Jean Rotrou Adaptateur De La Comedia Espagnole
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UNIVERSITY of CALIFORNIA RIVERSIDE a Study of Antichrist
UNIVERSITY OF CALIFORNIA RIVERSIDE A Study of Antichrist Typology in Six Biblical Dramas of 17th Century Spain A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Spanish by Jason Allen Wells December 2014 Dissertation Committee: Dr. James Parr, Chairperson Dr. David Herzberger Dr. Benjamin Liu Copyright Jason Allen Wells 2014 The Dissertation of Jason Allen Wells is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE DISSERTATION A Study of Antichrist Typology in Six Biblical Dramas of 17th Century Spain by Jason Allen Wells Doctor of Philosophy, Graduate Program in Spanish University of California, Riverside, December 2014 Dr. James Parr, Chairperson This dissertation examines Antichrist types manifested in the primary antagonists of six biblical dramas of seventeenth century Spanish theater. After researching the topic of biblical typology in the works of theologians Sir Robert Anderson, G.H. Pember, Arthur W. Pink, and Peter S. Ruckman, who propose various personages of both the Old and New Testaments that adumbrate the Antichrist, I devise a reduced list based on extant plays of the Spanish Golden Age whose main characters match the scriptural counterparts of my register. These characters are Cain, Absalom, Haman, Herod the Great, Judas Iscariot, and the Antichrist himself. I consult the Bible to provide the reader with pertinent background information about these foreshadowings of the Son of Perdition and then I compare and contrast these characteristics with those provided by the playwrights in their respective works. By making these comparisons and contrasts the reader is able to observe the poets’ embellishments of the source material, artistic contributions that in many instances probably satisfy the reader’s desire for details not found in the biblical iv narratives. -
Kevin Perromat Augustín Universidad De La Sorbona (Paris IV)
Lemir 13 (2009): 261-280 ISSN: 1579-735X ISSN: Cuervos, cornejas y plumas ajenas. Autoría difusa y reutilización de materiales en el teatro del Siglo de Oro Kevin Perromat Augustín Universidad de la Sorbona (Paris IV) RESUMEN: El teatro del Siglo de Oro español albergó unas prácticas literarias con un alto grado de intertextualidad, lo que ha conducido a algunos estudiosos a negar la validez del empleo de las nociones modernas de «autoría» o «plagio» referidas a la época. No obstante, la competencia y los ataques feroces entre dramaturgos son características específicas del periodo y, en estas justas verbales, era normal cuestionar laoriginalidad o la legitimidad de los materiales dramáticos. ABSTRACT: Spanish Golden Age Theater was rich in extended intertextuality practices, which has driven a number of scholars to deny the validity of modern notions such as «originality» or «plagiarism» when applied to the period. Nevertheless, merciless rivalry and attacks among play writers are essential features of this literature and, in these literary quarrels, it was not unusual to question the originality or legitimacy of the dramatic materials. _____________________________________ Se podrían cifrar en tres las características distintivas esenciales del teatro del Siglo de Oro con respecto a otros géneros practicados en el periodo: la primera, exclusivamenteli - teraria, es su alto grado de intertextualidad o, más específicamente, detranstextualidad en comparación con otros géneros; las otras dos pertenecen a ámbitos intermedios, entre el hecho literario y el social: una es la categoría discursiva privilegiada ocupada por sus au- tores, o mejor dicho, por algunos de ellos, en relación con su obra; la última es también la más prosaica y eficaz: dentro del universo aristocrático de mecenas, patrones y capitalis- tas incipientes, el Mundo del Teatro anticipa las relaciones mercantiles y las prerrogativas jurídicas que acabarían adquiriendo los escritores en los siguientes siglos. -
Spanish Plays
