bluuebunny/crossref_metadata_2025 huggingface dataset:
Fernán Gómez de Guzmán, Protagonist of Fuenteovejuna
Authors: Ruggerio Michael J.
Published: January 2014

The long-standing critical view that there is a collective protagonist in Fuenteovejuna is reexamined with the intention of proving that this viewpoint disregards important aspects of the play and the so-called sources. When such details are considered the evidence leads to the conclusion that Fernán Gómez de Guzmán is the protagonist. Lope falsifies certain historical facts and expands upon some vague statements found in the "sources" in order to highlight the rôle of the comendador and the theme of peasant honor. The expression "Fuente Ovejuna lo hizo" is simply a ruse thought up after the revolt in order to ensure the failure of the king's investigation. In addition, the attribution of certain speeches during the peasant rebellion to Todos or Todas refers to specific people. Esteban decides to act alone to regain his lost honor and the other peasants join the revolt because of the affronts they had suffered. But it is Esteban who deals the death blow to the cowering comendador . The realization that there is a single protagonist also attests to Lope's skills as a playwright because the comendador generates all of the action in both plots, thus unifying them into a harmonious unit. Fernán Gómez de Guzmán is a significant dramatic figure and not a transplant from a chronicle. He controls the action in both plots even after his death and when, at the end of the play, the king decides that he cannot punish the peasants he is accepting the concept of peasant honor and not rewarding them for protecting the monarchy. (MJR)
El condenado por presumido: The Rhetoric of Death and Damnation in El burlador de Sevilla y convidado de piedra
Authors: Presberg Charles D.
Published: January 2014

An examination of the rhetoric of death and damnation in Tirso's Burlador reveals that the play can be read as a dramatized homily about the natural and supernatural realms of God's justice, reflected in the work's natural and supernatural realms of action. Concerning the rhetoric of damnation, much traditional criticism about the Burlador has centered on whether Tirso adopts either a "Thomist" or "Molinist" position concerning the De auxiliis controversy; and on why, or even whether, Don Juan is consigned to hell. Such hermeneutic disputes can be resolved by recognizing that the protagonist is damned for presumption, which all orthodox theology of the period considered to be, like despair, a sin against the theological virtue of hope and, hence, an "unpardonable" sin against the Holy Spirit. As spelled out most systematically in Aquinas's Summa Theologiae , the theology of presumption acts as a referential code for the mechanism of Don Juan's damnation, and thus for Tirso's rendering of the supernatural (eternal) realm of God's justice. In the natural (temporal) realm of God's justice, the matching of "punishment" and "crime" holds equally for the protagonist and his victims. After discussing the crime and punishment of each victim in turn, this study examines how both realms of divine justice converge in the character of the protagonist. His sentence of death for his crimes against other human beings, together with his sentence of damnation for his sin against hope and the Holy Spirit, jointly dramatize the the play's central, "anagogical" theme: that a God who is at once just and merciful exacts from any infraction of either the temporal or eternal order a terrible, fitting price. Lastly, the theological position put forth in Tirso's homiletic play is shown to stand outside the academic debate between "Thomists" and "Molinists" about grace and free will.
Una olvidada fijación literaria del trickster : Pedro de Urdemalas
Authors: Rodríguez Alfred , Lanning Ronald
Published: January 2014

El artículo señala y documenta la hasta ahora inadvertida presencia de la figura arquetípico-folklórica, Pedro de Urdemalas, en La niña de Gómez Arias de Luis Vélez de Guevara. (AR y RL)
Don Juan in Cyberspace: Editing a Comedia on the Information Superhighway
Authors: Moll Angela
Published: January 2014

Hypermedia provides a formidable tool for the study of drama: the possibility of merging different media in a single document and of expressing knowledge in a non sequential manner are particularly suited to the research needs of this field. This paper discusses an electronic edition of El burlador de Sevilla , which uses state of the art hypermedia technology to construct a research environment around the play. The unanswered questions and controversies surrounding this comedia —authorship, relationship with Tan largo me lo fiáis —as well as its foundational role in the development of the myth of Don Juan make El burlador an ideal comedia to test the potential of this new technology. The paper describes the building blocks of this hypermedia environment, reports on the design decisions which are driven by the need to meet the requirements of the drama scholar, and discusses the implications and benefits that the use of such a system has for us as scholars.
"Entre verdad y mentira": Woman and Metatheater in Lope de Vega's Los amantes sin amor
Authors: Quiñones Harry Vélez
Published: January 2014

As Everett W. Hesse has pointed out, the comedia frequently shows that "men and women are tricksters who try to manipulate one another to gain an advantage" (44). While this is the case in Los amantes sin amor , Lope's Octavia is by far the mother of all dissemblers. She is the embodiment of fictional fabrication, the sign and maker of every "fábula fingida" (165a). This definition accentuates the interplay between "reality" and "falsehood" in all human activity. Taken to the realm of theatrical and literary production this relationship would fall under the general rubric of metafiction. Thus seen, metafiction occurs when the text or the spectacle advertise their "false appearance," their artefactual condition, that is, their literariness or theatricality, in order to point towards a "real purpose." That the said purpose is inevitably literary or theatrical, and, consequently, equally contrived, matters not in metafictional discourse. It is the emergence of self reflexiveness, the gesture towards the recognition of the fiction within the fiction that is of import here. The comedia is prone to that gesture, thus underscoring the elusiveness of dramatic texts. I propose that we understand Octavia's role in Los amantes sin amor as that of exposing the comedia 's very being as artefact, that is, its metafictional constitution.
Comedy's Social Compromise: Tirso's Marta la piadosa and the Refashioning of Role
Authors: Thacker Jonathan W.
Published: January 2014

