Abstract

Starting in 1650, Calderón de la Barca assigned a new role to the ‘loa’, elevating it artistically to the level of the ‘auto’. In America, Sor Juana Inés de la Cruz followed the Spaniard’s example by aggrandizing the panegyric loa and including the essential elements: [...]

Abstract

This article studies the relation between the main and the secondary plot in Calderón’s comedy Casa con dos puertas, mala es de guardar. The critic analyzes the connection between the main story line of Marcela and Lisardo and the second one, the one of Laura and Félix. González [...]