A GUIDE TO: SPANISH PLAYS Spanish plays of the Golden Age In 16th and 17th century Spain theatre was a popular entertainment in every respect. Plays were often staged by travelling troupes of actors in the corrales or courtyards of inns and communal dwellings. These dwellings, known in Madrid as corralas, were several stories high and built around a central patio where a temporary stage would be set up. In later years, permanent stages were built in these patios or entire playhouses were erected, often in town squares, replicating the structure of the corrala. These purpose-built playhouses were thereafter known as corrales de comedia. The corrales lacked toilets, did not have a maximum standing capacity and were often very crowded. Almost all disappeared with their prohibition at the end of the 18th century and were replaced with the safer and more sanitary modern theatres. The popular character of Spanish theatre at this time is also evident in the way plays were distributed from the 17th century onwards. There were two very different methods and formats: Partes. Predominantly a 17th century development, these were sets of volumes made up of 12 plays; some comprise works by a single playwright, but many are compilations from different authors. The separate plays in the partes were sometimes also sold individually as desglosadas (unbound). Partes were often edited by the authors themselves and are usually the most faithful reproductions of the original texts of plays. Sueltas (loose). A uniquely Spanish phenomenon, these were plays printed separately and intended to be sold individually. They were meant for public consumption and not intended to last. -
SHADOW of the KING: PRIVANZA and PERCEPTIONS of ROYAL POWER in SEVENTEENTH-CENTURY SPANISH THEATER by CARL AUSTIN WISE (Under Th
SHADOW OF THE KING: PRIVANZA AND PERCEPTIONS OF ROYAL POWER IN SEVENTEENTH-CENTURY SPANISH THEATER by CARL AUSTIN WISE (Under the Direction of Elizabeth R. Wright) ABSTRACT Privanza, a political institution in which the monarch relinquishes his authority to a favorite, brings the concept of subjectivity to the forefront in seventeenth-century Spain by introducing questions of manipulation, control, and self-representation. Using theater as means of exploring political favoritism, seventeenth-century playwrights Lope de Vega and Antonio Mira de Amescua present privanza as a test against a king’s ability to maintain his autonomy against an institution which, it was thought, owed its very existence to a courtier’s ability to manipulate the monarch into submission. Lope and Mira internalize this struggle and offer scenarios in which the kings voluntarily hand themselves over to bondage. By presenting a series of week kings who allow their voluntades to become enslaved, the playwrights suggest that the monarch’s true power emanates from his ability to recognize and to control his internal self. Privanza, however, proves to be a constant danger to a king’s efforts to realize this potential, and offers example after example of kings who fail to enforce their own autonomy. INDEX WORDS: Privanza, Privado, Royal Favorite, Antonio Mira de Amescua, Spanish Drama, Comedia nueva, Golden Age Spanish Theater, Bernardo de Cabrera, Carvajal Brothers, Alvaro de Luna, Rodrigo Calderón, Lope de Vega, Seventeenth-Century Spanish Theater SHADOW OF THE KING: -
Bibliographie Zum Nachleben Des Antiken Mythos
Bibliographie zum Nachleben des antiken Mythos von Bernhard Kreuz, Petra Aigner & Christine Harrauer Version vom 26.07.2012 Wien, 2012 Inhaltsverzeichnis I. Allgemeine Hilfsmittel .............................................................................................................. 3 I.1. Hilfsmittel zum 16.–18. Jhd. .............................................................................................. 3 I.1.1. Lexika zur Rennaissance .............................................................................................. 3 I.1.2. Biographische Lexika ................................................................................................... 3 I.1.3. Bibliographische Hilfsmittel ........................................................................................ 4 I.1.4. Neulateinische Literatur im Internet ............................................................................ 4 I.2. Moderne Lexika zur Mythologie (in Auswahl) ................................................................. 4 I.2.1. Grundlegende Lexika zur antiken Mythologie und Bildersprache .............................. 4 I.2.2. Lexika zur antiken Mythologie und ihrem Nachleben ................................................. 5 Spezialwerke zur bildenden Kunst ......................................................................................... 5 Spezialwerke zur Musik ......................................................................................................... 6 I.2.3. Zu mythologischen Nachschlagewerken der -
