https://www.scipedia.com/sitemaps/year/2017?offset=1400 https://www.scipedia.com/public/Romero_2017a Thu, 14 Mar 2019 12:22:52 +0100 https://www.scipedia.com/public/Romero_2017a The aim of this article is to review Marchena’s ideas about Calderón’s theater, which fall within the debate about the author of El Alcalde de Zalamea that raged over the first third of the Nineteenth Century. The paper draws on the judgments and the anthology of Calderonian texts that Marchena cites and edits according to his original civil conception of Spanish literary history in his Lecciones de Filosofía Moral y Elocuencia (1820).

]]> Scipedia content https://www.scipedia.com/public/Rodriguez_2017c Thu, 14 Mar 2019 12:22:36 +0100 https://www.scipedia.com/public/Rodriguez_2017c This study analyses the diversity of criteria with which the plays by Calderón were assessed during the first half of the 19th century, and the different classification as canon or model to which his dramatic works were ascribed. We present an explanatory review of the comments to which his works gave rise in order to observe how, when and why they became part of the canon, in what sense they were canonized (poetically, dramatically, ideologically, religiously, morally), and also how that canon was transformed throughout the 19th century. This transformation took place both on the grounds of the evolution of art and of the use of an author who was representative of Spanish literature to justify the respect for national literary tradition based on the acceptance of a sense of poetic and political progress of nations. The article starts by analysing how the poetic imagination of Calderón is granted the category of a national artistic or ethical/religious feature, according to the critics. It continues by studying the approaches that required its aesthetic/political relativization depending on history, and how this fact implies a moral canonization. This, in turn, leads to the conflict between a static canon and a canon which is dynamic as part of history and because of history.

]]> Scipedia content https://www.scipedia.com/public/Mata_2017a Thu, 14 Mar 2019 12:22:16 +0100 https://www.scipedia.com/public/Mata_2017a This paper shows the image of Pedro Calderón de la Barca as it is reflected in Don Pedro Calderón, a comedy by Patricio de la Escosura written in 1866, performed for the first time and published in 1867. In this play, the brilliant dramatist is turned into a fictional, Romantic character that represents an idealized incarnation of Spanish honour and faith.

]]> Scipedia content https://www.scipedia.com/public/Hernandez_2017a Thu, 14 Mar 2019 12:22:02 +0100 https://www.scipedia.com/public/Hernandez_2017a Calderón de la Barca is, maybe, one of the most ideologically manipulated writers in Spanish literature. During Franco’s dictatorship Calderón and his plays were turned into an emblem of the regime and its nationalist and catholic values, to the extent that the ultimate meaning of the playwright’s work was in many ways distorted. This article analyses the procedure of manipulation observed in distinct spheres, such as the academic, publishing or theatrical fields, and intends to give an account of how this manipulation has affected our consideration of Calderón’s theatre until today.

]]> Scipedia content https://www.scipedia.com/public/Cantos_2017a Thu, 14 Mar 2019 12:21:40 +0100 https://www.scipedia.com/public/Cantos_2017a The purpose of this study is to analyse the billboard of Cadiz over more than a decade to account for the theatrical context in which the famous «querella calderoniana» occurs. According to Llorens, in Cádiz around 1818, there was no Golden Age theatre scheduled. Therefore Juan Nicolás Böhl had to prepare an ad hoc performance to satisfy the demand of «two German naturalist wise men», who neither had found it in Madrid. This paper aims to verify this assertion and evaluate the continuity or novelty of dramatic practice in the XVIIIth century.

]]> Scipedia content https://www.scipedia.com/public/Vega_2017a Thu, 14 Mar 2019 12:17:16 +0100 https://www.scipedia.com/public/Vega_2017a A comedy without long runs in «romance» like «relaciones», name used by contemporary people, would have been hard to fi nd. The management of the information which has to be provided to the other characters and to the audience is one of its main functions; but without doubt there are many other reasons apart from the plot that explain its being, ranging from the celebration of certain events of real life to the brilliance of the recitative capacity of the actors, or the audiences’ pleasure of listening to recitations of verses. Its use generated abundant topics, which were revealed by the characters themselves through-out metatheatrical commentaries. The set of «relaciones» found in Calderón’s comedies have been organised depending on their referencing to different factors: transmitter, receiver, context, content (themes and motifs), form and extratheatrical relations. The aim of this work is to facilitate an approach to the concept that the agents of Golden Age theatre had about «relaciones» and to gain further insights into Calderón’s comic resources. 

]]> Scipedia content https://www.scipedia.com/public/Sanchez_2017c Thu, 14 Mar 2019 12:16:44 +0100 https://www.scipedia.com/public/Sanchez_2017c This article analyses how Calderón used the realm of the mine in one of his capa y espada comedies, Primero soy yo (c. 1640-1642), in order to show that it has a double use (metaphorical and theatrical) that Calderón derives from Lope de Vega’s writings. After examining the criticism on the subject, the statistical data about the different meanings of the word mina in Calderón is layed out and the focus put on its military interpretation, in order to analyse these results in comparison to those in Lope’s theater and poetry. The article analyses Primero soy yo in detail in order to explore Calderón’s innovative use of the mine metaphor, a use that underlines some general traits of his comedias cómicas. I examine this connection by showing how the mine usually appears next to references to war, to violent birth or to secrets, an association that helps to explain how Calderón conceived human passions. 

]]> Scipedia content https://www.scipedia.com/public/Saez_2017b Thu, 14 Mar 2019 12:16:15 +0100 https://www.scipedia.com/public/Saez_2017b Amongst the conflicts of power presented in Calderón’s theatre, this work examines the struggles for succession in kingdoms (and other duchies) in a series of palatine plays (La selva confusa, Lances de amor y fortuna, Para vencer amor, querer vencerlo and Mujer, llora y vencerás) and knights plays (Argenis y Poliarco, Auristela y Lisidante, El castillo de Lindabridis and Hado y divisa de Leonido y Marfisa), a corpus that allows to explore the development of a subject throughout Calderón’s career, with different scopes, functions and meanings. 

]]> Scipedia content https://www.scipedia.com/public/Rodriguez-Gallego_2017b Thu, 14 Mar 2019 12:15:44 +0100 https://www.scipedia.com/public/Rodriguez-Gallego_2017b For his contemporaries, Calderón was probably an author primarily comic, because, at the time, his most successful plays on the stage were comical. The current image of Calderón as an eminently serious author emerged in the late eighteenth and early nineteenth centuries, and has prevailed until today. Because of it, on the one hand Calderón’s comical works have been marginalized and, on the other, serious interpretations of these plays have been sought to fit the author’s prevailing image. This situation will be exemplified through El astrólogo fingido, comedy that has received some serious interpretations which do not take into account the comical nature of the work, nor the context from which passages interpreted in a forced manner are extracted. 

]]> Scipedia content https://www.scipedia.com/public/Ortega_2017a Thu, 14 Mar 2019 12:15:07 +0100 https://www.scipedia.com/public/Ortega_2017a This work deals with a certain idea of game in Calderón, starting from two metatheatrical scenes, which consists in being actor of one-self. At first it is analysed how the game works from a dramatic point of view in El mayor encanto, amor. Then the conceptual progression of this idea in Los cabellos de Absalón is studied. Finally, the author puts the scope of this Calderonian idea of game into perspective by considering some contemporary focuses on mimesis and the necessity of theatre. 

