Music and Dance | |
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| A Composer's Journey with the Poetry of Federico Garcia Lorca | |
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| Poetry to Song: Modern Spanish Poetry Set to Music by Twentieth-Century Composers | |
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| From the Composer's Viewpoint: The Dialogue between Music and Poetry | |
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| Harmonic Mirrors within Circular Time: A Study of Mario Lavista's Ficciones | |
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| Of Echoes and Clones: Mirror Images in Borges's The Approach to Al-Mu'tasim | |
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| From Novel to Silver Screen | |
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| Galdos on Film: Dona Perfecta, a Mexican Melodrama | |
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| Vicente Blasco Ibanez and the Movie Novel | |
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| Garcia Marquez in Film: His Image of Women | |
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| Texts Intertwined | |
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| Play It Again, Sam: The Reappearance of Spanish Plays in Genero Chico Parodies | |
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| Against the Grain: A Revisionist View of Golden Age Icons in Fuentes's Terra Nostra | |
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| Integrating Multiple Texts in Pablo Iglesias, an Original Play with Music by Lauro Olmo | |
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| Parallel Worlds in The House of Bernarda Alba and Like Water for Chocolate | |
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| Word Pictures and Stroke of Brush | |
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| Speaking in White Cloth: Painting on Writing, Writing on Painting (A Presentation in Dialogue Form) | |
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| Painting the Poetic Image: Lessons James Wright Learned from Hispanic Poets and Painters | |
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| The Pointed Pen at Large | |
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| The Literary Relationship between Derek Walcott and Gabriel Garcia Marquez | |
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| Metaphors of Progress: The Transmigration of The Kiss of the Spider Woman | |
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| Children's "Subversive Literature": Heriberto Frias, Antonio Skarmeta, and Ana Maria Shua | |
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| Name Index | |
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| Title Index | |
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| About the Editor and Contributors | |