Several critics have recently attempted to re-establish the comic nature of Tirso's Marta la piadosa , in the face of much of this century's tragedizing criticism. This article is an attempt to move the debate forward. The comic pedigree of the play is verified, and an analysis of the serious, social implications which are characteristic of fine comedy is presented. Marta herself is seen as just one example of a number of comic hero(in)es of the comedia who temporarily eschew the normal rules and roles of social life in order to relocate themselves to a position which happens to coincide more precisely with their own expectations of life. Marta la piadosa is thus seen to belong to the mainstream of comedy which sets up a debate between the conservative forces of social role-play and the lively, youthful expression of the self. (JWT)
Hidden Treasure: The Marvelous Present and Magical Reality in The Tempest and La vida es sueño
Authors: Zaidi Ali Shehzad
Published: January 2014

This paper examines the aesthetic experience in Calderón's La vida es sueño and Shakespeare's The Tempest , centering on illusion as a means of revelation, and on the reiteration of the present as the alchemy that dissolves opposites to reveal a magical reality. The characters in the plays experience a bafflement that shows the limits of discursive reason. Critical interpretations of the plays have long been conditioned by the dualistic thinking and by the binary oppositions that are the legacy of Greek philosophy and of the Judeo-Christian tradition. The Tempest and La vida es sueño refashion our modes of understanding through a perplexity that has more in common with Zen or magical realism than with the traditional belief systems of Western culture. Poetry is the real plot of these plays, in which confusion is the means to insight, and magic is the means to self-discovery. In these plays, the present, an elusive and illusory non-instant, is a veritable metaphor of our transience and of our permanence. (ASZ)
La dama boba de Lope de Vega: un caso de subversión aparente o el proceso de formación de un discurso monológico
Authors: Torres David Gómez
Published: January 2014

En este estudio se examinan aquellos rasgos relacionados con el Carnaval y la cultura popular que aparecen en el discurso de Finea en La dama boba de Lope de Vega. Partimos de la estrecha relación que existe entre estos elementos y la definición de tontería en la comedia. El objetivo de este ensayo es mostrar que la desaparición progresiva de la tontería está estrechamente relacionada con una difuminación correspondiente de las marcas carnavalescas en el discurso de Finea. Lo que en un principio parece ser una obra en la que dos discursos —el de la risa y el serio—pueden cohabitar, es, de hecho, una muestra de la sutileza con la que uno de ellos —el oficial, serio—se impone sobre otro—en este caso el alternativo o subversivo de la risa. El hecho de que el discurso subversivo de La dama boba sea absorbido o fagocitado por el oficial, es una muestra clara de la tendencia de la Comedia hacia el discurso monológico.
Sobre el autor de Calderón No hay instante sin milagro (elementos constructivos, fuentes y escenificación)
Authors: Arellano Ignacio , Zafra Rafael
Published: January 2014

Este artículo analiza la estructura expositiva del auto, concebido como una discusión de la Fe y la Apostasía sobre los milagros y su vigencia, debate que desembocará en la mostración de los milagros "modernos": esto es, los sacramentos, y particularmente el sacramento de la Eucaristia, asunto central del auto. Se estudia luego la tradición del tema de los milagros en la patrística, con referencias pertinentes a San Agustín, y especialmente San Gregorio Magno, cuya Homilía IX es fuente central del auto. Otra fuente importante es un pasaje de San Pablo, Primera Carta a los Corintios, 11, 20-29. Respecto a la organización estructural se destaca la adaptación de un juicio inquisitorial. Otros elementos destacables son la recurrencia ad exempla y a fuentes iconográficas y legendarias diversas. Se complementa el artículo con algunas notas sobre la representación del auto, especialmente lo relativo al manejo de los espacios escénicos y dramáticos, muy complejo y apoyado en la libertad del mecanismo alegórico.
La gran comedia de la Baltasara by "Tres ingenios de la Corte"
Authors: Stoll Anita K.
Published: January 2014

Although the three poet/dramatists, Lope, Tirso, and Calderón, are undoubtedly the first tier of poet/dramatists of the period, there are other dramatists and other works which merit our attention for various reasons. Among the plays in the forty-seven volumes of collected Golden Age plays in the Biblioteca Nacional there are several written collaboratively: often indicated as being by "tres ingenios de la corte." One of these, La Baltasara , holds particular interest for what it tells us about play production, since all three use well-proven theatrical techniques and practices known for pleasing the crowds. The purpose of this study is to provide an inventory of these elements: character, type of play, collaborative composition, plot and staging recourses that were most successful. It provides a window on the tastes and interests of the play-going public of Spain of the mid-1600s.
Language and Orthodoxy in La Farsa del sacramento llamada de los lenguajes
Authors: Case Thomas E.
Published: January 2014