]]> Scipedia content https://www.scipedia.com/public/Pedraza_2017a Thu, 14 Mar 2019 12:14:27 +0100 https://www.scipedia.com/public/Pedraza_2017a The light-hearted pieces with a happy ending produced during the Spanish Golden Age were no longer in accordance to the comedy based on turpitudo et deformitas — which was confined to «entremess». Instead, they offered a new kind of complex humour, which no longer rejected creating empathy with the characters. Despite the claims of some well-known criticism, the tragic and comic universes are radically separated in Calderón. Even though the comic pieces incorporate, in a sort of emulsion, features belonging to the tragic sphere, these are approached from a light-hearted, optimistic and hopeful perspective. This thesis is supported by the analysis of Los empeños de un acaso. 

]]> Scipedia content https://www.scipedia.com/public/Palacios_2017a Thu, 14 Mar 2019 12:14:03 +0100 https://www.scipedia.com/public/Palacios_2017a Three comedic strategies will be proposed, starting with the premise of the permeability and multifunctionality of the spaces in Calderonian drama. These reflect exclusively about the game, the leading use of the spaces and the complicity between the author and the public, elements whose interaction is intended to unleash the laughter of the audience. 

]]> Scipedia content https://www.scipedia.com/public/Nitsch_2017a Thu, 14 Mar 2019 12:13:27 +0100 https://www.scipedia.com/public/Nitsch_2017a If, from an anthropological perspective, magical acts are similar to technical acts as well as to rhetorical acts, the artificial magic of baroque theatre results from a suggestive interaction between stage machinery and acting. La dama duende can be read as an original staging of this interaction. Since the intrigue of Doña Ángela de Toledo is based not only on an ingenious role-play, but also on a technical invention compared to the «artificio de Juanelo», Calderón’s best known comedy brings together two aspects of theatrical magic that appear separated one from another in two contemporary pieces inspired by the legend of the magical cave of Salamanca or of  Toledo. Thus, La dama duende transfers to Madrid, the capital of Golden Age theatre, the famous artifice of Toledo and the legendary hiding-place of magicians —not without demonstrating the irresistible spell of stage magic. 

]]> Scipedia content https://www.scipedia.com/public/Lazaro_2017b Thu, 14 Mar 2019 12:12:59 +0100 https://www.scipedia.com/public/Lazaro_2017b Con quien vengo, vengo is one of Calderon’s comedies practically unnoticed by critics. It is an urban love comedy developing in a plot where misunderstandings, identity changes, disguises, and the nocturnal are present. In this article, different resources used by the playwright to create a comedy and its functionality in the thematic thread are reviewed. Furthermore, the role of the gracioso character, his distinctive features and different linguistic resources are analysed. 

]]> Scipedia content https://www.scipedia.com/public/Kroll_2017a Thu, 14 Mar 2019 12:12:25 +0100 https://www.scipedia.com/public/Kroll_2017a This article tries to explain some of Calderón’s basic comic skills and the tools employed to achieve his dramatic effects, dealing especially with chance. After a short introduction about different chance theories, it explains how polyvalent references, wrong identifications and chance create Calderón’s comic plays. The investigation finishes with a brief mention of the probability calculus in the seventeenth century and concludes that Calderón’s comic plays offer the possibility to experience esthetically the ambiguity of chance. 

]]> Scipedia content https://www.scipedia.com/public/Folger_2017a Thu, 14 Mar 2019 12:11:55 +0100 https://www.scipedia.com/public/Folger_2017a The example of El astrólogo fingido by Calderón de la Barca shows that Anthony Close’s reconstruction of the collective comic mentality of the age of Cervantes is an appropriate frame for understanding the workings of humor in contemporary theater. French philosopher Henri Bergson’s theory of laughter sheds light on other aspects of humor in the theatre. Particularly in the metatheatrical elements of El astrólogo fingido we see that Bergson’s concept of mechanical rigidness is characteristic of theatrical roles, producing, in the spectators, comic relief from rigid norms of conduct and social roles they experience in everyday life. 

]]> Scipedia content https://www.scipedia.com/public/Coenen_2017a Thu, 14 Mar 2019 12:11:20 +0100 https://www.scipedia.com/public/Coenen_2017a This paper offers an, inevitably incomplete, inventory of the techniques employed by Calderón in order to harmonise external and internal textual functions in his comedias de enredo. At the same time, it aims to offer a sketch of a method for detailed analysis of theatre texts in general, which will be shown to be especially adequate for studying comedias de enredo. 

]]> Scipedia content https://www.scipedia.com/public/Benabu_2017a Thu, 14 Mar 2019 12:11:04 +0100 https://www.scipedia.com/public/Benabu_2017a The present article considers aspects of the dramatic genre, illustrating the arguments adduced with reference to La devoción de la cruz. It focuses on aspects of theatrical writing which the dramatist codifi es in the play text, that is, Calderón’s stagecraft in fashioning the plot with performance in mind. The article consists of two parts: the first discusses some theatrical techniques that help to distinguish between tragedy and comedy, such as the development of the action, the mood prevailing on-stage and Calderón’s handling of characterisation; the second presents a theatrical reading of the play’s ending and its opening. In its approach, the present contribution differs from existing ones which usually examine the play text from a literary point of view. 

]]> Scipedia content https://www.scipedia.com/public/Antonucci_2017b Thu, 14 Mar 2019 12:10:37 +0100 https://www.scipedia.com/public/Antonucci_2017b Four of Calderón’s capa y espada comedies, namely La dama duende, Con quien vengo, vengo, No hay burlas con el amor, El agua mansa, play with the dramatic themes of fraternal rivalry and divergences in personality and behaviour between sisters and/or brothers. From 1629 (when La dama duende was first performed) to 1642-1644 (supposed date of El agua mansa), the way these themes are handled by Calderón changes. Along with an analysis of these changes, we compare the whole corpus of Calderón’s mentioned comedies with two urban plays by Lope de Vega, El amigo hasta la muerte and La dama boba. While the generic context of their bringing to the stage the same themes of fraternal rivalry is also an absolutely comic one, yet El amigo hasta la muerte and La dama boba seem to present fraternal relationships more bitterly than Calderón does. 

]]> Scipedia content https://www.scipedia.com/public/Aichinger_2017a Thu, 14 Mar 2019 12:06:25 +0100 https://www.scipedia.com/public/Aichinger_2017a Taking up ideas forwarded by Henry W. Sullivan or Karl Vossler, we propose a study of Calderón’s comedies focused on moments of highest dramatic intensity and an analysis of the ways in which the steady growth of energy leads up to these great scenes. Many of them share a set of features and could be related to the poet’s lifelong existential concerns and philosophical obsessions. Whereas the end of the second jornada frequently shows the main character(s) in a state of epoché (an incapacity to discern truth from illusion) the third act takes them to a point where roles and false identities imposed by time and chance merge with the social roles assigned by the surrounding social world in accordance with a higher divine order. 

