DOCSLIB.ORG

THB of MN MS AS 0Ol2&G& in Papfci&X

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THB of MN MS AS 0Ol2&G& in Papfci&X THB OF MN MS AS 0ol2&g& in Papfci&X Poa? the By Kox&toth &U3$<&Y B* A. 223548 TABLE m CONTESTS Chapter ?»g» X* IHTRODtrCTION '1 II. TtIS OHIGIS OF THE DOB JUM LEGEM) . • * * . 3 III, TIR30 IB *OLim*S m BURLAPOR DB SEVILLA . * IX IV* THE DOIT imi LEGEND FBQS TIRSO»3 EL BURLAPOR TO MOLIEJ«*S DOM JITAN . ,7 2$ Wm »OLIEHE»S B€S| JUAM 32 VI* SUA DWELL1 S Igg LIBSITOS . US VTI* THE DOS JUAN LSGEKD FBCW SHADVffiLL* S THE LIBSRTI8B TO MOZAHT* S BOf OIOVAHSI . « . 59 VIII* MOZART1 S DQH mmMMWt ^4- 11, CORCLUSIOH 76 BIBLIOGRAPHY 19 as *. 3ab«l tov lU&er&stan* Bt has u# 1### popular m & subjeot f» lit©«y?y anS »mi»aX tra&fesexit* A test a# to tft» ©volution «f Ms fisapMtt*!?#, Swo»l fac- tors add to Ms >m a subject for .«»& tvett* fcay «a^fe 4««IJ®g with lita- pjpafita from Gm mmt- fen MswfiiX not to pm® mm s§n 3hmm m m wmm llb«x*fcin«* s§- is <w»* af eea****. but «f «t wy *» a popt&raSa? soe ioty, a» ®mmm to all *ft&tta*Mji but tb» few Be® at least in. Ms arlgtwal fens, could -set teste other fcti&rj on© of rigid st©p&l regression of tii© «rofci© driveB, sueh. m 1m® exleted i» Europe sine© the dominance of ChrlaK tlaatty* Hie original DOR Juan is * rebel, aaS * retoeX Ml Jmir© sc«a®tfairig to mh®% ag&i&st* 1# lamst not eonfuae DOB Jte ittMi TUT m»t of l&tortiUMi w find is, omek agthelogyv for example# ffe» eC 1 a Boa luiffi are aot really ©©sparable to those ©I 2et»i# b©~ earn®© tit perforating Ms escapades* lens is doing ©»©%% wh&t Is ejected of fclm »» a omk ge&f tti ttaKp* la a» wtval. indignation tnrodtawl awi nothing for hits to rebel ftgRtasfe* , On th* other hand* 2a the original Dm £ua» its#*1# is almys . an stent of pmtmst and rebellion on on® aid©, aadt of di- vlna resentment Hi yaweag* o» t$»» other* Don £wm 1B M®M akin la aattsra tm Prow then® *a& tisnu to 2wia* F©» a true Be® J*uan there is always a oastMMfe with the mmmt der aa& Its thaologieal mqpports* M%» ouftmgns «** not ia» - 4iTt4u*l hat ii»tltiiti#iial* It is this that €istii3^lsM# Mm from &t* amtttmpavt* is ether ©mltwes* This paper la to to© a «tn6y of the «*igl» of the 'Bom J«a legend coi ©f the iBgHtrfeBtt 6mm&I» waste dealiag ifith the 3*gen& tip to ttan Por tfa* present purpo*a €r®sia will I® ia&ei^reted a& ineladiag apera femtiiot baliet* 1fee »|«f enplmsls of thia study *iIX fe®" pJUM**& a®, the development of the legend aad on the eharaetea? isafe 1 cm of Its prinelpal flgttttt* ft la earnm for wwi$im t& pmm owt* ttus aoureea e£ tib* Don Jtea. l*gfmA by saying that tto® Is of Spaatali origin «M that It wag first £©t3Po#w«4 iato llt«**ttape fey ptibliiiMkl In 1630* ftii# is ttM mil gaaaralisation, tat fuptiMnr la^stigati.