One indicator of the ascendancy of the prestige form of Castilian in the sixteenth century is the anonymous Farsa del sacramento llamada de los lenguajes , which was published in Rouanet's four-volume collection of religious plays dated 1550-75. In this short piece, a bobo , a moro , a viscayno , a françes , a luterano , and a portugues come before Divino amor for questioning on doctrine and Christian attitudes in order to be admitted to paradise. All fail because of some sort of fault, but mainly because they do not speak "standard" Castilian. Although all are forgiven in the end, the farsa points up the ascendancy of Toledan Castilian, spoken by Divino amor, Justiçia , and Misericordia .
Datos de La despreciada querida de Juan Bautista Villegas
Authors: González Erasmo Hernández
Published: January 2014

En este trabajo estudio con los criterios bibliográficos, textuales, métricos, escénicos y biográficos La despreciada querida , del enigmático Juan Bautista Villegas, para actualizar el estado de la cuestión. La conclusión más interesante es comprobar cómo una obra ignorada por las críticas literarias de los siglos XVIII, XIX y XX tuvo una importante, presumiblemente a la vista de los datos, aceptación en la escena. (EHG)
Tiempo dramático, tiempo real y tiempo simbólico en las obras dramáticas de Hernán López de Yanguas
Authors: Álvarez Julio-Félix Hernando
Published: January 2014

Se presenta en este artículo el conjunto de las obras dramáticas de Hernando López de Yanguas (1487-?) y el uso que en ellas se hace del factor temporal. Una considerable cantidad de índices apunta a que en este teatro se trasciende el nivel temporal inmediato, característico del teatro de la época, Encina, Torres Naharro, Sánchez de Badajoz, y se da una intersección de los planos cronológicos —pasado bíblico, futuro escatológico—que lleva las obras al nivel de tiempo absoluto, no-tiempo que será propio del auto sacramental. Así, resulta cada vez más claro que las aportaciones de Yanguas a la formación de este género literario no se limitan, como se ha señalado, a introducir la temática eucarística o a intensificar la construcción alegórica, sino que aporta ya algunos de los elementos que le serán esenciales. (J-F.H.)
When Sacred and Secular Intersect: Calderón's El pintor de su deshonra, comedia and auto
Authors: Patteson Mitchell Phyllis
Published: January 2014

Calderón's auto sacramental of the same title as his comedia, El pintor de su deshonra , has been largely overlooked, despite the intense critical scrutiny to which the honor plays have been subjected. This paper argues that the fact that the auto has extremely close ties —by title, plot, themes and character development— to the comedia is a compelling reason to look at the two plays as part of a logical progression. Thus, what the auto , written a year or two after the comedia , has to say about human existence in general and honor in particular is critical in understanding Calderón's position concerning these themes. (PPM)
Re-staging Femininity in Ana Caro's Valor, agravio y mujer
Authors: Gorfkle Laura
Published: January 2014

Caro's play, Valor, agravio y mujer , displays many of the characteristics of the cloak and dagger play and has, therefore, been viewed as just another conduit of the values of that genre. According to this perspective, the protagonist's employment of a masculine role is socially objectionable. Leonor's disguise can only be condoned as a means to accord her an honorable status within the domestic sphere, a status which Leonor is ultimately able to achieve at the end of the play when she becomes Juan's wife. It is my contention in this study, however, that Caro applies the conventions of the genre she imitates only to invert the values upon which they rest. Caro draws on a variety of performative techniques in the second act of the play in order to expose the deauthorization of the feminine and, simultaneously, to permit the protagonist to transcend, up to a point, the representational boundaries that define and limit her.
"Ficcion, aficion y seducion": Ana Caro's Valor, Agravio y Mujer
Authors: Camino Mercedes Maroto
Published: January 2014

Ignored in most comparative studies of Don Juan, Caro's play offers a treatment of the story from the perspective of a professional seventeenth-century female writer. The development of Caro's Don Juan can be said to follow closely that of the mujer esquiva plays in which a woman who eschews marriage is ultimately "tamed" often (but not always) through the force of an irresistible love. In this play, however, we witness the domestication not of an independent woman but of a man—and of one who belongs to a long-lived lineage of seducers still commanding cinematic appeal in our days. Caro's play rewrites the Don Juan story as that of a seducer who is ultimately seduced by the only woman he had tricked and from whom he had tried to escape. This Don Juan thus departs significantly from the masculine prototype embodied by his namesake to join his destiny as loving husband and perpetuator of the species. His characterization can be seen to conform to a sort of seventeenth-century romantic, feminine fantasy which, I will argue in this essay, runs counter to the notion that there was a monolithic idea of "man" and "woman" during the Spanish "Golden Age." This paper suggests that the masculinism embedded in the tradition of the libertine seducer whose conquests inscribe women as signs is foregrounded and questioned throughout Caro's play. By altering the traditional pattern of relationships and roles Caro manages to propose an alternative paradigm for women which is, nevertheless, well-bounded by the conservatism of the comedia 's happy marriage denouement. Caro's gestures of rapprochement and distancing from the Donjuanian tradition, I will propose in this paper, are framed by a pattern of mimesis and indistinctness that not only surrounds the histrionic geography of her characters, but is also part of their own make-up.
Presencia de la ninfa de la Coryciana en Placida y Victoriano
Authors: Chinchilla Rosa Helena
Published: January 2014

Este estudio intenta revelar una relación fundamental entre las corrientes literarias más populares en Roma a principios del siglo XVI y la obra de Juan del Encina. La imagen central de Plácida y Victoriano , una mujer durmiente cerca de una fuente, corresponde a uno de los motivos predominantes en la iconografía de la segunda Academia romana, cuya antología, la Coryciana , fue su mayor aportación literaria. Las actitudes filosóficas de Ficino que utilizó Encina, y el uso de sincretismo del mundo pagano y el cristiano, apoyan el intento por Encina de recrear un mundo dramático que busca representar la complejidad del ambiente de la corte del Papa Julio II.
"Putting Sex into Discourse" in Golden-Age Theater: The Case of Fray Gaspar de Villarroel
Authors: O'Connor Thomas Austin
Published: January 2014