]]> Scipedia content https://www.scipedia.com/public/Rodriguez-Gallego_2017a Thu, 14 Mar 2019 11:12:10 +0100 https://www.scipedia.com/public/Rodriguez-Gallego_2017a Scipedia content https://www.scipedia.com/public/Gutierrez_2017a Thu, 14 Mar 2019 11:10:33 +0100 https://www.scipedia.com/public/Gutierrez_2017a Scipedia content https://www.scipedia.com/public/Arellano_2017d Thu, 14 Mar 2019 11:09:08 +0100 https://www.scipedia.com/public/Arellano_2017d Scipedia content https://www.scipedia.com/public/Casais_2017a Thu, 14 Mar 2019 11:08:06 +0100 https://www.scipedia.com/public/Casais_2017a Scipedia content https://www.scipedia.com/public/Hernando_2017a Thu, 14 Mar 2019 11:04:34 +0100 https://www.scipedia.com/public/Hernando_2017a Scipedia content https://www.scipedia.com/public/Gomez_2017a Thu, 14 Mar 2019 11:03:48 +0100 https://www.scipedia.com/public/Gomez_2017a Scipedia content https://www.scipedia.com/public/Nunez_2017b Thu, 14 Mar 2019 11:02:15 +0100 https://www.scipedia.com/public/Nunez_2017b Scipedia content https://www.scipedia.com/public/Aichinger_et_al_2017a Thu, 14 Mar 2019 10:59:43 +0100 https://www.scipedia.com/public/Aichinger_et_al_2017a Scipedia content https://www.scipedia.com/public/Sanchez-Hernandez_2017a Wed, 13 Mar 2019 13:03:17 +0100 https://www.scipedia.com/public/Sanchez-Hernandez_2017a This paper aims to show the dramatic possibilities of Juan del Encina’s Égloga representada por las mismas personas, best known as Égloga de Mingo, Gil y Pascuala, included in the first edition of his Cancionero (Salamanca, 1496). The scenic resources of disguise and atrezzo will be analyzed to typify their characters and to show their change of disguise (and status) on stage.

]]> Scipedia content https://www.scipedia.com/public/Insua_2017b Wed, 13 Mar 2019 12:54:42 +0100 https://www.scipedia.com/public/Insua_2017b Scipedia content https://www.scipedia.com/public/Duarte_2017c Wed, 13 Mar 2019 12:54:35 +0100 https://www.scipedia.com/public/Duarte_2017c A modo de introducción. «El auto sacramental: de Lope a Calderón»

]]> Scipedia content https://www.scipedia.com/public/Oteiza_2017b Wed, 13 Mar 2019 12:54:09 +0100 https://www.scipedia.com/public/Oteiza_2017b The lyric Poetry by Bances Candamos is needed of a critical edition and a detailed study for its evaluation. With this aim, this article offers the basis for its turn of the century context, the textual transmission and its typology.

]]> Scipedia content https://www.scipedia.com/public/Monzo_2017a Wed, 13 Mar 2019 12:54:03 +0100 https://www.scipedia.com/public/Monzo_2017a Review of Fernández Mosquera, Santiago, Calderón: texto, reescritura, significado y representación, Madrid/Frankfurt am Main, Iberoamericana/Vervuert , 2015, 354 pp. ISBN: 978-84-8489-897-9 (Iberoamericana) / 978-3-95487-438-5 (Vervuert)

]]> Scipedia content https://www.scipedia.com/public/Nogues_2017a Wed, 13 Mar 2019 12:53:46 +0100 https://www.scipedia.com/public/Nogues_2017a The author of this article analyses the medieval romance with the theme of La bella malmaridada, the woman unfaithful, and studies the evolution of this topic so far until the Sacramental play by Lope de Vega La adúltera perdonada. It is also considered a comedy by Lope with the same title. The intention of this article is a close examination to the character of the wife, her husband and the marriage context from the Middle Ages. Dealing with these aspects, Lope proposes different solutions to the conflict presented as it is analysed.

]]> Scipedia content https://www.scipedia.com/public/Marrero-Fente_2017a Wed, 13 Mar 2019 12:53:14 +0100 https://www.scipedia.com/public/Marrero-Fente_2017a El peregrino indiano by Antonio de Saavedra Guzmán incorporates new substances into the magic spell. In addition to La Araucana, there are ingredients that come from other discursive traditions: the Renaissance treatises of natural history, the Bible, bestiaries, emblematic literature, magic and grimoires.

]]> Scipedia content https://www.scipedia.com/public/Baraibar_2017a Wed, 13 Mar 2019 12:52:54 +0100 https://www.scipedia.com/public/Baraibar_2017a This paper aims to be an initial approach to the way in which Gonzalo Fernández de Oviedo puts up an specific discourse in his work at the time of describing the American city. Concretely, I have been interested in analyzing the ways the first chronicler of the American Indies adapts long-time used formulas from the old continent when he is introducing the reader to the new reality constituted by the American city. That is the case of Santo Domingo, a city to which Gonzalo Fernández de Oviedo was especially bounded. It will serve us as an example to study how the chronicler adapts the formula of the panegyric of the city to the New World.

]]> Scipedia content https://www.scipedia.com/public/Duarte_2017b Wed, 13 Mar 2019 12:52:15 +0100 https://www.scipedia.com/public/Duarte_2017b The author of this article reviews the critical bibliography of the sacramental plays by Lope to show how scholars have always considered that this writer adapted elements and resources taken from his comedies into the sacramental plays. Actually, this article analyses the code of honor relevant in comic comedies and tragedies with different results. But this convention is also coherent with the sacramental genre, because it is supported by images and biblical metaphors and, in this case, they force a determined end. Equally, we have to take into consideration that the playwright employs other means specific of the auto sacramental to allow the allegory to operate and connect its two allegorical levels.

]]> Scipedia content https://www.scipedia.com/public/Saez_2017a Wed, 13 Mar 2019 12:51:58 +0100 https://www.scipedia.com/public/Saez_2017a 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. In this paper I will try to evaluate this facet based on criteria that are much more objective, coherent and contextualized. For this purpose, I will carry out the analysis of purely theatrical parameters such as the space, time and dramatic action with which Timoneda constructed eight religious pieces.

]]> Scipedia content https://www.scipedia.com/public/Seres_2017b Wed, 13 Mar 2019 12:51:51 +0100 https://www.scipedia.com/public/Seres_2017b Reseña de Silke Jansen e Irene M. Weiss (ed.), Fray Antonio de Montesino y su tiempo, Madrid/Frankfurt, Iberoamericana/Vervuert, 2017, 261 pp., ISBN: 978-84-1692-203-1 (Iberoamericana) y 978-3-95487-553-5 (Vervuert)

]]> Scipedia content https://www.scipedia.com/public/Insua_2017a Wed, 13 Mar 2019 12:51:43 +0100 https://www.scipedia.com/public/Insua_2017a Scipedia content https://www.scipedia.com/public/Oliva_2017a Wed, 13 Mar 2019 12:51:37 +0100 https://www.scipedia.com/public/Oliva_2017a Preliminary note

]]> Scipedia content https://www.scipedia.com/public/Garcia_2017d Wed, 13 Mar 2019 12:51:30 +0100 https://www.scipedia.com/public/Garcia_2017d Preliminary note.