#!! reveal* that It Is ma ti«a aa<t of doutotfiil exae&iae** Tlx# legeafi. Itself* arising fiwa bfo© rolls*©-oii«lott®»#«p Is soon lost In the «p» aad l*sy remoteness of antiquity* Mfe® moat folk M&evlftl* Its ereatlon is not stti>$eet to €i«* vest »»uaittkttc«u It Is relatively clear, however, that tfe* basis eletaents ©f the Dm Juaa l©gen4 are eocftion to many la It# si shiest arat earliest form, the Don Juan le&end Is sierely the story of a libertis# punished toy swper-mtural ijitorireri ti on* fhls story my b© tato two essential elements* (1) a libertine an& (2) his supernatural paiA» aeolu inNmysp th©3© two elaments are J#imA ~m have m pos- sible nucleus for ths Don Mb &*••* fines# eleiaonts aw a&sost to# giwsi to Wittk* Jwswever* asti «# msfc find stop* la to wm3» mmU prajgppd&p fit tracing the !»$•«£* . CM ©XCMWf* WU*»ilH*ticm, it ©SB fe# ®#®S that tfe* W»1 Bos Juan la litcwfttur* tha dwuaa 1# not just ft® or&laary libertine, but m* «bo i# ebmetert s«d by a ktnA ©f magiit* tote «a «a mtsNna® in Mm Mm of peetp&izit at any Mat# 4s J?**- his puniebstent, it will is# mm. later tbat the tffteal fw® Is d©ath at; taw bend* oaf * statu© of ft person ft# has wronged* thla is »ot invariable, hemweKV aadt in toe* YMtioa* the offeofier la e truck €#*» by lightning* la folk-lore tbeee few eleneate exlafeed ift vftngr different fwis* najiif ©M jmriMttmm e» the wmlmm "mm «M mni jromifele* but »im»% tfowe &m tbe mmm ifeieii, bmmm awl Jut*# eosse to b# eon*14e*<ed typl- ©ftl# at leaet of tbe works praeeding -f&® sl»st««atli mmtmj, it will perhaps b© tsost useful feo tr&ee at well aa possible these foraa of the elements and the conditions neeesaary tm their eosofclimtloa# The lies est aa individual with an tarnsml snetmt mt mmml energy «& prowess Is a eosaron on© In meat jspthology and folk-lore* Sftsaerous ©xanpl©s mm ircaedlateiy recognisable in Greek mythology. There are the various morons op is odes of 2©us and the adventures of Theseus with Hippolyta* Phaedra, Helen, asad Proserpine* In flsf* aiythology, Wodin 1ms a nu»~ fcer of allianees with mortals# as does, to a l©s®ar ©stent, tli© Odin of i»8» aythology* In fb© 3&ousand aad On© | ltbidinou# «£a» quit© ijraralont* E#i*Qes»lfek gp#at sexual ex&loita «f* found In Chlaeaa legends, th» fimdA art Bft»b otha* folk M&arial* 2h» &«•» of &vkpmwmtuml puataimmt is also ©«s«s& in foXfe-Xoya* Alsoat any aooiafcy aufflctautly dmJLopad t» hav« aay torn of Ms tb® inovifcabla oonsaptlea of aoat m© of fcafeaa* grow «j» about the «tana? mi# p®i^»afc# to fcisn forms puniatsaant typiml at the Don Jaan ato^y &«j of g?*&t ms?* feifulty .and jpxwraaanaft* Ttaft 16a* of sup«F]naatu?aX paalaboNn* by X£g£»tx»tag ©j? fiwa ft*« bM*«n is ;M*tlattXai&y' #X«ieiiteX in mtnm.