DOCSLIB.ORG

Contemporary Productions of Spanish Golden Age Drama in Great Britain and Spain

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary Productions of Spanish Golden Age Drama in Great Britain and Spain CONTEMPORARY PRODUCTIONS OF SPANISH GOLDEN AGE DRAMA IN GREAT BRITAIN AND SPAIN by JANINE ANN KEHLENBACH B.A., University of Colorado, 1995 M.A., Saint Louis University, Madrid, 2001 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre and Dance 2011 This thesis entitled: Productions of Spanish Golden Age Drama in Great Britain and Spain written by Janine Ann Kehlenbach has been approved for the Department of Theatre and Dance Dr. Oliver Gerland Dr. James Symons Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ""! Kehlenbach, Janine Ann (Ph.D., Theatre and Dance) Contemporary Productions of Spanish Golden Age Drama in Great Britain and Spain Thesis directed by Professor Oliver Gerland Abstract Spanish Golden Age Drama is mostly studied in language departments where it is treated as literature to be read. Few scholars have studied Spanish Golden Age drama in contemporary performance. The purpose of this study is to examine and compare contemporary productions of works by Spanish Golden Age dramatists in Spain and England. In 1986 the Compañía Nacional de Teatro Clásico (CNTC) was formed in Madrid with the express purpose of staging plays of the Spanish Golden Age. In the first half of the dissertation, I examine three recent productions directed by the CNTC’s current head, Eduardo Vasco: La estrella de Sevilla (The Star of Seville, Lope de Vega?), El pintor de su deshonra (The Painter of His Own Dishonor, Calderon de la Barca), and El Alcalde de Zalamea (The Mayor of Zalamea, Calderon). In 2004, led by renowned director Laurence Boswell, the Royal Shakespeare Company (RSC) staged a Spanish Golden Age season in English; in the second half of the dissertation, I examine the RSC productions of El perro del hortelano (The Dog in the Manger, Lope), Las casa de desempeños (The House of Desires, Sor Juana Inés de la Cruz) and Pedro de Urdemales (Pedro the Great Pretender, Miguel de Cervantes). My objective is to analyze the dramatic texts in terms of contemporary production challenges, and to compare the production styles of the CNTC and the RSC. Two distinct production approaches emerge. The work of Vasco tends to emphasize a directorial concept that aims to make the plays relevant to contemporary audiences while the work by Boswell and his ! """! colleagues, building on the RSC’s tradition of training actors to speak verse, focuses more closely on the text and the creation of emotionally compelling characters. ! "#! Table of Contents CHAPTER ONE: Introduction....................................................................................... 1 CHAPTER TWO: In the Land of the Misfits: Estrella de Sevilla................................20 Lope de Vega.......................................................................................................22 Play synopsis.......................................................................................................27 Textual analysis...................................................................................................31 Production analysis..............................................................................................45 Conclusion...........................................................................................................60 CHAPTER THREE: Calderon's Juan Roca and His Internal Fight with Honor.............62 Calderón de la Barca............................................................................................64 Play synopsis........................................................................................................65 Textual analysis....................................................................................................68 Production analysis...............................................................................................81 Conclusion............................................................................................................91 CHAPTER FOUR: The Emergence of a New Honor Code in El Alcalde de Zalamea...94 Play synopsis.........................................................................................................96 Textual analysis...................................................................................................103 Production analysis..............................................................................................112 Conclusion...........................................................................................................123 CHAPTER FIVE: A Monumental Task at Hand: The RSC's Revival of the Spanish Golden Age........................................................................................127 Leading up to the RSC Season.............................................................................129 A pioneer for the Spanish Golden Age in English: Laurence Boswell...............131 Translation and Adaptation..................................................................................146 CHAPTER SIX: The Power of Language and Love in Lope's The Dog in the Manger155 Play synopsis.......................................................................................................157 Textual analysis...................................................................................................163 Production analysis..............................................................................................171 Conclusion...........................................................................................................188 CHAPTER SEVEN: Meta-theatrical Conventions: Creating Space for Sor Juana's Voice Then and Now..............................................................................190 Sor Juana Inés de la Cruz.....................................................................................192 Play synopsis........................................................................................................195 ! #! Textual analysis...................................................................................................201 Production