]]> Scipedia content https://www.scipedia.com/public/Diez_2017a Wed, 13 Mar 2019 12:51:24 +0100 https://www.scipedia.com/public/Diez_2017a Reseña de Prosperi, Adriano, La vocazione: storie di gesuiti tra cinquecento e seicento, Torino, Einaudi, 2016, 272 pp., ISBN 978-8-858422-55-7

]]> Scipedia content https://www.scipedia.com/public/Santa_2017a Wed, 13 Mar 2019 12:51:18 +0100 https://www.scipedia.com/public/Santa_2017a Reseña de Mata Induráin, Carlos (ed.), Recreaciones quijotescas y cervantinas en las artes. Cervantes y su obra, Anejos de Rilce, 63, Pamplona, Eunsa, 2016, 283 pp. ISBN: 978-84-313-3164-1

]]> Scipedia content https://www.scipedia.com/public/Oteiza_2017a Wed, 13 Mar 2019 12:50:57 +0100 https://www.scipedia.com/public/Oteiza_2017a In less than a century (from 1532 to 1618-1619 more or less) the parable of the prodigal son led the role in six dramatic plays (two comedies and four sacramental plays), showing it success and easy employment of its doctrine and exemplarity. The most attractive episode for the dramatic recreation is found in the description of the dissolute life of the prodigal son in the town (the world). All the playwrights create these scenes following the same structure and dramatic motifs. This aspect proves in this period the existence of a uniform cultural thought of what a dissolute life means.

]]> Scipedia content https://www.scipedia.com/public/de_Palacios_2017a Wed, 13 Mar 2019 12:50:35 +0100 https://www.scipedia.com/public/de_Palacios_2017a This paper studies José de Valdivieso’s En los mayores peligros se conoce la amistad (Friendship is best acknowledged when in danger) one of the five autos sacramentales (Eucharistic morality plays) staged at the Corpus Christi feast in Seville, in 1619, by Diego de Vallejo. It also bears the title La amistad en el peligro (Friendship when in danger), and has never been published in a modern critical edition, though two published records (1622 and 1624) bear witness to the play, of which there are two 17 th Century manuscript versions extant. This article, based on contemporary records, studies the historical socio-religious- urban context of the Corpus Christi feast in Seville and virtually reconstructs the play’s performance, on pageant wagons, and its subsequent procession within the town.

]]> Scipedia content https://www.scipedia.com/public/Duarte_2017a Wed, 13 Mar 2019 12:49:42 +0100 https://www.scipedia.com/public/Duarte_2017a In the critical bibliography referred to Lope de Vega, the scholar usually finds the image of this author as a forerunner of Calderón. A good strategy to verify this impression is through partial studies as this devoted to the analysis of the bestiary in the sacramental plays. This article analyses the bestiary assigned to Christ, the devil and others more eclectic references ascribed to metaphorical expressions, or biblical characters. In short, the author proves that there is a strategy of performance through associative nets (that combines biblical text, patristic references, emblems, sculpture and painting) laying down the way to the magnificense of Calderón.

]]> Scipedia content https://www.scipedia.com/public/Nunez_2017a Wed, 13 Mar 2019 12:49:35 +0100 https://www.scipedia.com/public/Nunez_2017a Reseña de Gaspar Aguilar, La comedia segunda de Los agravios perdonados, ed. C. George Peale, Santa Barbara, University of California, Publications of eHumanista, 2016, 128 pp., edición digital

]]> Scipedia content https://www.scipedia.com/public/Arellano_2017c Wed, 13 Mar 2019 12:48:56 +0100 https://www.scipedia.com/public/Arellano_2017c Comments on Balbuena’s poem Grandeza mexicana, highlighting some reading keys and the danger of prejudices and lack of philological competence that are reflected in Saad Maura’s edition of the poem. The article provide a series of comments and notes to correct errors of the text and to understand references of the poem and its objectives.

]]> Scipedia content https://www.scipedia.com/public/Moncunill_2017a Wed, 13 Mar 2019 12:48:24 +0100 https://www.scipedia.com/public/Moncunill_2017a For historical reasons, antisemitism is an overarching theme in the Spanish society of the 16th and 17th centuries, and in the literature of the Spanish Golden Age. This essay explores Calderon’s morality plays and seeks to discover our author’s standpoint in regards to Judaism.

]]> Scipedia content https://www.scipedia.com/public/Lopez_2017a Wed, 13 Mar 2019 12:48:17 +0100 https://www.scipedia.com/public/Lopez_2017a Review of Arellano, Ignacio y Menéndez Peláez, Jesús (eds.), La imagen de la autoridad y el poder en el teatro del Siglo de Oro, New York, IDEA, 2016, 204 pp. ISBN 978-1-938795-24-4

]]> Scipedia content https://www.scipedia.com/public/Tieffemberg_2017a Wed, 13 Mar 2019 12:47:56 +0100 https://www.scipedia.com/public/Tieffemberg_2017a The work proposes an analysis of Chapters IV and IX of Argentina y conquista del Rio de la Plata, the first epic poem about this region, published in 1602 by Martin del Barco Centenera, in dialogue with the so-called Romance of Luis de Miranda, the first poem about the same region, probably written about 1540. This analysis, whose point of departure is the discursive complexity of colonial productions and their multiple horizons of gestation and circulation, considers in a particular way in both texts the presence and rearticulation, in the early colonial-colonial political scene, of a topic of great diffusion in the peninsular literature of the time, that of the siege of Jerusalem. This topic, which refers to the account of Flavius Josephus De bello Iudaico, is shaped on two axes: the destruction of the city as divine punishment and the ravages caused by hunger because of the site.

]]> Scipedia content https://www.scipedia.com/public/Cebollero_2017a Wed, 13 Mar 2019 12:47:05 +0100 https://www.scipedia.com/public/Cebollero_2017a This is an introductory study to Gaspar de Villagrá’s History of New Mexico (1610) in the context of the Cortés epic cycle tradition. The concept of «epic continuity» is utilized in order to better understand how the poem adheres to epic tradition at the same time that it goes through formal changes needed for its renovation. Part of the renovation is the inclusion of prose as a legal defense strategy, and its use as a vehicle for the struggles of Mexican Creoles. It is proposed that this poem belongs in a Frontier Creole epic sub-cycle.

]]> Scipedia content https://www.scipedia.com/public/Garrot_2017a Wed, 13 Mar 2019 12:46:41 +0100 https://www.scipedia.com/public/Garrot_2017a This paper explores the representation of the Holy Office in allegorical works in which beyond the mere mention of his name is seen the character and / or the preparation and execution of the auto of faith, which constitutes the most ostensible proof of its power. After tracing a rapid panorama, the analysis focuses on The Inquisition, by Mira de Amescua, a little known work that has remained unpublished until very recently.

]]> Scipedia content https://www.scipedia.com/public/Massanet_2017a Wed, 13 Mar 2019 12:46:23 +0100 https://www.scipedia.com/public/Massanet_2017a 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 article reviews the sacramental career of this author and highlights its importance and differences compared to other comedies that address the same theme.

]]> Scipedia content https://www.scipedia.com/public/Izquierdo_2017a Wed, 13 Mar 2019 12:46:02 +0100 https://www.scipedia.com/public/Izquierdo_2017a The success of Spiritual Literature in Golden Age, especifically St Augustine prays and his autobiography Confessions, are used by Lope de Vega to reflect the official position of the Catholic Counter-Reformation. The Sacramental play shows these rethoric aspirations and Lope, in order to teach and make the audience feel like he did with Sacred Rimes, uses images and Augustinian themes to get it.