# and Is found in. tha Bible, in $r«ek and Teutonic ethology, and #1mmmrn* fh* thama of pimiafewmt at tfeft hands of a. .statu© axistad iws la fee #»• ArlctotXa mmitimm- tha al&yins of Mi# Aapglip® ifltys % tam afcatua of a. warn ha had killed*1 m@ idea of pxmlehaant by a akulX* at skeleton, or a statu® «hieh hat the powers of apaaoti aM amMttt* «M widaapreaS in European folte-Xora of tha Middle Agaa* Ifeis Xageod wy fa«s0»Xy tocOe Si# few In isfaieh. the oftfaa&ar invito# at*ai& «a ofejaot to dinner ma& fiods Ms invitation ftoeaptodi and his puniafaaanfc «afee4 out* •Jotiberfc aumoarisea one of thes© Xegeaia, is farad la iianeadft* Filial* a aoaanen do £#oa». «s fa&toowt A youtfe want to ahizroh* not to attend ttasa* only fes. look at l»M«» w«»»* Ho mm® & airaXl «h!4h Ha ^Ariatot&a, Pities* IX, 6m 6 tei&m out of the iwltlsg It fN» *Hg»p6##. AimXtiag his &m9k b» a 'immU at" the #»p# Th» •***«»* aoaueni it* Hia# titelfttoa eaters «. sits down*. Tout m* tumm MKt Hi Ar&afc# It isnritfts it* host fe» isppsir at-'aiSJttl|Sbtt ts & abiaratt* yoa&i at the sigist of as «jp#n he ©alls upon 0ed and is thus «m*& f*oi» dtstanoefelos*? such SftgKida# occurring 1» «8sw dlff &«wst font**- war# a®»*- daat iftTcragbwafe Bopogw* They urn*® ma&tlj ®M «wtssattf *ulMt £o» Ineorpdmtioa into the Ban Juan legcmd as it teolc afcspfe# Certain mn&ltlmiB vow* aM&Mavy for t&#8« t®@ ©4#- aants to be mfeiowl «aft to aMnilti in f&* d*f*Xosufti)& «C Boa J^aan a# h& is knowi today# To ppoduoo a reb«l a® he# & society woaM tew to have rlg&ft «mbm2 talwuM Tfi> the fcypiea.1 poo fr&a ©sta#fey#pl»# it would law® to have strong but mtber crude lion# of pkals^ menlm with Ohm app@a4 of Christianity th&so <Mm&itid&8 pre* trailed over a wii# &«*&« lihMt tha i<S»a of tt» indiiriiiml trifeii .grt&i mmmX prowess prdaoatod itself to the ognroloutfMra #e»iditls5j»i by sash social ftad vftUgleuK ideas,' it found itself e^K3®POKfcod with tims# tabua ami Meat olf jwnishsaenfc# S3b» insult was VygtaA* «f $h» Don Mm type* * aort of caanproinis® in which fefct® te# is quit®- ts*i\waph&n% In bis i30xaal exploits but aeets eventual punishment by «#»* fMtuvAl intartraBtian* 9tos eaupjwwi*# wui infinitely •fttltfftateey? %# JftK&Krfe* *©fn Mxt im &fc»3Pfttut!Ni and ffcssle*" Oyn» CWM (#§b*ua*y# 1,935 )f it?* • ™* allowing triaarlotsa wisfa~fulflllraant without violating »0fml prohibifciona* 8\«a£i laganSa mm aactrmmXj dfffieutlt to tfmo® in their early foroa, but t&ay w» quite widespread in the various European felk-lores*3 According to 3* 1* WftjmNt the logami exists In the f#ll&»lore of every people In M®atag» Swaaera stomas that parallels mm to b® fouad in the folk- lore of Portugal, Sloily, Brittany, Oaaoony, Germany, B#wwrMf, and Seandinavia«£ FIfc»m«rie«H£elly states that tha Is found ©was in Xool&nd*^1 As for other influences m tha legend, the histories! theory wuat be aonsidered, Many oritiea state definitely that wm auoh person as Don Joan ever existed* Other* stat# just m dogmatically that fea ms an his tor lea"! figure who perforraad tha actions attributed to him# Th* latter claim that Don Man and one of bis victims, th® cotaa&ndar Ulloa, «r# recorded.