La tesis de este ensayo, que parte de una observación de M. Foucault, es la siguiente: La Comedia Nueva constituye uno de los lugares más privilegiados para discernir lo que Mary Anne McPherson Oliver ha denominado una "espiritualidad conyugal." Cotarelo y Mori ha señalado la importancia de las opiniones morales y teológicas del obispo agustino Fray Gaspar de Villarroel (m. después de 1659) en el debate sobre la licitud del teatro clásico, "por ser una de las poquísimas defensas que en aquel tiempo se hicieron de la literatura dramática." Fray Gaspar luchó contra el rigorismo moral del jesuita P. Pedro Puente Hurtado de Mendoza, entre otros, defendiendo de paso la esencia del estado matrimonial, que consiste en la " henosis , el juntar como una carne." Rechazando la proposición defendida por muchos teólogos y moralistas que todas las representaciones amatorias en el teatro eran torpes o deshonestas, Fray Gaspar defendió 1) la licitud de la Comedia y de su representación pública, 2) el estado moral indiferente del que escribía comedias, 3) la honestidad de los autores de comedias y de los comediantes (el no ser infames debido a su oficio), y, finalmente, 4) quiénes podían oír comedias, en qué locales y bajo qué circunstancias. Al defender "la fábula" dramática y su relación con el amor humano y sexual, al mismo tiempo este fraile hispanoamericano defendió el estado sagrado del matrimonio cristiano.
El desdoblamiento de la hamartia en La Numancia
Authors: Martín Francisco J.
Published: January 2014

A la luz del artículo de Jane Tar, " Hamartia in Cervantes' La Numancia ," y partiendo del carácter doble con que se presenta la hamartia clásica en esta obra cervantina, se estudia en este trabajo el papel esencialmente significativo que juega la hamartia asignada a uno de los antagonistas, el pueblo de Numancia. Esta hamartia numantina, lejos de ser lo que típicamente constituye el clásico error en el que se cifra la caída del héroe trágico, viene en cambio a revelarse más bien como la clave que, por obra de la Fama, irónicamente asegura el triunfo último de Numancia. Éste es el eje a cuyo alrededor realmente gira toda la carga moral de la obra, nota, precisamente, que le ha hecho sobrevivir con éxito hasta nuestros días.
La Comedia at the Border: Francisco Manuel de Melo's O Fidalgo Aprendiz
Authors: Friedman Edward H.
Published: January 2014

The development of the comedia in Spain bears surprisingly little fruit in Portugal, despite (or perhaps because of) the annexation of Portugal from 1580 to 1640. O Fidalgo Aprendiz (1646) by Francisco Manuel de Melo is generally considered to be the outstanding seventeenth-century achievement in Portuguese drama. The play is engaging not merely for its historical solitude but for its reflection of tensions at the personal and professional levels, together with a double- or triple-edged satire. With Gil Vicente on one side and the Spanish comedia on the other, O Fidalgo Aprendiz bespeaks a unique variation on the theme of "the anxiety of influence."
Mal de amor y alteridad en un texto de Sor Juana: El Divino Narciso Reescribe a Calderón
Authors: Díaz Balsera Viviana
Published: January 2014

El Divino Narciso de Sor Juana revisa la práctica calderoniana del auto sacramental. Mediante un osado juego de reflejos entre sus personajes principales (Narciso, Naturaleza y Eco), se problematiza la oposición radical entre los personajes del bien y del mal. Esta revisión será significativa no sólo desde el punto de vista de la historia literaria del género, sino también desde la perspectiva de las implicaciones que pueda tener la reestructuración simbólica de las relaciones entre identidad y alteridad, bien y mal, atracción y repulsión, positivo y negativo, inclusión y exclusión, etc., por y para un sujeto liminal como lo es Sor Juana, de status devaluado por ser mujer, fronterizo por ser criollo, pero todavía privilegiado por poseer la autoridad (y autorización) de la escritura.
Awakening from the Dream: Calderón and the Perennial Philosophy
Authors: Bradburn-Ruster Michael
Published: January 2014

Calderón's La vida es sueño has often been studied as a play about kingship and political order, but of late its relation to metaphysics, wisdom literature and spirituality has tended to be diminished or even denied. By focussing on the epistemological and ontological questions raised by the central status and role of dreams in this play and its neglected sister, En esta vida todo es verdad y todo mentira , we can glimpse concerns shared by Descartes, and indeed stemming back to Platonic and Aristotelian thought. Yet the notion of engaño and desengaño , suggesting blindness and illumination, hint not only at the depth of Calderón's Catholic vision, but of profound connections to other world wisdom traditions, such as the maya of Hinduism. By applying the insights of the sophia perennis , implicit in these wisdom traditions and articulated by modern scholars such as Coomaraswamy and Nasr, Calderón's views of the dream's role in spiritual enlightenment are clarified through a constellation of close parallels in Buddhist, Taoist, Hopi, Hindu, and Muslim traditions. Against this background, Calderón's plays are seen to transcend the narrow ideological confines in which they are often studied and presented.
Religion and Politics in Felipe Godínez's El divino Isaac
Authors: Parks Ted
Published: January 2014

