Abstract

From Homage to Quevedo (1969) of the Mexican artist Jose Luis Cuevas, I present the question of the game in Francisco de Quevedo, and, especially, in the illustrations that have inspired J. L. Cuevas. I put special attention in the rewritings of Quevedo’s universe in the drawings [...]

Abstract

The Devotion of the Cross and The Purgatory of Saint Patrick are a good example of the continuous exercise of the interest that Calderón shows for auto-rewriting and use of own materials. Certainly, these two religious comedies share the turn to repentance from a sinner, the central [...]

Abstract

Between the lines of the «Isla de los Monopantos», libel number XXXIX included by Francisco de Quevedo in his work La hora de todos, we can find a quote that seems extracted from St Jerome’s «Commentary on Isaiah»; this interpretation was pondered after the reading of the second [...]

Abstract

Starting from the fundamental premise of the insufficiency of a purely descriptive approximation to the Golden Age burlesque comedies, and the need to analyze each text of this genre not only through the conventional characters of comic-absurd playwriting, the present study aims for [...]

Abstract

This paper analyzes the way Calderon rewrote Cada loco con su tema by Hurtado de Mendoza in order to create El agua mansa. One of the main modifications is that the female characters are constructed in a completely different way. This has central implications for the play, because [...]

Abstract

It has been traditionally accepted that from 1651 on, when Calderón de la Barca became a priest, the playwright exclusively wrote court plays and autos sacramentales. This idea has to be reviewed with respect to the period of mourning the death of Felipe IV, between 1665 and 1671, [...]

Abstract

One of the preserved testimonies of the calderonian comedy Cada uno para sí is a partly autograph manuscript which contains seven folios written by the author, fi ve rough pages and four fair copy folios. The aim of this paper is the comparative study of the rough and fair copies [...]

Abstract

The approach to the chivalric plays of Calderón starts fi rstly with the examination of the treatment of the novelistic hypotext. Because of that, the process of dramatic rewriting that transforms the Historia del emperador Carlomagno y de los doce pares de Francia into La puente [...]