Load more

Recommended publications
  • Don Juan Entire First Folio
    First Folio Teacher Curriculum Guide Don Juan by Molière translated, adapted and directed by Stephen Wadsworth January 24—March 19, 2006 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production ofDon Juan by Molière! A Brief History of the Audience…………………….1 Each season, the Shakespeare Theatre Company About the Playwright presents five plays by William Shakespeare and other classic playwrights. The Education Department Molière’s Life………………….…………………………………3 continues to work to deepen understanding, Molière’s Theatre…….……………………………………….4 appreciation and connection to classic theatre in 17th•Century France……………………………………….6 learners of all ages. One approach is the publication of First Folio: Teacher Curriculum Guides. About the Play Synopsis of Don Juan…………………...………………..8 In the 2005•06 season, the Education Department Don Juan Timeline….……………………..…………..…..9 will publish First Folio: Teacher Curriculum Guides for Marriage & Family in 17th•Century our productions ofOthello, The Comedy of Errors, France…………………………………………………...10 Don Juan, The Persiansand Love’s Labor’s Lost. The Guides provide information and activities to help Splendid Defiance……………………….....................11 students form a personal connection to the play before attending the production at the Shakespeare Classroom Connections Theatre Company. First Folio guides are full of • Before the Performance……………………………13 material about the playwrights, their world and the Translation & Adaptation plays they penned. Also included are approaches to Censorship explore the plays and productions in the classroom Questioning Social Mores before and after the performance.First Folio is Playing Around on Your Girlfriend/ designed as a resource both for teachers and Boyfriend students. Commedia in Molière’s Plays The Shakespeare Theatre Company’s Education Department provides an array of School, • After the Performance………………………………14 Community, Training and Audience Enrichment Friends Don’t Let Friends..
    [Show full text]
  • ~'7/P64~J Adviser Department of S Vie Languages and Literatures @ Copyright By
    FREEDOM AND THE DON JUAN TRADITION IN SELECTED NARRATIVE POETIC WORKS AND THE STONE GUEST OF ALEXANDER PUSHKIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Goodman Connell, Jr., B.S., M.A., M.A. The Ohio State University 1973 Approved by ,r-~ ~'7/P64~j Adviser Department of S vie Languages and Literatures @ Copyright by James Goodman Connell, Jr. 1973 To my wife~ Julia Twomey Connell, in loving appreciation ii VITA September 21, 1939 Born - Adel, Georgia 1961 .•..••. B.S., United States Naval Academy, Annapolis, Maryland 1961-1965 Commissioned service, U.S. Navy 1965-1967 NDEA Title IV Fellow in Comparative Literature, The University of Georgia, Athens, Georgia 1967 ••••.•. M.A. (Comparative Literature), The University of Georgia, Athens, Georgia 1967-1970 NDFL Title VI Fellow in Russian, The Ohio State University, Columbus, Ohio 1969 •.•••.• M.A. (Slavic Languages and Literatures), The Ohio State University, Columbus, Ohio 1970 .•...•. Assistant Tour Leader, The Ohio State University Russian Language Study Tour to the Soviet Union 1970-1971 Teaching Associate, The Ohio State University, Columbus, Ohio 1971-1973 Assistant Professor of Modern Foreign Languages, Valdosta State College, Valdosta, Georgia FIELDS OF STUDY Major field: Russian Literature Studies in Old Russian Literature. Professor Mateja Matejic Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris Studies in Nineteenth Century Russian Literature. Professors Frank R. Silbajoris and Jerzy R. Krzyzanowski Studies in Twentieth Century Russian Literature and Soviet Literature. Professor Hongor Oulanoff Minor field: Polish Literature Studies in Polish Language and Literature.