analysis..............................................................................................214 Conclusion...........................................................................................................232 CHAPTER EIGHT: Exploring the Marvels of Theatre in Cervantes' Pedro the Great Pretender.........................................................................................234 Miguel de Cervantes............................................................................................236 Play synopsis.......................................................................................................237 Pedro and acting...................................................................................................242 Production analysis..............................................................................................247 Conclusion...........................................................................................................262 CHAPTER NINE: Conclusion.......................................................................................265 WORKS CITED..............................................................................................................280 ! ! #"! ! "! Contemporary Productions of Spanish Golden Age Drama in Great Britain and Spain Introduction I remember quite vividly my first experience in Spain in 1992. The constant bustle on the streets and sidewalks, my first taste of sangría, the smell of chorizo and Spanish tortilla in the busy cafés, the old stone buildings and palaces and the animated and energetic demeanor of the people reeled me in; I had never experienced a place so vibrant and theatrical. Madrid is akin to a live theatre event in motion. As I began to study literature, painting and Spanish music, my fascination only grew. The Museo Prado exhibits some of the most talented and vital Spanish painters of all time, including Diego Velázquez. Velázquez was a well-known painter of the 17th century and worked at the same time that Spain was developing its Golden Age of drama led by Lope de Vega and supported by Cervantes, Tirso de Molina, and Calderón de la Barca. Velázquez’s paintings provide a very "theatrical" view of Spanish people. The canvases convey heightened emotions, and feature expressive faces and a wide-ranging view of life. It was my respect for Velázquez’s work, along with the works of El Greco and later Goya, Picasso and Dalí, that spurred my interest in Spanish theatre, especially that of the Golden Age. A culture that produced such excellence in the visual arts must have produced comparably talented theatre artists and yet many theatre scholars dismiss Spanish Golden Age theatre and literature. Consider the following statement in the History of The Theatre by Oscar G. Brockett and Franklin J. Hildy about Golden Age ! ! #! drama: "Its preoccupation with a narrow code of honor and failure to probe deeply into human destiny are limitations which make it less universal than the best English work. Nevertheless, many of the plays were widely known and imitated outside of Spain, and at home they established a lasting standard"
Load more

Recommended publications
  • Dueling, Honor and Sensibility in Eighteenth-Century Spanish Sentimental Comedies
    University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2010 DUELING, HONOR AND SENSIBILITY IN EIGHTEENTH-CENTURY SPANISH SENTIMENTAL COMEDIES Kristie Bulleit Niemeier University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Niemeier, Kristie Bulleit, "DUELING, HONOR AND SENSIBILITY IN EIGHTEENTH-CENTURY SPANISH SENTIMENTAL COMEDIES" (2010). University of Kentucky Doctoral Dissertations. 12. https://uknowledge.uky.edu/gradschool_diss/12 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Kristie Bulleit Niemeier The Graduate School University of Kentucky 2010 DUELING, HONOR AND SENSIBILITY IN EIGHTEENTH-CENTURY SPANISH SENTIMENTAL COMEDIES _________________________________________________ ABSTRACT OF DISSERTATION _________________________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of the University of Kentucky By Kristie Bulleit Niemeier Lexington, Kentucky Director: Dr. Ana Rueda, Professor of Spanish Literature Lexington, Kentucky 2010 Copyright © Kristie Bulleit Niemeier 2010 ABSTRACT OF DISSERTATION DUELING, HONOR AND
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Outlawing Governmental Underreach in Health Law
    EXCEPTIONS MEET ABSOLUTISM: OUTLAWING GOVERNMENTAL UNDERREACH IN HEALTH LAW † CHRISTINA S. HO ABSTRACT Health measures are sometimes struck, not for “overbreadth,” but for “underbreadth.” Short of an equal protection problem, a guaranteed right, an unconstitutional condition, or other constitutional problem, how does the effort to moderate a law by carving out exceptions to accommo- date important concerns necessarily doom the underlying legal provision itself? Is there any pattern to the courts’ use of relatively malleable ad- ministrative law review doctrines to strike down health rules, not just because of what they do, but ostensibly because of what they leave un- done? This Article tackles the underappreciated vulnerability of excep- tions-based rules in health law. I look at three examples: New York City’s notorious Soda Portion Cap Rule that exempted refills; the FDA’s decision to allow age-restricted, over-the-counter (OTC) emergency con- traception; and Pennsylvania’s Medicaid rules providing eyeglasses, an optional benefit, to beneficiaries with eye disease but not to those with refraction error. Each case exhibits three common elements that charac- terize how a rule’s exceptions, deliberately tailored to prevent overreach, can turn out to be the rule’s Achilles’ heel. The courts in each of these cases insist upon an extra-legal policy absolutism that challenges not only our assumptions of a default judicial posture favoring cost-benefit analysis but also deeper assumptions about the rule-based nature of law. TABLE OF CONTENTS INTRODUCTION ..................................................................................... 110 A. Conventional Wisdom: Courts Employ Cost-Benefit Defaults ... 113 B. Contrasting Pattern ..................................................................... 114 I. RULES, COMPOUND JUSTIFICATIONS, AND EXTERNAL EXCEPTIONS 115 A.