Both Lope and Calderón composed autos sacramentales retelling the biblical story of the binding of Isaac, but the converso Felipe Godínez uses the Genesis story in a setting that not only exalts the Eucharist, but Spain's religious orthodoxy. The play's unusual framework mirrors Godínez's personal uniqueness among Golden Age dramatists stemming from his conviction and punishment for heresy by the Inquisition. The foundational version of the Isaac story in the Bible portrays Abraham's call to sacrifice his son as a test, underscores the threat to relationship by repeating kinship terms, and links patriarch's obedience to the broader Genesis theme of promise. Both Lope, in his Obras son amores , and Calderón, in Primero y segundo Isaac , reveal a typological interest in the scene and set it among other biblical stories. In Godínez's El divino Isaac , Abraham offers Isaac in order to pay for the errors of the biblical King Abimelech and of the Jewish People. The portrayal of the sacrifice in the Godínez work silences the biblical theme of testing, weakens the notion of relationship, and makes the Genesis theme of promise heard only in the typological linking of Moriah and Calvary. After the sacrifice, the play focuses on Abimelech and his identity shifts from Gentile representative, to English schismatic, to faithful Spanish king. The shrinking of the Isaac tradition and its unusual framing within the story of a figure representing Spanish religious zeal bring to mind the playwright's own confessional tensions and comprise two important features of this unpublished yet fascinating Godínez work. (TP)
Calderón, Antes que todo es mi dama , y los vínculos de la amistad
Authors: Bentley Bernard P. E.
Published: January 2014

(1) The theme of friendship and male bonding is introduced in the first cuadro of the play. (2) The aspects of friendship that Calderón emphasises through plot, character, and humour correspond to those that Cicero presents in his Laelius de Amicitia . (3) The theme is also underlined by an unexpected refererence to Boscán and Garcilaso, both pairs being friends, poets and soldiers. (4) This friendship, or bonding, is echoed by the barba , and (5) is contrasted to the relationhip established between the lacayos , who introduce the concept of interested friendships, also observed in the relationship between the two damas . (6) As the plot pursues its anticipated complications and expected conclusions, it becomes clear that it is the bonds of friendship that motivate the galanes and thus undermine the title of the play "My Lady First and Foremost." (7) This structural device is one that Calderón uses in a number of plays, but here he gives it a further twist which should provoke some thought on, at the very least, our perception of gender relationships in Golden Age theatre. (BPEB)
The Golden Age Playgoing Public: From the Highest to the Lowest?
Authors: Albrecht Jane W.
Published: January 2014

In the past fifty years, while the playgoing public of Shakespeare's London has inspired four books, not one has been written on that of seventeenth-century Madrid. Nonetheless, the idea that the Golden Age theater was a "democratic" one, frequented by all strata of society, has long held sway in histories of Spanish theater and, indeed, in theater criticism. The democratic view may be tested with evidence drawn from economic data; social, economic and literary histories; accounts by foreign travelers; literary sources; correspondence; police reports; theater box rentals; and sermons. The question I pose is not who could occasionally attend the theater, but who had both the money and the leisure time to frequent the theater? One must wonder whether, in an economy known to be in crisis, the laborer, the shopkeeper, and the apprentice really had leisure time and spending money. What were an ordinary household's daily expenditures in Madrid? What social types lived in Madrid and in what numbers? This paper presents a synthesis of secondary source material on seventeenth-century demographics and social class in Madrid and questions the assumption that all social classes could afford to be theatergoers in seventeenth-century Madrid. (JWA)
Las representaciones de El tejedor de Segovia de Juan Ruiz de Alarcón y la Primera Parte dudosa
Authors: Stackhouse Kenneth A.
Published: January 2014

Este estudio examina la historia de las representaciones documentadas de las dos comedias entituladas El tejedor de Segovia a fin de aclarar el debate entre historiadores, editores, directores y traductores quienes no se han puesto de acuerdo en cuanto a afirmar ni negar a ciencia cierta que Ruiz de Alarcón escribiera la Primera Parte. Ruiz de Alarcón además de licenciado en leyes y poeta era hombre de teatro quién sabía que el crisol de la comedia era la representación donde el público determinaba si una obra era comedia o poema dialogado. Para ser comedia digna de la representación ante un público, Alarcón habría insistido en que el texto pudiera lucir en la escena. Discuto las nueve representaciones documentadas de las Dos Partes en el contexto de su momento histórico para sugerir su recepción según varios motivos del texto que responderían a la expectativa del público. La preferencia que se ha dado a la Segunda Parte después de las funciones en las cuales se montaron la Primera y la Segunda Partes es un buen indicio de que Alarcón no reconociera como suya la Primera Parte porque creía que no tendría éxito en la escena. Aunque Alarcón dio el esbozo de la trama de la Primera Parte en la última escena de la Segunda, no había aceptado como suya la Primera Parte porque como función de teatro, la Primera Parte tenía fin, el espectáculo del baile, pero no tenía desenlace, la resolución del conflicto. Alarcón tenía suficiente experiencia en el teatro para no escribir una obra que fracasara en la escena. Por lo menos, el no reconocerla como suya sería para él y muchos críticos futuros lo mismo que afirmar que no la había escrito. (KAS)
The "Strong Woman" in Calderón's Autos : The Exegetical and Iconographic Tradition of the Virgin Immaculate
Authors: Mayberry Nancy K.
Published: January 2014