]]> Scipedia content https://www.scipedia.com/public/Lazaro_2017a Wed, 13 Mar 2019 12:45:55 +0100 https://www.scipedia.com/public/Lazaro_2017a Review of Pedro Calderón de la Barca, Céfalo y Pocris, introd. Enrica Cancelliere, ed. Ignacio Arellano, New York, IDEA, 2013, 190 pp. ISBN 978-1-938795-93-0

]]> Scipedia content https://www.scipedia.com/public/Mendez_Duran_2017a Wed, 13 Mar 2019 12:45:47 +0100 https://www.scipedia.com/public/Mendez_Duran_2017a In the beginnings of New Spain, particularly in the middle of the sixteenth century, Bishop Vasco de Quiroga maintained a serious confrontation with the inhabitants of Guayangareo, who sought to obtain the name of Michoacán, which originally corresponded to the bishopric established by Quiroga based on Various Royal Cedars. The conflict, turned into a trial that would last several years, would show the interest of Vasco de Quiroga, for a social integration, between the naturals and the Europeans of New Spain.

]]> Scipedia content https://www.scipedia.com/public/Calafat_2017a Wed, 13 Mar 2019 12:45:08 +0100 https://www.scipedia.com/public/Calafat_2017a In 1764, Antoni Portella i Enric presented his book titled Nou methode per aprendre la llengua llatina. Primera part dels Rudiments (in English: A new method for learning Latin. Part one of the rudiments) to the Palma Town Hall. The book exemplified Port-Royal dictates and the fashionable educational ideas of the 17th century; it was successfully used in Minorcan schools, but it did not catch on in Majorca. The fact that it was written in Catalan, a language that was commonly used on the smaller island subject to the Treaty of Utrecht, and competed with grammar books created by experts who questioned its adequacy, put it at the center of a debate on the methodology for teaching Latin, as was common across Europe in the 17th and 18th centuries, but with the addition of the conflict between the two vernacular languages, Catalan and Spanish. This work deals with the controversy of ideas about the Catalan, Spanish and Latin languages that was lived in the second half of the eighteenth century in Mallorca and Menorca in the field of education; as well as the grammatical works in use.

]]> Scipedia content https://www.scipedia.com/public/Huidobro_2017a Wed, 13 Mar 2019 12:44:24 +0100 https://www.scipedia.com/public/Huidobro_2017a The article approaches the epic poems that sang the process of conquest of Chile in the 16th century and, especially, the Arauco War. These works offer a representation that although it exalted the natives as heroes in battle, portrayed them also as barbarians, complex configuration that reflected an epic but critique perception on the conflict. From this consideration, we review the uses of the terms barbarian and barbarism in these poems, analyzing their complexity and the intrinsic tensions between the significant tradition of these concepts and the perceptions of the conflict that the authors projected in their works.

]]> Scipedia content https://www.scipedia.com/public/Ortiz_2017a Wed, 13 Mar 2019 12:44:04 +0100 https://www.scipedia.com/public/Ortiz_2017a This text focuses on a chief masterpiece of the Renaissance, Castiglione’s The Book of the Courtier, and aims to identify its influence on Inca Garcilaso’s work. Considering that he had this book in his library, we will examine the different levels of influence of Castiglione’s work, especially the translation into Spanish by the poet Juan Boscán. This study will address not only the importance of the translator, but also the significance of a piece that brought together all the ideals of the Renaissance: the perfect courtier’s form, style and attitude are omnipresent in Inca Garcilaso’s work and life.

]]> Scipedia content https://www.scipedia.com/public/Gamba_2017a Wed, 13 Mar 2019 12:43:27 +0100 https://www.scipedia.com/public/Gamba_2017a Taking into account the presence of Luther and Lutherans in the Cortes de la Muerte, the Farsa militar by Diego Sánchez de Badajoz and some plays from the Códice de autos viejos, we analize the figure of the heresiarch and the heretic in the Spanish theatre of the mid-sixteenth century. This issue brings us to the question of the origin of the sacramental drama as an antiprotestant reaction. In the second half of this article we present a hypothesis about the extend of participation in the Cortes of the two writers  (Miguel de Carvajal and Hurtado de Toledo), based on the different spiritual traditions found in the text.

]]> Scipedia content https://www.scipedia.com/public/Seres_2017a Wed, 13 Mar 2019 12:42:27 +0100 https://www.scipedia.com/public/Seres_2017a The autghor of this article analyse the influence of the work of the Millenarian Joaquin Da Fiore, Ramon Llull and Arias Montano on the composition of Christian Rhetoric by Diego Valadés. From the first of these writers, the author takes the notion of the era of the Holy Spirit; from the second, the concept of the Earthly City, for conquering the Indians; from the third, an idea for an engraving of significance in Valadés’ book, namely, the convent atrium. Additionally, he also take into account the idea of restitutio and reductio ad unum, with which both the mission of his Franciscan order and that of the Spanish monarchy are justified.

]]> Scipedia content https://www.scipedia.com/public/Zulaica_2017b Wed, 13 Mar 2019 12:42:20 +0100 https://www.scipedia.com/public/Zulaica_2017b Review of Juan Coloma, «Década de la pasión», «Cántico de la resurrección» de don Juan Coloma, conde de Elda y virrey de Cerdeña. Añádese en apéndice su poesía profana y el epistolario diplomátic con don Juan de Zúñiga, ed. Pedro M. Cátedra y Javier Burguillo, Salamanca, SEMYR, 2015, 532 pp. ISBN 978-84-941708-7-4

]]> Scipedia content https://www.scipedia.com/public/Rey_2017a Wed, 13 Mar 2019 12:42:14 +0100 https://www.scipedia.com/public/Rey_2017a Review of Antonio Castillo Gómez, Leer y oír leer. Ensayos sobre la lectura en los Siglos de Oro, Madrid/Frankfurt am Main, Iberoamericana/Vervuert, 2016, 231 pp. ISBN 978-84-8489-957-0

]]> Scipedia content https://www.scipedia.com/public/Arellano_2017b Wed, 13 Mar 2019 12:42:08 +0100 https://www.scipedia.com/public/Arellano_2017b Review of Tirso de Molina, La fingida Arcadia, ed. Victoriano Roncero, New York/Madrid, IDEA/Instituto de Estudios Tirsianos, 2016, 222 pp. ISBN 978-1-938795-19-0

]]> Scipedia content https://www.scipedia.com/public/Plagnard_2017a Wed, 13 Mar 2019 12:41:27 +0100 https://www.scipedia.com/public/Plagnard_2017a The Cadaval 31 codex of the Arquivo Nacional da Torre do Tombo and 3693 of the Biblioteca National de Espana are two extraordinary work of art: two epic manuscripts, color illustrated by Jeronimo Corte-Real, their Portuguese author. The poet-painter approach, so original for the medium it uses in comparaison to the rest of the epic production, is perfectly consistent with the enargeia and the visual style of his poems. Text and image share the same rhetoric, serving the figure of the poet artist and humanist, able to shine in every art, so successful in Corte-Real case. This common rhetoric is essential to understand the position of the poet as historian of Portuguese and Spanish wars.

]]> Scipedia content https://www.scipedia.com/public/Salazar_2017a Wed, 13 Mar 2019 12:41:09 +0100 https://www.scipedia.com/public/Salazar_2017a Along with other religious from the Order of San Francisco, and with the support of the exemplary Juan de Zumarraga, fray Martin Sarmiento de Hojacastro, not only would become General Commissioner of the Order of San Francisco in the New Spain, but it also become titular of the Bishopric of Tlaxcala Puebla, initiating a tough fight against abuses of the encomenderos over the Indians. This research aims to show, by the historical and legal documentary technique, part of the work of this eminent prelate in shaping not only the city of Puebla de los Angeles, but his protection of indigenous.