    [Show full text]
  • The Element of Self-Interest in Moliã¨Re's Characterisation
    , I 'l'HE ELm1ENT OF SELF-INTEREST IN MOLIERE I S CHp,RAC'rERISNI'ION THE ELEMENT OF SELF-INTEREST IN MOLIERE'S CHARAC'I'ERISA'I'ION by Bola Sodipo, B.A. '(Manches ter) A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMas'ter Uni vend ty October 1970 !-1ASTER OF ARTS (1970) Mcl!J:ASTER Ul'iilVERSITY (Romance Languages) Hamilton, Ontario TITLE: The Element of Self-Interest in Moliere's Characterisation AUTHOR: Bola Sodipo, B.A. (Manches"ter) SUPERVISOR: Dr. G. A. Warner NUMBER OF PAGES: iv I 99. SCOPE AND CONTENTS: A discussion of the na"ture of self~in·- terest and an analysis of how Moliere exploits this them.ein the creation of his comic types. ii ACKNmvLEDGEMENT I should.like to express my sincere gratitude to Professor G. l"larner, who gave me invaluable help and guidance during the course of this study. Indeed, I am indebted to him for suggesting the psychological r drcnnatic and comic terms in which the element of self-interest is examined. iii TAB LEO F CON TEN T S Page INTRODUCTION 1 CHAPTER I THE PSYCHOLOGY OF SELF-INTEP~ST 9 CHAPTER II THE DR~1ATIC EXPLOITATION OF SELF-IN'l'EREST 34 CHAPTER III THE COMIC EXPLOITATION OF SELF-INTEREST 60 CONCLUSION 90 BIBLIOGRA.PHY 94 iv INTRODUCTION Self-·interest is defined ln t,he Concise Oxford Dic'tionary as being II actua'ted or absorbed in what one con- ceives to be 'for one's interests Ii.
    [Show full text]
  • Pushing Boundaries with Don Giovanni.Pdf
    Giovanni 2017 articles.qxp_Don Giovanni 2017 5/23/17 12:55 PM Page 1 B Y J U D I T H M A L A F R O N T E Pushing Boundaries with Don Giovanni any years ago, my solfège teacher told me about sneak- drama and bringing complexity and seriousness to all the charac- ing out of Paris on public transportation with the origi- ters. If Da Ponte knew Molière’s 1665 Dom Juan ou le Festin de nal manuscript of Don Giovanni wrapped in brown paper pierre, it was only in the heavily censored version published in 1682. Mon her lap. Annette Dieudonné—composer, translator, key- Director Stephen Wadsworth, whose new translation of Molière’s boardist, and musicologist—had been a librarian at the Paris Con- Dom Juan is soon to be published by Smith and Kraus, finds the servatoire during World War II, and just before the German title character sexy and dangerous because of his mind and his free- occupation, she took many priceless manuscripts out to the coun- thinking. “Molière aimed this anarchic force at the hypocrisy of try and buried them to avoid confiscation or destruction. (She church and state; his Don Juan observed the world with a shocking, neglected to mention that she had been awarded the Légion cleansing rationality.” No wonder the censors ordered revisions d’honneur for this work.) after only one performance. It was never about sex. (Molière’s Don Another woman who saved Don Giovanni was Pauline Viardot, Juan even seduces a nun.) More upsetting to the establishment was the legendary 19th-century diva, who had purchased this same what Wadsworth calls Giovanni’s “rational, logical, unapologetic manuscript from a dealer who had acquired it from Mozart’s world-view,” skeptical and anti-religious.
    [Show full text]
  • "Don Juan". Nancy Clark Victory Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 "To Play With Fixities and Definites": Byron's Fanciful Real World Games in "Don Juan". Nancy Clark Victory Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Victory, Nancy Clark, ""To Play With Fixities and Definites": Byron's Fanciful Real World Games in "Don Juan"." (1998). LSU Historical Dissertations and Theses. 6766. https://digitalcommons.lsu.edu/gradschool_disstheses/6766 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Death in the Comedy of Molière
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 8-2003 Dying for a laugh : death in the comedy of Molière Clara Noëlle Wynne Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Recommended Citation Wynne, Clara Noëlle, "Dying for a laugh : death in the comedy of Molière. " PhD diss., University of Tennessee, 2003. https://trace.tennessee.edu/utk_graddiss/5211 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Clara Noëlle Wynne entitled "Dying for a laugh : death in the comedy of Molière." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Sal DiMaria, Major Professor We have read this dissertation and recommend its acceptance: Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Clara Noelle Wynne entitled "Dying for a Laugh: Death in the Comedy of Moliere". I have examined the final paper copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title On Both Sides of the Atlantic: Re-Visioning Don Juan and Don Quixote in Modern Literature and Film Permalink https://escholarship.org/uc/item/66v5k0qs Author Perez, Karen Patricia Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE On Both Sides of the Atlantic: Re-Visioning Don Juan and Don Quixote in Modern Literature and Film A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Spanish by Karen Patricia Pérez December 2013 Dissertation Committee: Dr. James A. Parr, Chairperson Dr. David K. Herzberger Dr. Sabine Doran Copyright by Karen Patricia Pérez 2013 The Dissertation of Karen Patricia Pérez is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to express my deepest appreciation to my committer Chair, Distinguished Professor James A. Parr, an exemplary scholar and researcher, a dedicated mentor, and the most caring and humble individual in this profession whom I have ever met; someone who at our very first meeting showed faith in me, gave me a copy of his edition of the Quixote and welcomed me to UC Riverside. Since that day, with the most sincere interest and unmatched devotedness he has shared his knowledge and wisdom and guided me throughout these years. Without his dedication and guidance, this dissertation would not have been possible. For all of what he has done, I cannot thank him enough. Words fall short to express my deepest feelings of gratitude and affection, Dr.