Although critics differ in their classification of Marian autos , several of Calderón's autos have a strong Marian component. One constant in these autos is the use of the "mujer fuerte" symbol. This is a reference to the popular iconographc image of the Virgin Mary trampling the head of a serpent or dragon. This image in turn derived from references to Genesis 3:15 and to Revelation 12. In the former a mistranslation refers to a woman who will bruise the head of the serpent, while the latter narrates the apocalyptic vision of a woman doing battle with a dragon that seeks to devour her child. It is this imagery that explains the strange auto entitled ¿Quien hallará mujer fuerte? The title of that auto is taken from Proverbs 31:10 which also involves an interesting mistranslation. Its heroine, the Old Testament character Jael, prefigures the Virgin Mary. Other autos, La primer flor del Carmelo, Las espigas de Ruth , and Primero y segundo Isaac demonstrate how their heroines, the Old Testament women Abigail, Ruth, and Rebecca, also prefigure the Virgin Immaculate. These autos , as well as La hidalga del valle , all make use of the iconographic symbol of a mujer fuerte to support the doctrine of the Immaculate Conception whose concrete image is that of a woman triumphing over the devil. The autos all depict women in the role of conquerors over the ancient enemy, and thus, strong women. (MKA)
La comedia en colaboración: recursos escénicos y teatralidad en Caer para levantar
Authors: Guimont Anny
Published: January 2014

En este artículo se realiza un estudio de los recursos escénicos y dramáticos empleados por tres ingenios del siglo XVII a la hora de asociarse para refundir una comedia de santos. Caer para levantar , comedia escrita en colaboración, resulta ser una refundición de una obra de Mira de Amescua titulada El esclavo del demonio . Hoy la crítica y los estudiosos del teatro áureo conocen y aprecian más la obra que sirvió de modelo; sin embargo, durante los siglos XVII, XVIII y XIX la comedia escrita por Matos Fragoso, Cáncer y Moreto tuvo más éxito que la pieza original. Así pues, he estudiado los recursos escénicos empleados por los colaboradores a fin de descubrir lo que les permitió asegurarle a su obra un éxito en los tablados muy superior a la de Mira. He dividido mi trabajo en cuatro apartados que recogen de una manera global los aspectos más importantes de la representación de una comedia hagiográfica: el escenario y la explotación de lo visual; la función simbólica del objeto; el vestuario y su relación con el desarrollo de la diégesis; el valor del gesto. (AG)
The Play of Race and Gender in Vélez de Guevara's Virtudes vencen señales
Authors: Fra-Molinero Baltasar
Published: January 2014

The traditional theme of the prince imprisoned in the tower by his father has a racial twist in Vélez de Guevara's Virtudes vencen señales . Filipo is a Black prince born of white royal parents in a mythic Albania. The noble virtues inherited by this Black heir will become evident even to his enemies, but his black skin delegitimizes his position as head of the realm. The medieval doctrine of biologically inherited virtue and nobility is put to the test in this baroque recreation of the topos of essence hidden in false appearances. The conflict is heightened by the interplay of race and gender, the latter embodied in the white sister of the protagonist, who claims to represent true Albanian and royal identity. Being of converso descent, Vélez de Guevara is aiming, through Black prince—and later king—Filipo, at the social concept of limpieza de sangre , seen by many aristocrats in 17th-century Spain as a negative practice that excluded worthy people from the center of power on purely racial grounds. As in the Black saints' plays written by Lope de Vega and others after him, an inner self overcomes the disqualification of blackness in the skin. The anxiety of black skin pollution remains intact in the end, and the individual worthiness of the protagonist is asserted as an exception to the general rule of the moral debasement of all people of African descent.
El ingenio en la mujer: La traición en la amistad de María de Zayas entre Lope de Vega y Huarte de San Juan
Authors: Rodríguez-Garrido José A.
Published: January 2014

Este trabajo indaga sobre las relaciones intertextuales en que se funda la única comedia conocida de Zayas, por medio de las cuales la autora no sólo debate el tema de las relaciones entre los sexos, sino también el del ingenio en la mujer. Zayas se sirve, como en el prólogo de sus Novelas amorosas , de una implícita alusión a las ideas de Huarte de San Juan para responder al prejuicio sobre la supuesta incapacidad intelectual femenina. Por otro lado, organiza su comedia aceptando en lo fundamental la "fórmula lopesca" del teatro; pero, al mismo tiempo, sobre todo a través del juego metateatral, rebate la representación de la mujer consagrada no sólo en la comedia nueva, sino incluso en las "novelas del Fénix. En este sentido, la elección de los nombres de los personajes femeninos no parece casual. Un estudio comparativo en este terreno con la obra de Lope permite proponer la existencia de un juego intertextual entre los dos autores, en particular en torno a la figura de Marcia. (JAR-G)
Social Roles and Ideology, Dramatic Roles and Theatrical Convention in El gran teatro del mundo
Authors: Johnson Carroll B.
Published: January 2014

