Conjurando fantasmas: El conde Partinuplés y ‘Las gracias mohosas’ entre traducción y re-fundición

Among the authorizing processes of women playwrights and plays that are still considered 'minor', translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro's comedy El conde Partinuples (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enr & iacute;quez de Guzman. Specifically, the pages that follow will explore the double process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, to be included in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original refundicion entitled Suitors (2013).