Abstract

Little has been written on La escuela de Celestina y el hidalgo presumido (1620), one of the few comedies penned by Alonso Jerónimo de Salas Barbadillo. In this essay I read this piece as part of a tradition of parodies of the famous academic exercises known as gallos and vejámenes, so frequent in the universities of the time. Through humorous inversion, Salas leads us to formulate new questions on the role of high culture, on the nature of true knowledge and, ultimately, on the transmission of specific literary myths —a transmission that is here interrupted by the rewriting of the Celestinesque character

Abstract

This paper offers an approach to the main features and conventions of the burlesque comedy of the Spanish Golden Age, a corpus formed by about fifty parodic plays that were performed during Carnival and on St. John’s Day as part of the court festivals celebrated in the Royal Palace or in the Buen Retiro palace complex. These two features (theatre of Carnival and courtier theatre) are the main key when analyzing these plays. The primary function of these pieces is to provoke laughter within the aulic audience —the king and his noblemen. To achieve this goal, authors of burlesque comedies use all of the resources at hand, including both scenic and verbal humor. The plays are marked by an absurd wit, and they bring on stage a carnivalesque world turned upside-down in which everything (including characters, plots, literary motifs, and dramatic conventions) is grotesquely parodied, brutally degraded, and made comical.

Abstract

The «teatro breve», in general, and the «entremés», in particular, already have a more than considerable amount of bibliography. However, critics have paid little attention to the «autores de comedias» or actors who were also playwrights. Among them is Alonso de Olmedo, who was famous for playing the role of «galán», especially in Calderon’s works. He is the author of a large number of «bailes» that were performed at various Calderonian plays, it is his «entremeses» that are of greater interest (Píramo y Tisbe, Las locas caseras, La dama toro and El sacristán Chinchilla).

Abstract

Abstract: This paper reexamines the different types of irony present in La Glòria del doctor Larén (1936), Pere Calders’s first novel. These include meta-fictional reflections by narrators and characters and other ironic means within reach of the narrator in the exercise of his functions, the author’s irony in the preface, irony of situation, verbal irony and parody. Through the diversity and recurrence of its ironies, the analysis shows that La Glòria del doctor Larén provides the basis for identifying the author’s poetic irony with the character, functions and style characteristic of Calder’s production of maturity..Key words: irony, metafiction, parody, Pere Calders, La Glòria del doctor Larén.

Abstract

Abstract: This paper aims to study the importance of irony in Carles Soldevila by analysing his novel Valentina, published in 1933. Firstly, the author’s concept of irony is described. Then, we move on to check the use of irony in Valentina by considering: the narrator’s irony, irony of situation, verbal irony, gestural irony and hypertextual irony or parody. The narrator’s irony and verbal irony appear to be the most decisive: the former allows us to see the use of the narrator’s ironic detachment toward the characters; the latter shows the large variety of rhetorical resources used by both the narrator and the characters.Key words: Irony, parody, narratology, history of the novel, Carles Soldevila.