    [Show full text]
  • The Liar As a Comic Figure in Plays by Ruiz De Alarcon, Corneille and Moliere
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2006 The Liar as a Comic Figure in Plays by Ruiz de Alarcon, Corneille and Moliere Robert Matthew Patrick University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Modern Languages Commons Recommended Citation Patrick, Robert Matthew, "The Liar as a Comic Figure in Plays by Ruiz de Alarcon, Corneille and Moliere. " PhD diss., University of Tennessee, 2006. https://trace.tennessee.edu/utk_graddiss/4292 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Robert Matthew Patrick entitled "The Liar as a Comic Figure in Plays by Ruiz de Alarcon, Corneille and Moliere." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Bryant Creel, Major Professor We have read this dissertation and recommend its acceptance: Edmund J. Campion, Salvatore Di Maria, Heather Hirschfeld Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Robert Matthew Patrick entitled "The Liar as a Comic Figure in Plays by Ruiz de Alarcon, Corneille and Moliere." I have examined the final paper copy of this dissertation for formand content and recommend that it be accepted in partialfulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Mode oreign Langua es.
    [Show full text]
  • Dom Juan, Ou Le Festin De Pierre [Don Juan]
    Open Research Online The Open University’s repository of research publications and other research outputs Jean-Baptiste Poquelin: Dom Juan, ou le festin de Pierre [Don Juan] Other How to cite: Wilton-Godberfforde, Emilia (2017). Jean-Baptiste Poquelin: Dom Juan, ou le festin de Pierre [Don Juan]. The Literary Encylopedia. For guidance on citations see FAQs. c 2017 The Literary Encylopedia https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Accepted Manuscript Link(s) to article on publisher’s website: http://t.litencyc.com/php/sworks.php?rec=true&UID=5555 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Emilia Wilton-Godberfforde The figure of Dom Juan and his rebellious exploits has attracted the interest of many writers across the centuries and much of this enduring fascination arises from his potential both to entertain and disturb. The Dom Juan character is viewed as ‘exuberant, promiscuous, amoral’, with ‘a youthful sexuality that knows no boundaries and will dare the abyss’ (Mitchell, p. 259). Molière’s version of the story with the Dom Juan figure as crafty protagonist was presented for the first time at the Théâtre du Palais-Royal on February 15 1665 and immediately ran into opposition, arousing a storm of protest. The fact that by the second performance, on the 17 February, a number of controversial lines were omitted would suggest that Molière did attempt to placate those who objected to the play.
