DOCSLIB.ORG

Don Juan Tenorio Obra Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Don Juan Tenorio Obra Pdf Don juan tenorio obra pdf Continue Selecciona una palabra y presiona la tecla d para obtener su definici'n. Foundation Library Virtual Miguel de Cervantes Mapa del Sitio Politics de Cookies Marco Legal This article needs additional quotes to check. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. Find sources: Don Juan Tenorio - newspaper news book scientist JSTOR (July 2011) (Learn how and when to delete this message template) Don Juan Tenorio AuthorJos SorillaCantrySpainAgePurishGenreRomantic PlayPublisher (copyright term) Publication Date1844Media typePrint Juan Tenorio: Drama religious-fiction en dos party (Don Juan Tenorio: Religious fantasy drama in two parts) is a play written in 1844. It is more romantic of the two main Spanish-american literary interpretations of the legend of Don Juan. Another 1630 El burlador de Sevilla y convidado de piedra (Trickster Seville and guest of stone), which is attributed to Thirso de Molina. Don Juan Tenorio owes much of this earlier version, recognized by zorrilla himself in 1880 in his Recuerdos del tiempo viejo (Memories of the Old Days), although the author curiously confuses de Molina with another writer of the same era, Agustin Moreto. Plot First Part of Raimundo Madrazo, Maria Guerrero as Donya Ina, who has just found a love letter from Don Juan, hidden on the pages of the book. In the first part of the drama, the main character is still a demonic rake described by de Molina (he was repeatedly called a demon and even Satan himself). The story begins with Don Juan meeting Don Luis in a crowded wine shop in Seville so they can find out which of them won the bet they did a year ago: everyone expected to be able to beat more women and kill more men than others. Naturally, Don Juan wins on both counts. People in the crowd ask him if he is not afraid that someday there will be consequences for his actions, but Don Juan replies that he thinks only about the present. It then emerged that the two cabalieros had been engaged since they last met, Don Luis Donja Ana de Pantoja and Don Juan Donja Ina de Ulloa. Don Luis, his pride hurt, admits that Don Juan slept with every woman on the social ladder from princess to beggar, but lacks one conquest: a beginner is about to take her holy vows. Don Juan agrees to a new bet and doubles it, saying that he will seduce a newcomer and a servish woman, boasting that he only needs six days to complete the task with Don Luis' fiancee as one of the alleged conquests. At this point, Don Gonzalo, the future father-in-law of Don Juan, who sat in the corner during this whole exchange, states that Don Juan will never come near his daughter and The wedding is off. Don Juan laughs and tells the man that he will either give Donya Ina to him, or he will accept it. Now he has the second part of the bet, concrete with Donya Ina set to take her vows. In the following scenes, Don Juan manages, through charisma, luck and bribery, to fulfill both betting conditions in less than one night. However, he does not seduce saint Donja Ida; he simply picks her up from the monastery where she was imprisoned, and leads her to her mansion outside the city. There is a very gentle love scene in which everyone professes to love others, and it seems that, this time, Don Juan feels something more than the thirst of Donya Ines. Unfortunately, Don Luis arrives to demand a duel with Dona Juan for having seduced Donya Ana, pretending to be her fiance. Before they come true, Don Gonzalo appears with the city guards and accuses Don Juan of kidnapping and seducing his daughter. Don Juan kneels and implores Don Gonzalo to let him marry Donya Ing, saying that he worships her and will do everything for her. Don Luis and Don Gonzalo mock him for his alleged cowardice and continue to claim his life. Don Juan states that because they rejected him in his attempts to become a good man, he will continue to be the devil, and he shoots Don Gonzalo, punches Don Luis in a duel, and flees the country, abandoning the now without his father Donja Ing. The second part of the statue of Don Juan at Refinadores Square in Seville. The second part begins after 5 years have passed. Don Juan returns to Seville. Arriving at the place where his father's mansion used to be, which was turned into a pantheon, he discovers that the building was demolished and in its place built a cemetery. Above the tombs are