The thesis of this paper is that Calderón's dramatic problem is to present the stratified social order realistically, in all its arbitrariness and inequality, specifically to call attention to the crisis of agriculture through the character of the labrador , and simultaneously to find a way to endorse the same social order because it is divinely ordained. Yndurain observes that labrador and pobre are both more problematical than all the rest. I consider labrador more complex and more interesting by far than pobre because his character opens out simultaneously onto socio-economic reality and public policy on the one hand, and onto the constraints of existing theatrical convention on the other. Díez Borque quotes González de Cellorigo (1600) to the effect that "el labrador castellano se convirtió en una bestia de carga que llevaba sobre sus hombros la pesada estructura de una sociedad aristocrática: Iglesia, Estado, nobles y rentistas: 'pues el campesino que trabaja el campo tiene que sustentarse a sí mismo, a su señor, al clero, al prestamista y a cuantos medran a su costa'" ( Sociología 333). This is the real situation of the labradores represented by the character in Calderón's auto , and these are the issues the play addresses. Calderón's problem as dramatist is to balance or cause to disappear the competing demands of what I call theology and a society defined by the absence of social mobility on the one hand, and on the other those of what I call economics, especially with regard to the unequal distribution of wealth and the unequal burden of taxation and other forms of tribute. In addition, Calderón must deal with issues that arise from the ruling metaphor of life as a form of improvisational theatre and the theatrical tradition of which he forms part. Attending to the theatrical-ideological horizon of expectations of 1635, we expect the labrador to be the play's hero, the repository of Christian and national virtues and values. But in GTM the labrador subverts all this. All the social and Christian virtues the labrador is supposed to incarnate are turned upside down. Calderón's initial problem as dramatist is to produce a radical change in the character's accommodation to his assigned and expected social role by the play's end. But the character's social role is not the only one that needs fixing. This labrador also subverts theatrical convention. Instead of playing the heroic labrador , our personage casts himself in the role of the gracioso . Theatrical convention excludes him—portrayed in this way—from the positive social role the same theatrical convention assigns him, portrayed another way. This play is very much of its time and place, supremely concerned with real socio-economic issues. But Calderón does not merely repeat the official line. This little auto offers considerably more than an allegorized endorsement of the official theology and social order.
Friendship in María de Zayas's La traición en la amistad
Authors: Wyszynski Matthew A.
Published: January 2014

María de Zayas's works have long been the object of study by scholars, but most serious inquiry has been focused on her prose. Not until recently has her production as a dramaturga become a matter of study in its own right. Her only known comedia, La traición en la amistad , has been analyzed from various perspectives, but no critic has defined precisely what is meant by "friendship," an important topic not only in the work, but in sixteenth and seventeenth-century literature in general. In this paper, I argue that Zayas casts aside the anthropocentric model of friendship, a construct based on Aristotle's Nicomachean Ethics and limited to two participants, as unsuitable for women. Instead, she proposes a different type of friendship: one among several women, who in spite of the dangers ever-present to nascent feminine friendships in a male-oriented world, overcome the difficulties they face and achieve their goal.
El regidor en el Siglo de Oro: una categoría profesional entre el Espejo de Príncipes, la emancipación burguesa y la sátira literaria
Authors: Strosetzki Christoph
Published: January 2014

Basándose en su experiencia como regidor de Córdoba, don Iuan de Castilla y Aguayo escribió el diálogo El perfecto regidor (1586). El regidor se inscribe dentro del grupo de los gobernantes, debe concentrarse únicamente en "la buena gouernación, y prouecho de la republica" y no debe por lo tanto aplicarse al cabildo la disposición, común en la Corte, según la cual el noble pretende cargos y pensiones movido por su propio interés y no por el beneficio común. El diálogo El perfecto regidor completa las virtudes cardinales, pautas de comportamiento tradicionales del Espejo de Príncipes, de una forma menos religiosa y ética y más pragmática y práctica, en el contexto de la comunicación y la interacción. Así, la fortitudo se explica como la facultad de conservar el poder y de saber valorar la opinión pública, garante de la reputación. Es evidente que la figura del regidor se tematiza de forma similar también en la literatura de ficción, como, por ejemplo, en la Segunda Parte del Lazarillo , en La vida y hechos de Estebanillo González , en los entremeses La elección de los alcaldes y El retablo de las maravillas de Cervantes, en la mojiganga El regidor de Francisco Bernardo de Quirós y sobre todo en el teatro de Lope de Vega. (CS)
The Exemplary Lisarda of El esclavo del demonio
Authors: Howe Elizabeth Teresa
Published: January 2014

Allusions to classical figures drawn from history and mythology provide the reader-spectator of Mira de Amescua's El esclavo del demonio with a connecting thread of character development in the case of Lisarda to that of Don Gil. Both examples cited comment on the action even as they point to the eventual resolution of the main plot. At the same time, the gender differences evident in those who associate particular examples with Lisarda alternately constrain or liberate her characterization. As a result, Lisarda not only exemplifies a full range of female activities, but she also anticipates the actions and decisions of the male protagonist, Don Gil. (ETH)
El alcalde de Zalamea: Pedro Crespo's Marvelous Game of Emblematic Wit
Authors: Nelson Bradley J.
Published: January 2014

This paper situates a reading of Calderón de la Barca's El alcalde de Zalamea within current discussions in Hispanism concerning the relationship between art and the production of ideology. In this analysis, I contend that a rhetorical strategy of contradiction between visual image and textual commentary results in the active participation of the spectator in the "reading" of scenes on the stage, in the same way that the wonder-producing relationship between the three rhetorical components of the emblem- pictura, inscriptio and subscriptio -results in the interpellation of the reader into the construction of "difficult" meanings. Contradiction, then, instead of being the unintentional by-product of a mass-oriented cultural artifact, actually becomes the very means through which the ideological effect of the play is transmitted. The theoretical frame of this essay combines a reading of sixteenth and seventeenth century emblem theory with post-structural semiotic theory, specifically that of Jacques Lacan. (BJN
An Episode in Vicente Espinel's Marcos de Obregón taken from Lope de Vega
Authors: Feit Ronna S.
Published: January 2014