    [Show full text]
  • Proquest Dissertations
    & db tt GB A&A&A&&A4&A&AA&&&&&&&&&& A A A A A A A A CRITICAL STUDT A A -. A A A A 0 F THE THEATRE OF MQLIEREA & A A A A A A A A DISSERTATI0» PRESEHTED A A A A BY A A A A A A FREDERICK HERRY PEPMONP. M.A,. A A A A A A A A AM PARTIAL REQUIREMENT A A A A A A FOR THE DEGREE A A A A OF A A A A A A DOCTOR OF PHILOSOPHY A A A A A A IH THE FACULTY OF ARTS A A A A A AT THE A i i i i i i »"> A A OTIIVERSITY OF OTTAWA M&^&'i I* A A A A A A A A A A A HAY 1943 A A A A A ct A A A AAAAAAAAAAAAA&AAAAAAAAA* A UMI Number: DC53982 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform DC53982 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O.
    [Show full text]
  • Le Dénouement Du Dom Juan De Molière: Un Problème De Mise En Scène
    Le dénouement du Dom Juan de Molière: un problème de mise en scène Le Dom Juan de Molière se termine d'une manière rapide et tout à fait éclatante. A la cinquième scène du dernier acte, un acte qui ne comprend que six scènes, la chute de Dom Juan est inéluctable. De toutes les pièces de Molière, c'est son Dom Juan qui se trouve discuté le plus souvent et il est surtout question de la punition du personnage principal. Comment est-ce que le sort de Dom Juan peut encore soulever tant de controverses? Cela est intéressant étant donné que la pièce de Molière a disparu de la scène en 1665 après quinze représentations. Bien qu'elle soit jouée après la mort de Molière, il ne s'agissait plus de sa pièce, plutôt d'une version versifiée et édulcorée de Thomas Corneille qui a duré jusqu'à 1841. C'est le dix-neuvième siècle qui a donc repris !'oeuvre originale de Molière. Ce n'est pas à dire qu'on se soit rendu tout de suite compte de l'importance de la pièce. Il semble que chaque rare effort de remettre Dom Juan au théâtre ait fini par décevoir les spectateurs. Francisque Sarcey a observé en 1868: Don Juan m'énerve. La représentation en est insoutenable. Hier, de l'orchestre, j'examinais la physionomie des loges; je retrouvais sur tous les visages cette expression d'ennui respectueux et décent qui 23 m'avait frappé huit jours auparavant, à l'Odéon, quand on jouait le Roi Lear. 1 Heureusement, le Dom Juan de Molière n'a plus tendance à ennuyer depuis le vingtième siècle parce que c'était à cette époque-ci que les cri- tiques aussi bien que les hommes de théâtre ont vraiment tâché d'approfondir cette oeuvre et de reconnaître sa valeur.
    [Show full text]
  • THOMAS SHADWELL's the Libertine (1675): a FORGOTTEN RESTORATION DON JUAN PLAY
    THOMAS SHADWELL'S The Libertine (1675): A FORGOTTEN RESTORATION DON JUAN PLAY Gustav Ungerer University of Bern. Switzerland While the London theatres remained closed during the Commonwealth, the companies of actors in Paris were vying with one another for the rights to stage their own French versions of Tirso de Molina's Don Juan play. The Paris audiences, to be precise, had been introduced to the legendary figure of Don Juan by the Italian actors. In 1658 the Italians performed, for the entertainment of the Parisians, Il Convitato di pietra, an adaptation made by Giacinto Andrea Cicognini from Tirso de Molina's El Burlador de Sevilla y convidado de piedra. There are a number of reasons why this Spanish play caught on with the Paris audiences in those days. One was the peace negotiations conducted between France and Spain, in 1659, and sumptuously celebrated, in 1660, by the marriage contract between Louis XIV and Maria Teresa, daughter of Philip IV. The Spanish Infanta brought along with her a company of Spanish actors which was to stay on in Paris until 1672. It is reasonable to assume that the Spanish actors seized the opportunity to capitalize on the interest of the court and town audiences awakened by the Italian and French adaptations of the Burlador de Sevilla. In 1658, the actor Dorimond, inspired by the success of the Italian company, came out with a French version of his own, with Le Festin de pierre ou le fils criminel; the following year, Claude Deschamps, Sieur de Villiers, a member of a rival company, pieced together his own rifacimento, which he presented under the same title; and in 1665, Molière, still chafing at the strong disapproval of Tartuffe, hastened to bring out his Dom Juan ou le festin de pierre.
    [Show full text]