living statues of Don Gonzalo, Don Luis and Donia Ina. The sculptor, who had just finished his work when Don Juan arrived, tells him that Don Diego Tenorio, don Juan's father, has renounced his son and used his inheritance to build this memorial to his victims. Don Juan also learns that Donya Ina died of grief shortly after she was abandoned. The main character is clearly, at least a little remorseful for what he has done, expressing regret to the statues and praying for forgiveness Donya Iness. When he prays, the statue of Donya Ina comes to life and tells him that he has only one day to live in which he must decide what his destiny will be. Ina speaks from Purgatory, made a deal with God to offer her own mad soul on behalf of Don Juan. Therefore, God agreed that their two souls would be connected to each other forever, so Don Juan must choose either salvation or curse for both himself and Donya Ina. Then two old friends of Don Juan, Centellas and Avellaneda, sing, and Don Juan convinces himself that he really did not see the ghost at all. In order to prove his bravado, he invites her statue of Don Gonzalo to dinner, which Don Juan continues to blaspheme against the heavens and the dead for the following scenes until the statue of Don Gonzalo does not really appear at dinner. Don Juan manages to stay largely carefree, though both of his other guests aside as Don Gonzalo tells him once again that his time is running out. When Avellaneda and Centellas wake up, Don Juan accuses them of coming up with this show to make a look at it. Offended, they accuse him of pumping them with drinks to mock them, and they end up in a swordfight. The third act of the second part is difficult to describe unequivocally, in that various critics interpreted it differently (see below). Don Juan returned to the cemetery, led by the ghost of Don Gonzalo. The tomb of Don Gonzalo opens and reveals an hourglass representing the life of Don Juan. It's almost over, and Don Gonzalo says Centellas has already killed Don Juan in a fight. He then takes Don Juan's hand to lead him to hell. Don Juan protests that he is not dead and reaches for mercy in heaven. Donya Ida appears and bathes him, and they go to heaven together. Interpretation by Actors Fortunio Bonanova and Inocentia Alcubierre in the film Don Juan Tenorio, Ricardo de Bagnos. This Don Juan shifts from the moralistic theme of the play by Thirso de Molina. This light-hearted nature is much more contradictory than the original Molina, and highlights how the values of myth can be reimagined. The play of zorrilla (and the final repentance of Don Juan) is often understood as an affirmation of author's conservatism and Catholic faith. Don Juan Tenorio is the longest-running performance in Spain: it has become a tradition of Spanish theatre to perform el Tenorio on All Saints Day, so the play has been performed at least once a year for more than a century. It is also one of the most lucrative plays in Spanish history. Unfortunately, the author did not benefit from the success of his play: shortly after he finished writing it, zorilla sold the rights to the play, as he did not expect it to be much more successful than any of his other works. Apart from the price paid for the rights, zorilla never made any money from any of the productions. Later, he wrote a biting critique of the work in an apparent attempt to get it terminated long enough for him to revise it and market the second version of himself. However, this ploy has not been successful. This is Ruiz's version of Don Juan because he believes the story can never end sadly, and should always have a happy ending. List of characters Illustration to the work of A.K. Pushkin Stone guest Don Juan Tenorio (main character) Don Luis Mejia (rival of Don Juan) Donja Inis de Ulloa (the bride of Don Juan) performed by the Inoculation of Alcubierre in the 1922 production. Donja Ana de Pantoja (Don Luis' bride) Don Gonzalo De Ulloa (Father donja Ina) Brigida Donya Ina) Captain Centellas Centellas Don Juan) Don Rafael de Avellaneda (friend of Don Luis, and then, Don Juan) Don Diego Tenorio (Father of Don Juan) Marcos Ciutti (servant of Don Juan) Christophano Buttarelli (owner of the shop where the first scenes take place) Pascual (servant of the Pantoha family ) Lucia (donya Ana's maid) Abbey Monastery, where Donia Ines Sculptor lives, who makes statues from part 2 of the City of The English 2012. Arbus, David. Don Juan Tenorio: Religious-fantastic drama in two parts.