]]> Scipedia content https://www.scipedia.com/public/Zulaica_2017a Wed, 13 Mar 2019 12:40:44 +0100 https://www.scipedia.com/public/Zulaica_2017a Marvelous architectures are part of the literary configuration of a group of early modern subgenres among which is the chivalric epic. This study shows how these spaces are especially abundant in El Bernardo in comparison with similar works, and presents its different variants to examine their relevance in diegetic evolution of the poem.

]]> Scipedia content https://www.scipedia.com/public/Vasquez_2017a Wed, 13 Mar 2019 12:40:22 +0100 https://www.scipedia.com/public/Vasquez_2017a This paper aims to analyze how the scenic word built the devil’s image and the diabolic, in four Spanish Baroque plays: El esclavo del demonio («The Devil’s Slave», 1612), by Antonio Mira de Amescua (1577- 1636); El condenado por desconfiado («Damned for Despair», 1635), by Tirso de Molina (1579-1648); El mágico prodigioso («The Wonder-Working Magician», 1637) y El veneno y la triaca («The Poison and the Antidote», 1677) by Pedro Calderón de la Barca (1600-1681). In these plays, the devil is a dynamic character who moves between the sacred and the profane dimension in the theatric scene as well as in the human soul.

]]> Scipedia content https://www.scipedia.com/public/Segas_2017a Wed, 13 Mar 2019 12:39:55 +0100 https://www.scipedia.com/public/Segas_2017a This essay pretends to demonstrate how two epic poems, Lope de Vega’s Dragontea (1598) and Miramontes’ Armas antárticas (completed around 1609), compete in a verse dual about the collaboration between English privateers and the Panama Maroons and its dangers at the turn of the 16Th century. Despite offering different approaches on this matter, considering the place of enunciation and the direct or indirect knowledge of this colonial reality, both literary works include Maroons in the Christian European history and its continuity in colonial America. Therefore, the introduction in epic literature of the Maroons as a pressure group in the colonial space has per objective to present them as a new heroic obstacle that the power of the Spanish arms (Miramontes) or of the dominant’s speech (Lope and Miramontes) achieves to vanquish and integrate.

]]> Scipedia content https://www.scipedia.com/public/De_Navascues_2017a Wed, 13 Mar 2019 12:39:31 +0100 https://www.scipedia.com/public/De_Navascues_2017a The theme of piracy in the colonial epic poetry represents patterns of military defense against an enemy that sets an internal and external challenge from the sea and land. Sometimes, Pirates were especially considered dangerous if they tried to get alliances with subjected populations of Indians. In this article I begin by exploring the presence of Dutch privateers in a passage of Puren indómito, poem by Diego Arias de Saavedra, and their frustrated attempt to gain allies among Araucanian people. Then, two final Cantos of La guerra de Chile, an anonymous poem, were analyzed in relation with the tragic destiny of other Dutch sailor, Jacob Mahu, and how certain intertextual comparison with the episode of Adamastor in Os Lusiadas is argued from a global political lecture. Both poems show the fragility of the Spanish military force in the region.

]]> Scipedia content https://www.scipedia.com/public/Panarelli_2017a Wed, 13 Mar 2019 12:39:06 +0100 https://www.scipedia.com/public/Panarelli_2017a 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 chapter of the Política de Dios, in which Quevedo exhibits a similar re-elaborated version to the passages of St Jerome. This article proposes its confutation; starting from the analysis of the quote, we assert Ruperto of Deutz as the direct influence of Quevedo’s transcript, the same reference source that was used by the author for the writing of Homilía a la Santísima Trinidad and Sobre las palabras que dijo Christo á su santísima Madre en las bodas de Caná de Galilea. Lastly, a further contribution is determined by the Annals of Jacques Salian, vastly handled by Quevedo during his literary activity; in these compilations which include Ruperto’s works, it’s possible to discover crucial passages for the support of this analysis.

]]> Scipedia content https://www.scipedia.com/public/Rodriguez_2017b Wed, 13 Mar 2019 12:38:37 +0100 https://www.scipedia.com/public/Rodriguez_2017b The actual essay analyzes briefly the situation of the Calderonian plays within the new taste of the Neoclassicist period, in order to examine the editions of his work that were printed from the end of the 17th century to the middle of the 18th. First of all, we study the editorial task developed by Vera Tassis in the comedies and Pando y Mier in the sacramental plays. Then, we pay attention to the volumes prepared by Fernández de Apontes to be printed during the second half of the 18th century, when following the theorists and the preserved documents (number of sold tickets in the theatres), Calderón seemed not to be so popular amongst the Enlightment audience. Therefore, we would try to figure out the reasons why Fernández de Apontes printed the complete work written by the playwright in a historical moment in which the taste of the audience had changed.

]]> Scipedia content https://www.scipedia.com/public/Gamboa_2017a Wed, 13 Mar 2019 12:38:10 +0100 https://www.scipedia.com/public/Gamboa_2017a In this article, I propose reading one section of sor Juana Inés de la Cruz’s poem «Primero Sueño» as a philosophical reflexion about the discussion between realists and nominalists, on the one hand, and as a reflexion about the preferable based realist/nominalist methodology on the other hand. The realist perspective presented in this poem has a Platonic-Augustinian character. The nominalist perspective —an ontology which sor Juana seems to have preferred— has an Ockhamist vein.

]]> Scipedia content https://www.scipedia.com/public/Dolfi_2017a Wed, 13 Mar 2019 12:37:59 +0100 https://www.scipedia.com/public/Dolfi_2017a This paper analyses the metaphorical language of Cigarrales de Toledo, emphasizing its variety and the presence of saturated semantic fields (economic, legal, medical, funeral, etc.) in unexpected contexts and often associated to the same characters. It evidences an intentional descriptive attention and a frequent use of enumeration, which —adding to metaphors, bisemie, paronomasie, and other various rhetorical figures— enriches the text of details and nuances. Another important element is the repeated habit of quantify all that is told, that is a lure to concreteness and an intentional compensation to the world of images.

]]> Scipedia content https://www.scipedia.com/public/Iglesias_2017a Wed, 13 Mar 2019 12:37:30 +0100 https://www.scipedia.com/public/Iglesias_2017a This comedia by Lope de Vega has received few criticism until now. Most of the studies about this play deal with its date: 1613 is commonly accepted as the year of composition. This article tackles this problem and defends the year 1608 by establishing the connection between the comedia and its sources. This article also explains the segmentation and structure of this comedia

]]> Scipedia content https://www.scipedia.com/public/De_2017b Wed, 13 Mar 2019 12:36:59 +0100 https://www.scipedia.com/public/De_2017b As indicated at the beginning of this paper, it deals with a small number of unpublished plays by a late 16th - early 17th century writer. Apart from incorporating his production to the history of drama, I try to lay emphasis on the fact that he, being an amateur playwright, was responsible for the performance of his own plays, at an age when theatre was rapidly becoming commercial and professional. The way his personal circumstances influenced his own creative work is also taken into account. This author has certainly to be viewed within his own time and personal and literary history.

