Abstract

Pedro Calderón de la Barca never ceases to work. His constant in­terest to improve or adapt his texts has produced two versions of the same play in several occasions. His autographs allow us to examine his writing process as well as the theatrical practice in Golden Age Spain. In [...]

Abstract

Analysing the errors committed by Calderón himself during his writing amplify the perspective on his complex composition process. The aim of this paper is to offer an initial approximation on autograph errors located in En la vida todo es verdad y todo mentira, La desdicha de la [...]

Abstract

Focusing on the manuscript El mayor encanto of 1668, it shows some of its curious aspects and problems.This testimony is divided between the Hispanic Society of America (two first days) and the BNE (third day), with the added value that in the last act it has autograph final verses [...]

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 present article proposes a new lector schema for the analysis of autographs. This schema presents a taxonomy of the corrections according to the stages of production of a discourse in ancient rhetoric: inventio, dispositio and elocutio. This taxonomy allows to describe Calderón’s [...]

Abstract

The aim of this paper is to analyse the features of calderonian writing in a partially autograph manuscript. The manuscript Res-79, by which the second version of El mayor monstruo del mundo is preserved, allows observing two fundamental aspects in this dramatic creation pro-cess [...]