Load more

Recommended publications
  • Don Juan Contra Don Juan: Apoteosis Del Romanticismo Español
    DON JUAN CONTRA DON JUAN: APOTEOSIS DEL ROMANTICISMO ESPAÑOL La imaginación popular hizo de Zorrilla el poeta romántico por excelencia, y de su drama Don Juan Tenorio la encarnación misma del espíritu romántico. Aunque con ciertas vacilaciones, la crítica ha aceptado, al menos parcialmente, ese veredicto: está claro que Zorrilla debe incluirse en la reducida capilla de los dramaturgos ro- mánticos españoles, y su drama, el popularísimo Tenorio, entre las obras más representativas (si no la más representativa) de ese mo- vimiento.1 Pero lo que no está tan claro es el carácter del romanticis- mo zorrülesco —sus raíces, sus alcances, y su lugar dentro de las fronteras del movimiento romántico español. Creo que un estudio de la imaginería y la ideología de Don Juan Tenorio puede revelar- nos la manera en que Zorrilla juntó muchos de los hilos diferentes de la expresión romántica y así creó una obra que es, a la vez, la cima y el fin dramático del movimiento romántico en España.2 Edgar Allison Peers dividió el movimiento romántico en dos direcciones fundamentales: el Redescubrimiento Romántico, que con- tenía los elementos de la virtud caballeresca, el cristianismo, los va- leres medievales y la monarquía, y la Rebelión Romántica, que in- 1) Ver Narciso Alonso Cortés, Zorrilla, su vida y sus obras (Valladolid, Santa- rén, 1943); Luz Rubio Fernández, «Variaciones estilísticas del "Tenorio"», Revista de Literatura, 19 (1961), págs. 55-92; Luis Muñoz González, «Don Juan Tenorio, la personificación del mito», Estudios Filológicos, 10 (1974-1975), págs. 93-122; y el excelente estudio de Roberto G. Sánchez, « Between Maciías and Don Juan: Spa- nish Romantic Drama and the Mythology of Love», Hispanic Review, 44 (1976), págs.
    [Show full text]
  • Don Juan Tenorio
    José Zorrilla Don Juan Tenorio Colección Averroes Colección Averroes Consejería de Educación y Ciencia Junta de Andalucía ÍNDICE Parte primera ......................................................................... 9 Acto primero ..................................................................... 9 Escena I......................................................................... 9 Escena II.......................................................................12 Escena III .....................................................................15 Escena IV .....................................................................16 Escena V ......................................................................16 Escena VI .....................................................................19 Escena VII....................................................................19 Escena VIII...................................................................21 Escena IX .....................................................................23 Escena X ......................................................................24 Escena XI .....................................................................25 Escena XII....................................................................28 Escena XIII...................................................................44 Escena XIV ..................................................................45 Escena XV....................................................................46 Acto segundo....................................................................48
    [Show full text]
  • The Bashful Man at Court WASHINGTON, D.C
    PERFORMING ARTS The Bashful Man at Court WASHINGTON, D.C. Mon, March 20, 2017 7:00 pm Venue Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, DC 20009 View map Phone: 202-728-2334 Admission Free. RSVP required. Credits Presented by SPAIN arts & culture and the Shakespeare Theatre SPAIN arts & culture and the Shakespeare Theatre Company Company. Translation by John present a reading of Tirso de Molina’s pastoral Golden Age Browning and Fiorigio Minelli. masterpiece, “The Bashful Man at Court.” The Duke of Avero has the two most beautiful daughters in Spain, and the forest outside his palace abounds with endless intrigues. When Mireno, a bashful shepherd, assumes a noble disguise and comes to seek his fortune, he finds a world of duels and disguises, doubts and desires. But this “bashful man at court” has no idea of the secret that he himself bears. In Tirso de Molina’s pastoral Golden Age masterpiece, presented with artists from The Shakespeare Theatre Company, all the world is a stage and all of us wear masks in order to discover our deepest passions. Written sometime between 1606 and 1612, The Bashful Man at Court is a classic marriage comedy at heart, this play also contains some of Tirso’s strongest female characters, and (like Lope’s El Perro del Hortelano) explores the power of love to break down the rigid divisions between social classes. Golden Age poet, writer and playwright Tirso de Molina, together with Lope de Vega and Calderón de la Barca, is part of the golden triad of Spanish Baroque theatre.