]]> Scipedia content https://www.scipedia.com/public/Rodriguez_2017a Wed, 13 Mar 2019 12:36:04 +0100 https://www.scipedia.com/public/Rodriguez_2017a The study examines the critical point of view and research methodology that was applied by Francisco Ruiz Ramon (1930-2015) to analyze Spanish Theater, from its excellent Historia del teatro español (1967) to his latest research focused on Pedro Calderón de la Barca (1600-1681) and, especially, in its review as a contemporary classic in the history of European theater. To do it, the study pays particular attention to Ruiz Ramón’s biographical and academic circumstances and the critical currents that inspired its «Calderón reading» model, which contributed decisively in the renewal of Golden Age Theather historiography

]]> Scipedia content https://www.scipedia.com/public/Madronal_2017a Wed, 13 Mar 2019 12:35:43 +0100 https://www.scipedia.com/public/Madronal_2017a This work consists of the edition of a novohispanic entremés from the 18th century entitled Los pajes golosos [the gluttonous pages]. This is an unknown and unpublished interlude which inscribes itself in the orbit of the famous entremés-specialist Luis Quiñones de Benavente. The play is here related to better-known interludes (one with the same title but written by León Merchante and another one, anonymous, entitled Perico y Marina). Its linguistic and literary characteristics will also be analysed.

]]> Scipedia content https://www.scipedia.com/public/Escudero_2017a Wed, 13 Mar 2019 12:34:57 +0100 https://www.scipedia.com/public/Escudero_2017a This paper analyzes a specific motif, the eagle, as one of the sacramental items best known of the calderonian bestiary. Their study is done through several layers: the compositional, the morphological, the biblical, the political-symbolic and the scenic, showing the complexity of the subject and its peculiar insertion in the sacramental plays of the golden age spanish playwright.

]]> Scipedia content https://www.scipedia.com/public/Suarez_2017a Wed, 13 Mar 2019 12:34:21 +0100 https://www.scipedia.com/public/Suarez_2017a The starry sky, from the Greeks, has had a wide impact on the neo-Platonic world, but from El sueño de Escipión by Ficino and Leon Hebrew, it acquires a decisive importance for the subsequent literature by the possibility of so many relationships and correspondences and it is, moreover, favoured by the science of the time . Calderon used all known sources in mystery plays to expose a cosmology and show the dramatic and lyrical possibilities of this motif

]]> Scipedia content https://www.scipedia.com/public/Rull_2017a Wed, 13 Mar 2019 12:34:01 +0100 https://www.scipedia.com/public/Rull_2017a In this paper we try to investigate the value of cosmic calderonian perspectives in La vida es sueño, showing how from the beginning of this work and through to completion of the whole of it, it is conceived as a dialectic of verticality, establishing the paradigm «down-up» as a dramatic technique in which both the symbolic dimensions of the scenery and its reflection in the moral world play a fundamental role

]]> Scipedia content https://www.scipedia.com/public/Rubiera_2017a Wed, 13 Mar 2019 12:33:42 +0100 https://www.scipedia.com/public/Rubiera_2017a This paper challenges Don Cruickshank’s interpretation of Amor, honor y poder who speculates on the parallels between some play’s characters (Rey Eduardo, Flérida, Teobaldo) and historical personnages in 1623, when the play was performed in Madrid (Philip IV, María Anna of Spain, Prince of Wales). The author shows the flaws in Cruickshank’s arguments and at the end provides some methodological reflections on the analysis and interpretation of dramatic texts.

]]> Scipedia content https://www.scipedia.com/public/Arellano_2017a Wed, 13 Mar 2019 12:33:24 +0100 https://www.scipedia.com/public/Arellano_2017a The article reviews the rivalries among the major poets of the Golden Age, particularly in the sphere of the theater. The papel examines the relations of friendship or enmity between Lope, Góngora, Tirso, Cervantes, Calderón… within the framework of the battle for popular applause and the social and economic thrive.

]]> Scipedia content https://www.scipedia.com/public/Zamora_2017a Wed, 13 Mar 2019 12:32:40 +0100 https://www.scipedia.com/public/Zamora_2017a Theater is constituted by a double and correlative tension between auditory and visual elements, on one hand, and verbal and factual components, on the other. Due to restrictions in staging or to aesthetic preference, in the Spanish Golden Age Comedia there is an initial preference for auditory constituents over visual elements. However, this partiality does not entail, as could be expected from the double binary, a supremacy of the verbal over the factual, but rather requires an equivalence between both dimensions. Given the original diminished role of visual action, in the Spanish Comedia the word becomes the action; both are one and the same. From this hypothesis, I propose an analytical model wherein the play’s plot appears as set of verbal incidents that could be reduced to four: utterance of a statement, silence, correct and incorrect interpretation of an utterance. To prove or test the validity and the critical fruits of this theorization of the Comedia and the analytical method derived from it, the essay reviews (or better, rehears) a corpus of representative plays: El médico de su honra, El desdén con el desdén, El condenado por desconfiado, and Entre bobos anda el juego.

]]> Scipedia content https://www.scipedia.com/public/Campbell_2017a Wed, 13 Mar 2019 12:32:16 +0100 https://www.scipedia.com/public/Campbell_2017a At the comedy, Hombre pobre todo es trazas (1628), Calderón uses a lot of resources that apparently only pretend to provoke the humor in the public. However, the economical situation, the mentality and behavioral transformations that means the «régimen dinerario» at XVIIth century in Spain, are essential for the protagonist characterization. It permits, not only enjoy, but also to understand his misleading behavior reasons and the play structure. The social value of money in the Modern economy is brilliantly dramatized by Calderón in a comic way that is always possible to enjoy

]]> Scipedia content https://www.scipedia.com/public/Garcia_2017c Wed, 13 Mar 2019 12:31:50 +0100 https://www.scipedia.com/public/Garcia_2017c «The passion for order» that characterizes the Caledonian works can be seen in the optics capacity of the dramatist to produce auto sacramentales that maintain a direct correlation with the preceding pictorial works. In this line of analysis, this study presents the convergence between the allegorical linealismo visibly present in the Roman mural paintings of the region of Castile and León in Two Angels and a Holy Archbishop of anonymous artist found in the Hermitage of the Vera Cruz de Maderuelo, Segovia, of the twelfth century Spain, and the implied significance of the symbolism represented in the scenic sketches of the auto sacramental The Immunity of Consecrated Ground by Pedro Calderón de la Barca written in the early modern Spain.

]]> Scipedia content https://www.scipedia.com/public/Alvarez_2017b Wed, 13 Mar 2019 12:31:23 +0100 https://www.scipedia.com/public/Alvarez_2017b 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 Age. Humanism promotes this recovery of the classical world and generates a significant literature on drama precepts that will not develop the same way in all European countries. While Italy and France opt for the acceptance and conversion of the ideas of Aristotle and Horace into style rules, Spain and England cannot fail to point out the dramatic dissonance between stage theory and practice, and, the aim of pleasing the public, will prevail as a benchmark of success over fidelity to the classical precepts. However, despite theoretical differences, the French drama as the English and the Spanish drama will be committed to the development of tragedy. We will discuss some ideas about drama rules in France and England and their connection with what is represented on stage, as well as the nature and intensity of the government’s support to the theatre, in order to contextualize and show the differences with respect to the Spanish Baroque tragedy.

]]> Scipedia content https://www.scipedia.com/public/Urzaiz_2017a Wed, 13 Mar 2019 12:31:05 +0100 https://www.scipedia.com/public/Urzaiz_2017a This paper analyzes the inquisitorial prohibition of Lope de Vega’s The fianza satisfecha at the end of the eighteenth century. Criticism has judged very negatively this comedia, whose authorship is uncertain. The fianza satisfecha was denounced to the Inquisition (Logroño, 1781; Barcelona, 1798) and included in the Index librorum prohibitorum (1801) after a long and rough discussion among the censors. The details of this discussion are set out in an almost unknown document (Archivo Histórico Nacional, Madrid) whose transcription is also carried out in this paper.

