This comparative study posits the importance of the neoclassical precept of decorum in our efforts to trace the ways in which this broader cultural shift translates to early modern theatrical practice. (1) Both Spain and France witnessed the emergence and establishment of public theaters and professional theater industries in the midst of this sea change, and in each country authors of popular comedy drew upon such discursive plurality to entertain their audiences-as well as to comment on or critique the broader society in which dramatist, actor, and audience found themselves. Riggs and George Mariscal identify a definitive marker of the "early modernity" generally ascribed to sixteenth-and seventeenth-century western Europe: a convergence of and competition between rival discourses (and, implicitly, the ideologies informing such discursive models) with both epistemological and ontological implications. Although from quite different methodological and disciplinary perspectives, both Larry W.
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