    [Show full text]
  • Abre Los Ojos
    Letras Hispanas Volume 9.1, Spring 2013 TITLE: A Postmodern Offspring of Don Juan Tenorio: Abre los ojos AUTHOR: Scott Ward AFFILIATION: Ball State University ABSTRACT: Although many scholars have considered Calderón de la Barca’s masterpiece La vida es sueño as the literary precursor to the filmAbre los ojos, directed by Alejandro Amenábar (1997), the film has much more in common with José Zorrilla’s classic from Spain’s Roman- tic period: Don Juan Tenorio. The protagonists, Don Juan in Zorrilla’s work, and César in the film, share the well-known characteristics of the famous Spanish rogue; nevertheless they fall victim to the same mortal sin of pride. Both fail to cultivate meaningful relation- ships with the important people in their lives, lack a father figure, fall in love unexpectedly, express contrition regarding their past, and are granted a dubious salvation in the end. Fur- thermore, parallels exist in the global structure of these two works in that they are divided into two parts, a “real” world and one that takes place on a chimeric plane, which obstructs the distinction between reality and dream. Throughout the centuries, writers, dramatists and filmmakers have adopted the figure of Don Juan to express their literary purposes, and César is exactly the postmodern version of this iconic character at the dawn of the twenty- first century. KEYWORDS: Don Juan, Abre los ojos, postmodern, Hell, virtual reality, guilt RESUMEN: Aunque muchos críticos han considerado La vida es sueño, obra maestra de Calderón de la Barca, como precursora literaria de la película Abre los ojos, dirigida por Alejandro Amenábar (1997), la película tiene mucho más en común con una obra clásica del período romántico español: Don Juan Tenorio.
    [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]
  • Don Juan Notorio
    Don Juan Notorio Burdel en cinco actos y 2000 escándalos [Ambrosio el de la Carabina] [Nota preliminar: Edición digital basada en la edición de San Lúcar de Barrameda, Establecimiento Jodeográfico Elton-montano, 1874 (?). Esta edición ha sido cotejada con la que ha realizado Carlos Serrano en Carnaval en noviembre, parodias teatrales de Don Juan Tenorio, Alicante, Instituto Juan Gil-Albert, 1996, pp. 157-200.] PERSONAJES DON JUAN TENORIO, (vulgarmente Te-jodo). DON LUIS METÍA, (digo, Mejía). DOÑA INÉS DE ZORRA, (¡Ay!... de Ulloa). CRISTOBALINA BULLARETTI, (alcahueta). PACA AVELLANA. Zorra. RITA MAMELLAS. Zorra. CIUTTI, (criado y maricón). BRÍGIDA, (puta vieja y aficionada a la tercería). LUCÍA. Puta y más puta. DOÑA ANA. Puta y más puta. Putas sin gálico. Putas con venéreo. Bujarrones. Etcétera. A Mme Michon C’est à vous ¡oh madame! gloire inmortelle de la MINETTE, que je dedie cette ouvrage. Recomandez à votres filles de joie qu’après aroir FAIT L’AMOUR et après avoir SUCSÉ LES PINES de toute Barcelonne, achetten’ elles mon libre dont le prix est plus insignifiant que celui d’une demi-heure d’amour! Agreez, etc. AHÍ ME LAS DEN TODAS. Acto I Casa de putas de la CRISTOBALINA. Puerta al fondo y muchas laterales, por donde se ven asomar mullidas camas. Cuadros obscenos, condones, botellas de mercurio. Jofainas con agua sucia, frascos de copaiba, hilas llenas de purgación, y demás utensilios propios de semejante lugar. Escena I DON JUAN, CIUTTI, CRISTOBALINA. DON JUAN, con muy poca vergüenza sentado a una mesa escribiendo. CIUTTI y la CRISTOBALINA esperando. Al levantarse el telón se oye en las alcobas ruido de catres que se menean, suspiros de placer, castañeteos de lenguas, gritos voluptuosos de lujuria y estrépito de besos, etc., etc.