Many possible sources have been proposed for the episode in Vicente Espinel's Marcos de Obregón in which the protagonist is captured by Moors and held prisoner in Algiers. However, a careful analysis reveals that the direct and immediate inspiration for this central episode is Lope de Vega's Viuda, casada y doncella (1597). A study of the chief action in act 2 of Lope's play shows that it coincides almost exactly with the story of Marcos's "cure" of his Moorish captor's daughter in the segunda relación of Espinel's novel. Outside evidence proves that Espinel had read Lope's play while he was writing Marcos de Obregón (1614-1616). Espinel, who worked as a censor for the Inquisition, signed and dated the aprobación on July 26, 1616 for the Séptima parte de las comedias de Lope de Vega , in which Viuda, casada y doncella was printed. Although scholars have long known that Espinel and Lope were good friends, we now know that Espinel imitated the work of the younger dramatist.
La cuestión de la literatura profana en La dama boba
Authors: González G. Serafín
Published: January 2014

Se manifiesta en La dama boba el interés del dramaturgo de plantear la interacción existente entre poesía y vida. Tal preocupación constituye una de las líneas temáticas que se desarrollan en la comedia. Por una parte, el asunto se plantea en términos de la relación existente entre poesía e historia; por la otra, se contempla la posible influencia de la literatura sobre la vida. El segundo punto, que es el que se intenta desarrollar en este trabajo, remite a la importante cuestión de la literatura profana y la conveniencia de que la misma refleje una visión cristiana de la vida. Esto se recrea en La dama boba fundamentalmente a través de la relación que se da entre Octavio y su hija Nise. (SGG)
La tragedia moral en el absolutismo de La Estrella de Sevilla
Authors: Castillo Moisés R.
Published: January 2014

Este estudio se centra en el análisis y consecuencias éticopolíticas resultado de la 'tragedia moral' que La Estrella de Sevilla pone en escena. La obra desarrolla un conflicto de deberes perfectos , en términos kantianos, que afectando plenamente a la acción y a los personajes, traza los destinos de ambos para hacerlos coincidir con los objetivos reaccionarios de la Corona. Así, la innombrable actuación de un rey novato funciona como detonador de dos tragedias morales, la que toca a Busto Tavera y la que sufre Sancho Ortiz. No obstante, el autor se aplica en mostrar dramáticamente cómo la elección de Busto por el honor individual es dañina para el sistema hegemónico; a la vez que favorece la decisión de Sancho que implica obediencia sin paliativos al monarca joven, poniendo de manifiesto que el rey es la fuente de honor como valor social. Esta estratagema, mediante la cual convergen el destino de Sancho y las metas del absolutismo monárquico, desvela no sólo la ingente tarea que supone el proceso de aprendizaje del rey novel, sino la absoluta confianza del pueblo en su Señor Natural.
El travestismo de Rosaura en La vida es sueño y de Leonor en Valor, agravio y mujer : el surgimiento de la agencialidad femenina y la desnaturalización del binarismo del género
Authors: Cortez Beatriz
Published: January 2014

En este ensayo se analiza la forma en que el travestismo desnaturaliza el concepto binario del género. Este proceso se ejemplifica en La vida es sueño de Pedro Calderón de la Barca a través del personaje de Rosaura quien no sólo aparece travestida, sino también se autoconstruye como un elemento de disrupción que no puede considerarse ni masculino ni femenino; se trata por lo tanto de un tercero que no conforma una nueva categoría de género aunque cuestiona la validez de las dos categorías existentes y las desenmascara como producto de una construcción cultural. Este concepto desnaturalizador de las rígidas categorías del género puede también transferirse a otros espacios sociales en los que se puede cuestionar de manera similar el esencialismo de las normas sociales. Esto es lo que hace Ribete, el sirviente de Leonor en Valor, agravio y mujer de Ana Caro, quien cuestiona los altos valores que la sociedad le asigna a la nobleza y a la clase alta mientras que considera a los miembros de la clase baja como individuos sin morales y sin honor. Por otra parte, se analiza la forma en que el travestismo—al permitir al personaje femenino la posibilidad de pasar de objeto del deseo a sujeto, el acceso al poder tanto del discurso como de la mirada y la defensa activa de su honor—propicia el surgimiento de cierto nivel de agencialidad en este personaje, tal como lo experimenta Leonor en Valor, agravio y mujer . Se analiza además la forma en que la sociedad hace un esfuerzo por restar importancia al acto de travestirse al interpretarlo únicamente como un medio para alcanzar un objetivo determinado, en este caso, la defensa del honor. La fuerza principal del travestismo no se encuentra en el objetivo que alcanza sino en su resistencia a la claridad y a la definición. Por lo tanto, resulta fundamental detenernos a analizar la forma en que este proceso permite al personaje experimentar posibilidades, acciones, miradas y todo tipo de dementos que forman parte de la construcción de la identidad y que este personaje no podría experimentar desde la rigidez del patrón binario de la construcción patriarcal del género.