Thesis Spanish Theatre from the Golden Age and Its
THESIS SPANISH THEATRE FROM THE GOLDEN AGE AND ITS THEMATICAL INFLUENCES IN THE DEVILS SLAVE BY ANTONIO MIRA DE AMESCUA Submitted by Elisabeth Despain Department of Foreign Languages and Literatures In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2010 COLORADO STATE UNIVERSITY March 23, 2010 WE HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER OUR SUPERVISION BY ELISABETH DESPAIN ENTITLED SPANISH THEATRE FROM THE GOLDEN AGE AND ITS THEMATICAL INFLUENCES IN THE DEVILS SLAVE BY ANTONIO MIRA DE AMESCUA BE ACCEPTED AS FULFILLING IN PART REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS. Committee on Graduate Work ________________________________________ Fabiola P. Ehlers-Zavala ________________________________________ Francisco Leal ________________________________________ Advisor: José Luis Suarez-Garcia ________________________________________ Department Chair: Paola Malpezzi-Price ii ABSTRACT OF THESIS SPANISH THEATRE FROM THE GOLDEN AGE AND ITS THEMATICAL INFLUENCES IN THE DEVILS SLAVE BY ANTONIO MIRA DE AMESCUA The daily life of the Spanish golden age, with its history, society, and socioeconomic problems, presents itself in a particular genre of theater produced during this era. The Baroque theater breaks the Aristotle formula used until this time, and defines the Spanish comedy as the voice of the people. Antonio Mira de Amescua’s El esclavo del demonio is a clear representation of this style. It addresses the topics of honor and religion, two popular topics among the Spanish people during the Baroque period, through the ancient theme of selling your soul to the devil. This topic has been used in literature at different times, including Goethe’s Faust two centuries later. -
Fathers and Daughters in Early Modern Spanish Drama
Fathers and Daughters in Early Modern Spanish Theater by Bryan Betancur B.A., Providence College, 2007 A.M., Brown University, 2011 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Hispanic Studies at Brown University Providence, Rhode Island May 2015 © Copyright 2015 by Bryan Betancur This dissertation by Bryan Betancur is accepted in its present form by the Department of Hispanic Studies as satisfying the dissertation requirements for the degree of Doctor of Philosophy. Date: ___________ ________________________________ Laura Bass, Advisor Recommended to the Graduate Council Date: ___________ _______________________________ Stephanie Merrim, Reader Date: ___________ _______________________________ Coppélia Kahn, Reader Approved by the Graduate Council Date: ___________ ______________________________ Peter Weber, Dean of the Graduate School iii CURRICULUM VITAE Bryan Betancur was born in Providence, Rhode Island in 1985. He graduated Summa cum Laude from Providence College in 2007 with a bachelor’s degree in Spanish and Psychology. He received a master’s degree in Hispanic Studies from Brown University in 2011. While a graduate student he received the Aaron David and Ruth Kossoff Prize for Leadership in Teaching. He will be an assistant professor of Spanish at Furman University beginning in the fall of 2015. iv ACKNOWLEDGEMENTS This dissertation would not have been possible without the wisdom and encouragement of my professors, the moral support of my friends, and the boundless love of my family. I especially owe a debt of gratitude to my advisor, Laura Bass, whose erudition and patient guidance has helped a hastily-written seminar paper mature into the present dissertation. -
A History of Spanish Golden Age Drama
University of Kentucky UKnowledge Spanish Literature European Languages and Literatures 1984 A History of Spanish Golden Age Drama Henryk Ziomek University of Georgia Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Ziomek, Henryk, "A History of Spanish Golden Age Drama" (1984). Spanish Literature. 21. https://uknowledge.uky.edu/upk_spanish_literature/21 STUDIES IN ROMANCE LANGUAGES: 29 John E. Keller, Editor This page intentionally left blank A History of SPANISH GOLDEN AGE DRAMA Henryk Ziomek THE UNIVERSITY PRESS OF KENTUCKY Publication of this book was assisted by a grant from Research Foundation, Inc., of the University of Georgia. Copyright© 1984 by The Umversity Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Club, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial Offices: Lexington, Kentucky 40506-0024 Library of Congress Cataloging