    [Show full text]
  • Don Juan Study Guide
    Don Juan Study Guide © 2017 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary Don Juan is a unique approach to the already popular legend of the philandering womanizer immortalized in literary and operatic works. Byron’s Don Juan, the name comically anglicized to rhyme with “new one” and “true one,” is a passive character, in many ways a victim of predatory women, and more of a picaresque hero in his unwitting roguishness. Not only is he not the seductive, ruthless Don Juan of legend, he is also not a Byronic hero. That role falls more to the narrator of the comic epic, the two characters being more clearly distinguished than in Byron’s Childe Harold’s Pilgrimage. In Beppo: A Venetian Story, Byron discovered the appropriateness of ottava rima to his own particular style and literary needs. This Italian stanzaic form had been exploited in the burlesque tales of Luigi Pulci, Francesco Berni, and Giovanni Battista Casti, but it was John Hookham Frere’s (1817-1818) that revealed to Byron the seriocomic potential for this flexible form in the satirical piece he was planning. The colloquial, conversational style of ottava rima worked well with both the narrative line of Byron’s mock epic and the serious digressions in which Byron rails against tyranny, hypocrisy, cant, sexual repression, and literary mercenaries.
    [Show full text]
  • Updated to July 12, 2007 Pierre L
    Updated to July 12, 2007 Pierre L. Ullman, 749 E. Beaumont Avenue, Whitefish Bay, WI 53217-4812, USA. Tel.: 414-962-9556. E-mail: [email protected]. The academic address should be used only when specifically requested: Department of Spanish & Portuguese, University of Wisconsin-Milwaukee, P.O. Box 413, Milwaukee, Wisconsin 53201- 0413, USA. Fax: 414-229-4857 (department). CURRICULUM VITÆ Born in Nice (Alpes Maritîmes), France, October 31, 1929; US citizen by birth. Freed from bonds of allegiance to France, by request, March 28, 1952. Father: Eugene Paul Ullman (1877-1953), native US citizen. Mother: Suzanne (Lioni) Ullman (1899-1950), naturalized as US citizen after my birth. Education: Lycée Buffon, Paris; Cheshire Academy, Cheshire, CT; Rumsey Hall School, Cornwall, CT [now Washington, CT]; Wooster School, Danbury, CT.; Yale University, BA, 1952; attended University of Salamanca, Spain, 1954-55 (teacher: Manuel García Blanco); Columbia University, AM (Spanish), 1956 (teachers: Germán Arciniegas, Angel del Río [thesis adviser], Eugenio Florit, James Shearer); Princeton University, Ph. D., (Romance Languages), 1962 (teachers: Reginald Brown, Edmund L. King, Vicente Lloréns, Edward Sullivan, Raymond Willis). Military Service: US Army, Cpl., 1952-54. Married: Mary Meade McDowell; two grown children. Employment: Choate School, Wallingford, CT, 1956-57, master of Spanish and French; St. Bernard's School, Gladstone, NJ, 1957-58, master of Spanish, French, and Latin; Princeton University, 1959-61, assistant in instruction, Spanish and French; Rutgers Univer~sity, 1961-63, instructor in Spanish and French; University of California, Davis, 1963-65, assistant professor of Spanish; University of Wisconsin-Milwaukee, 1965-69, associate professor; 1969-1994, professor; professor emeritus, 1994- ; University of Minnesota, Minneapolis, 1970-71, visiting professor; University of Michigan, Ann Arbor, summer 1975, visiting professor.
    [Show full text]
  • Redalyc.THE METAMORPHOSIS of the DON JUAN LEGEND IN
    Vivat Academia E-ISSN: 1575-2844 [email protected] Universidad Complutense de Madrid España Díaz-Cuesta, José THE METAMORPHOSIS OF THE DON JUAN LEGEND IN TIRSO DE MOLINA’S EL BURLADOR DE SEVILLA AND THOMAS SHADWELL’S THE LIBERTINE Vivat Academia, núm. 67, julio-agosto, 2005, pp. 24-37 Universidad Complutense de Madrid Madrid, España Available in: http://www.redalyc.org/articulo.oa?id=525753087001 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Revista de Comunicación Vivat Academia Díaz-Cuesta, José (2005): The Metamorphosis of the Don Juan Legend in Tirso RevistaISSN: 1575-2844 de Comunicación · DOI: http://dx.doi.org/10.15178/va.2005.67.24-37 Vivat Academia ISSN: 1575-2844 de Molina’s El burlador de Sevilla and Thomas Shadwells’s The Libertine. Vivat Julio/agostoDiciembre 2005 · 2011 Año VIII Año · nº XIV 67 · pp. Nº117 24-37 pp 131-163 Academia. nº 67. Julio-Agosto. 2005. Páginas 24-36. http://www.ucm.es/info/vivataca/anteriores/n67/DATOSS67.htm _______________________________________________________________RESEÑA/REPORT THE METAMORPHOSIS OF THE DON JUAN LEGEND IN TIRSO CRÍTICAS DE CINE / FILM REVIEWS DE MOLINA’S EL Octubre-Diciembre,BURLADOR DE SEVILLA 2011 AND THOMAS SHADWELL’S THE LIBERTINE Jesús Miguel Sáez-González1: Crítico de cine. Alcalá de Henares. España [email protected] LA METAMORFOSIS DE LA LEYENDA DE DON JUAN EN EL Octubre 2011 BURLADOR DE SEVILLA DE TIRSO DE MOLINA Y THE LIBERTINE DE THOMAS SHADWELL AUTOR José Díaz-Cuesta: Profesor Asociado TC.
