Hipogrifo. Revista de literatura y cultura del Siglo de Oro

The Dramatic Development of the Parable of the Prodigal Son in the Sacramental Play by Alonso Remón

Abstract

The parable of the prodigal son is circumscribed as a predominant theme for the authors of the Spanish Golden Age to develop the plot of some of his autos sacramentales. However, among all these playwrights, the figure of Alonso Remón and his piece have been largely ignored. This [...]
Hipogrifo. Revista de literatura y cultura del Siglo de Oro

Space, Time and Action in Joan Timoneda’s Religious Dramas

Abstract

The work as a playwright of Joan Timoneda was reviled until the 1980s because of the relevance that criticism gave to its alleged lack of originality. It was interesting that when critics tried to correct this judgment was not done from an aesthetic point of view, much less dramaturgic. [...]
Anuario Calderoniano

Rhetorical Aspects of Calderón's Sacramental Play El tesoro escondido

Abstract

A late calderonian work like the auto sacramental entitled El tesoro escondido (1679) reflects the culminating point of Pedro Calderón de la Barca's rhetorical style. This essay emphasizes the most significant rhetorical strategies used in this auto, stressing in particular [...]

Anuario Calderoniano

Symbolic-poetical function of the maná in Calderón’s auto sacramental

Abstract

In this essay it is studied the topic of «maná» in three autos by Calderón, although we focus mainly in La piel de Gedeón, as this is the text in which the topic we mention is better structured and organised. We take into account its artistic relevance in a detailed analysis [...]
Anuario Calderoniano

Las silvas como medio expresivo en pasajes marítimos de los autos de Calderón de la Barca

Abstract

The present article attempts to prove that silvas pareadas have an expressive link with maritime passages. The autor studies fi ve autos sacramentales by Pedro Calderón de la Barca. This poetic form has a free structure in terms of extension: it has no limits of strophes. [...]