Valle-Inclan considered as actor, director and playwright, with bibliography of his plays. Daring, innovative, controversial, often satirical, a dramatist ahead of his time, Ramon del Valle-Inclan (1866-1936) was one of Spain's 'Generation of 1898', and an influence on such later movements as the Theatre of Cruelty andthe Theatre of the Absurd. Lima's study first examines Valle-Inclan's day-to-day involvement with the theatre as actor, director-dramaturg and playwright. This is followed by an account of Valle-Inclan's full-length and one-act plays, which demonstrate the foibles and follies of human behaviour, and are discussed here under a variety of thematic headings. There follows an up-to-date bibliography of the plays, from editions contemporary with the author through those published posthumously; it includes translations of the dramas into many languages, as well as a worldwide selection of critical studies. ROBERT LIMA is Professor Emeritus of Spanish and Comparative Literatures, The Pennsylvania State University. Ramon del Valle-Inclan (1866-1936) era un dramaturgo muy innovador, miembro de la Generacion del '98, pero tambien una fuente de inspiracion mas tarde para el Teatro de la Crueldad y el Teatro del Absurdo. La monografia de Lima empieza por examinar el rol desempenado por Valle-Inclan como actor, director, y dramaturgo. Concluye con un analisis detallado de los dramas de Valle-Inclan, tanto los grandes comolos menores, enfocandose en la manera en que el dramaturgo espanol crea una vision penetrante de los errores y debilidades de la conducta humana; la obra dramatica se analiza en varias secciones tematicas. Esta monografia taincluye una bibliografia exhaustiva sobre los dramas de Valle-Inclan, incluyendo traducciones y estudios criticos.

The quest toward self-knowledge began in the poetry collection TRACKING THE MINOTAUR (2003). Now in SELF the quest continues towards a more defined persona.

" The mythological, folkloric, and religious beliefs of Western culture have resulted in a long and ongoing history of esoteric themes in theatre from the Middle Ages to the present in Spain and the America. Now Robert Lima, a noted comparatist, brings to bear on this material his wide knowledge of the world of the occult. Lima defines the terms "occult" and "occultism" broadly to embrace the many ways in which humans have sought to fathom a secret knowledge held to be accessible only through such supernatural agencies as alchemy, angelology, asceticism, astrology, demonolatry, divination, ecstasy, magic, necromancy, possession, Santeria, s?ances, voudoun, and witchcraft. The dramatic works covered range from medieval materializations of Hell to the Golden Age plays of Lope de vega, Tirso de Molina, and Calder?n de la Barca, to modern stage works by Valle-Incl?n, Garc?a Lorca, Casona, Miras, and a number of significant Afro-Brazilian and Caribbean dramatists. The concluding comprehensive bibliography of the drama of the occult is invaluable.