    [Show full text]
  • Una Boda Macabra (Página 50)
    Una boda macabra (página 50). En este fragmento aparecen el joven Montemar, cien espectros y una extraña mujer cubierta con un velo blanco, que resultará ser el espectro de su esposa. Son personajes característicos del Romanticismo, ya que representan el gusto por lo sobrenatural, la nocturnidad, la muerte y el misterio, propios de este movimiento artístico. El personaje de Montemar se caracteriza por ser atrevido, descreído, temerario, pendenciero, pecador, curioso y altivo. Su curiosidad por una aventura con la misteriosa dama le llevará a su perdición final: por siempre descansen en paz… y sea la tumba su lecho nupcial. Pertenece al final de la obra de Espronceda, puesto que termina con el esposo conducido a la muerte: Por siempre descansen en paz; / y en fúnebre luz ilumine / sus bodas fatídica tea, / les brinde deleites y sea / la tumba su lecho nupcial. En Don Juan Tenorio, doña Inés tiende la mano a don Juan para salvarlo del infierno y elevarlo a los cielos; en cambio, doña Elvira le tiende la mano a don Félix de Montemar para condenarlo y llevarlo a los infiernos. Doña Inés simboliza un amor puro y angelical, que realiza la salvación por amor; en cambio, doña Elvira ha perdido esa pureza y simboliza el amor manchado por el pecado que conduce al infierno. La acción que desencadena el clímax se narra en la estrofa 12, cuando se inicia la frenética danza entre los esposos y los espectros que los rodean. A partir de este momento el ritmo del poema se intensifica hasta que culmina con el fin de la pareja unida en los infiernos.
    [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]
  • Soluciones Y Sugerencias Para Resolver Las Actividades Para La Lectura De Don Juan Tenorio José Zorrilla ANTES DE LA LECTURA: PREGUNTAS GENERALES
    Soluciones y sugerencias para resolver las actividades para la lectura de Don Juan Tenorio José Zorrilla ANTES DE LA LECTURA: PREGUNTAS GENERALES Don Juan Tenorio es la obra del teatro español más representada en todos los tiem- pos. Es tanta su popularidad que el nombre del protagonista ha pasado al léxico español como nombre común. Y así decimos de alguien que es un donjuán, de la misma manera que podemos decir que es un quijote, un lazarillo o una celestina. Se trata de una característica singular de las grandes obras literarias. 1 Busca en tu diccionario las palabras donjuán y tenorio, y escribe el significado de cada una. – Donjuán: hombre que tiene facilidad para seducir a las mujeres. – Tenorio: hombre seductor de mujeres e inclinado a meterse en riñas. 2 Como habrás podido observar por el significado de los dos términos anteriores, don Juan Tenorio es un reñidor y un seductor. ¿Qué significan estas palabras? – Reñidor: persona que se mete fácilmente en peleas. – Seductor: el que convence con habilidad o con promesas, halagos o mentiras, especialmente si es para tener relaciones sexuales. 3 Con los datos que ya tienes sobre el personaje protagonista y conociendo que la obra se estrenó en 1844, es decir, en plena época romántica, ¿puedes aventurar el tema de esta obra? El tema principal es el amor entre don Juan y doña Inés (aunque la obra plantea otros temas que analizaremos en el apartado Después de la lectura). 4 El diálogo entre personajes es una característica fundamental de las obras de teatro. Haz una lista con los personajes masculinos y otra con los femeninos.
    [Show full text]