]]> Scipedia content https://www.scipedia.com/public/Hildner_2017a Wed, 13 Mar 2019 12:30:49 +0100 https://www.scipedia.com/public/Hildner_2017a The present study examines three plays by Tirso de Molina (Amar por señas, El castigo del penséque and Quien calla otorga) in which female protagonists in positions of power (or as relatives of those in power) use their authority to confuse and deceive the male protagonists, who is a foreigner in their lands. Their position allows them to go beyond the typical deceptions of Tirso’s intrigue comedies (e. g., Don Gil de las calzas verdes). Concretely, they manage to detain the young man physically, to torment him without revealing their identity and to send ambiguous message that keep the male character in uncertainty. However, they are constrained by their sense of honor and it is implied that, after the traditional wedding that ends these plays, the women will no longer have the authority to continue their manipulation.

]]> Scipedia content https://www.scipedia.com/public/Lobato_2017a Wed, 13 Mar 2019 12:30:24 +0100 https://www.scipedia.com/public/Lobato_2017a The Coloquio de Gila by Lope de Rueda, which came to light less than a decade ago, presents the figure of the black woman Sofía with a number of identifying characteristics. Some of these characteristics are already found in poetic texts that contain a noticeable element of dramatisation and were written towards the end of the fifteenth century, such as those by Anrique de Mota and Rodrigo de Reinosa. But it is in the sixteenth century that the ‘black woman’ character type appears in literary works by Jaime de Huete, Feliciano de Silva, Gaspar Gómez de Toledo, Gil Vicente and Diego Sánchez de Badajoz. These works constitute a sufficiently wide repertoire to examine the black woman character type and to establish the characteristics of this type on the basis of the literary texts in which she appears.

]]> Scipedia content https://www.scipedia.com/public/Lauer_2017a Wed, 13 Mar 2019 12:29:52 +0100 https://www.scipedia.com/public/Lauer_2017a reassessed taking into consideration anthropological, civil, legal, lexical, moral, philosophical, theological and psychological aspects. An application of this refurbished concept follows, wherein the idea of honor as a social concept and as a moral attribute clash in three villein plays: Pedro Calderón de la Barca’s The Mayor of Zalamea (El alcalde de Zalamea) and Lope de Vega’s All Citizens Are Soldiers (Fuenteovejuna), and Peribáñez and the Comendador of Ocaña (Peribáñez y el Comendador de Ocaña).

]]> Scipedia content https://www.scipedia.com/public/Vitse_2017a Wed, 13 Mar 2019 12:29:37 +0100 https://www.scipedia.com/public/Vitse_2017a This article aims to describe and characterize space in Lope de Vega’s biblical play La hermosa Ester (1610). With the exception of two comic interludes found respectively in cuadros E and H and set in a hamlet near to the Persian capital, the remaining 11 cuadros are set in the city of Susa. The city is represented by a palace with a garden, a throne room and the king’s chambers) as well as an urban space (Jewish quarter, the favorite minister’s residence, and streets), both of which are linked by a square that is situated in front of the palace, a square that is of prime importance in the dramatic action. In contrast to Danielle Crivellari’s recent study on space in the work, this new proposed reconstruction, fashioned according to implicit stage directions, brings to light the dubious fragility of spacial elements when considering the play’s system of segmentation, that can find firmer bases in the metrics

]]> Scipedia content https://www.scipedia.com/public/Friedman_2017a Wed, 13 Mar 2019 12:29:07 +0100 https://www.scipedia.com/public/Friedman_2017a There is an obvious relation between the imitation and adaptation of literary works. The focus of the essay is the adaptation of early Spanish modern works —including Don Quijote and plays by Cervantes, Lope de Vega, and Juan Ruiz de Alarcón— and Miguel de Unamuno’s Niebla into dramatic texts in English. Adaptation becomes a method of reading, analysis, and interpretation, as well as a form of communication among authors.

]]> Scipedia content https://www.scipedia.com/public/Serralta_2017a Wed, 13 Mar 2019 12:28:40 +0100 https://www.scipedia.com/public/Serralta_2017a A meaningful sample of the short allusions to the myth of Troy in the plays of Lope de Vega enable one to part into relief how numerous they are and the part they play in the dramatist’s writing both an ornamental and sometimes a functional point of view.

]]> Scipedia content https://www.scipedia.com/public/De_2017a Wed, 13 Mar 2019 12:28:15 +0100 https://www.scipedia.com/public/De_2017a This essay studies two myths that have been proposed as sources for La vida es sueño: the myth of Uranus castrated by Saturn and the story of Saturn dethroned by Jupiter. While both have to do with the confrontation between father and son (Basilio and Segismundo), each brings different themes and motifs to the work. The first has to do with the retention of power and the opposition to freedom; while the second appears in its astrological sense. Basilio is related to the malefic influence of Saturn that leads to incarceration. In its positive aspects, the saturnine influences that fall upon Segismundo allow him to eventually conceive a broader vision, thus pardoning the father and becoming part of a new Golden Age presaged by Rosaura/Astraea. Ruben’s painting, Saturn Devouring his Son, help us to visualize the complementarity that exists between the two major myths that are at the basis of the conflict in Calderón’s work

]]> Scipedia content https://www.scipedia.com/public/Pena_2017b Wed, 13 Mar 2019 12:27:51 +0100 https://www.scipedia.com/public/Pena_2017b This article offers a comparison between two plays: Mudarse por mejorarse by Juan Ruiz de Alarcón y Mudarse por mejorarse by Fernando Zárate Castronovo (ca. 1663) in order to examine the authors’ Jewish origins, personalities and biographies. Both of them suffered harassment from other authors (Alarcón) and from Spanish Inquisition (Zárate). Alarcón, who was an isolated but peaceful man, died in Madrid the 4th of August 1639. On the contrary, Zárate, who was rebellious and defeated, died at Sevilla’s Inquisition Palace, the 18th of March 1663. As a conclusion, we can confirm that Zárate Castronovo just copied the title of Alarcón’s comedy to be able to relate it to the unconscious desire of «change» the physical appearence (Alarcón) or the fate (Zárate).

]]> Scipedia content https://www.scipedia.com/public/Antonucci_2017a Wed, 13 Mar 2019 12:27:30 +0100 https://www.scipedia.com/public/Antonucci_2017a 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 monstruo del mundo, La vida es sueño. In comic plays, on the contrary, dramatic situations like these use to turn out well, thanks to ingenious solutions or favorable chance: it is what happens in Amor, honor y poder and La dama duende; whereas the case of No hay cosa como callar confirms the generic ambiguity of this play.

]]> Scipedia content https://www.scipedia.com/public/Canavaggio_2017a Wed, 13 Mar 2019 12:27:02 +0100 https://www.scipedia.com/public/Canavaggio_2017a The complex relationship between Mérimée and Golden Age theather poses three questions that are closely related. In first place, what was the specific knowledge of Carmen's author from one of the three most outstanding theathers invented by Modern Europe? Then, what was his opinion about it? And finally, what is the impact of this theather on his own works? We expect to answer these three questions in the present article.

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