Abstract

Prior to his rebellion against the Spanish Crown in 1544, Gonzalo Pizarro (Francisco’s younger brother) accomplished the Conquest of Charcas (present-day northwestern Bolivia), survived the siege of Cuzco by Manco Inca and attempted the failed exploration of the mythical «Land [...]

Abstract

This article analyzes the function of Hernán Cortés’ tears in the Historia verdadera by Bernal Díaz del Castillo. Some critics have read Cortés’ weeping as a sign of weakness. Actually, the tears of the hero are a manifestation that links the figure of the conqueror —and [...]

Abstract

In many Calderón’s tragic plays, a room or a hall can turn into a space of violence, if locked or opened against the will of the character (mostly a woman) who lives in it. That is what we can observe in La gran Cenobia, El médico de su honra, El pintor de su deshonra, El mayor [...]

Abstract

Tragedy was born in Greece and was subsequently claimed and defended in Europe during the Renaissance and Baroque but, this being a gender as orthodox as changeable, it will be necessary to resort to a new reading of its components in order to adapt them to the reality of the Golden [...]

Abstract

his article analyzes the dénouement of Calderon’s No hay cosa como callar, with the aim of showing the tragic quality of the work, which destroys the possibility of the central character being happy, as she has been raped by a cynical and abusive gentleman.

Abstract

Francisco de Rojas Zorrilla was one of the poets most favoured by the Court, even more than Calderón de la Barca. That royal favour gave him a creative freedom that lead to experiment with new methods, genres and motifs. That was the case of Persiles and Sigismunda, not only a mere [...]

Abstract

Eco y Narciso demonstrates the paradoxical coexistence of mutually exclusive views of its mythological material: on one hand, in the foreground of the scene, as it were, we have a tragic reading of the myth characterized by te moving representation of subjective feeling and a realist [...]

Abstract

No hay cosa como callar is a Calderonian comedy labeled on various occasions as a masterpiece, but that to date does not include an extensive bibliography. In this work, through the Don Juanesque consideration of its characters and by considering genre adscription of the piece (a [...]

Abstract

This paper discusses the genre of a play by Calderon No hay cosa como callar. Critics usually define this play either as comedy or as tragedy. The work is in fact unusual because, under an apparently comical structure, it appears to be a serious work with an ending that leaves all [...]

Abstract

In past times, media were the sole vector to reflect in their entire complexity the events surrounding major world tragedies. Nowadays, social media are an essential component of the media process and classical press channels are connected to the social networking flow, where they [...]