    [Show full text]
  • Algunas Puntualizaciones Sobre Los Orígenes Del Teatro Popular En España: El Caso De Lope De Rueda1
    Algunas puntualizaciones sobre los orígenes del teatro popular en España: El caso de Lope de Rueda1 José Luis Canet Vallés Universidad de València Los orígenes del llamado "teatro popular" son los menos conocidos en todas las historias literarias europeas, debido sobre todo a la falta casi absoluta de textos y datos de su representación. El caso español no es una excepción, pero la mayoría de los críticos y los manuales literarios establecen una serie de principios ampliamente aceptados, que me gustaría matizar. En primer lugar y desde poco tiempo después de la muerte de Lope de Rueda, como ha señalado Alberto Blecua,2 se ha considerado a este representante como el padre del teatro popular, añadiendo a este apelativo una serie de características de dicho teatro: estilo rudimentario, pobreza de medios y representación, y por último que los pasos o entremeses por su sencillez de lenguaje y su comicidad son la base de dicho arte.3 En segundo lugar, la crítica de este siglo señala, basándose en el dato encontrado por Sánchez Arjona, que los autores-actores, y en especial Lope de Rueda, crean el profesionalismo teatral a imitación de los italianos. Y se da por supuesto que en la base de dicho teatro "popular" se encuentra la commedia dell'arte, uno de cuyos representantes fue Il Mutio, a quien habría visto representar Lope de Rueda o incluso trabajar con él en 1538. Respecto a las opiniones de Rufo, Cervantes, Lope de Vega, Rojas, etc., cabe señalar, como algunos críticos han perfectamente observado, una exageración de los escritores de fines del XVI y principios del XVII respecto al autor sevillano.
    [Show full text]
  • Spanish Drama Before Lope De Vega
    '.f/ffi. - mm 1M fa^S^L MCf,,^ ~ \W ?Ji 4lR I ^^ . -ft^ * -a vVvv^mV d PUBLICATIONS OF THE UNIVERSITY OF PENNSYLVANIA EXTRA SERIES IN ROMANIC LANGUAGES AND LITERATURES. No. 7 SPANISH DRAMA BEFORE LOPE DE VEGA BY J. P. WICKERSHAM CRAWFORD, PH.D. PROFESSOR OF ROMANIC LANGUAGES AND LITERATURES IN THE UNIVERSITY OF PENNSYLVANIA PHILADELPHIA 1922 PUBLICATIONS OF THE UNIVERSITY OF PENNSYLVANIA DEPARTMENT OF ROMANIC LANGUAGES AND LITERATURES Extra Series, No. 7 LIBRARY u IDMVERSITY OF CALIFORNIA SANTA BARBARA C STo MY WIFE MAY WICKERSHAM CRAWFORD THIS LITTLE VOLUME IS AFFECTIONATELY DEDICATED PREFACE SEVENTY years have passed since the first appearance of Adolph Friedrich von Schack's Geschichte der dramatischen Literatur und Kunst in Spanien, the first part of which was devoted to a study of the predecessors of Lope de Vega, and while many critical studies have been written upon individual dramatists and many plays, not mentioned by Schack, have been discovered and published, no attempt has been made since that time to write a history of the earlier Spanish drama. Limitations of space have prevented me from attempting to write a detailed history of the Spanish drama before Lope de Vega, but I have tried to give at least an outline of the de- velopment of dramatic literature in that period. I am fully aware of the fact that the picture 'which I present is incomplete,, but it is my hope that I have succeeded in presenting here the results of the studies of my many predecessors, as well as of my own reading, and that this little book will serve as a- starting-point for further investigation in a subject that offers- so much of interest.
    [Show full text]
  • La Cuestión De Honor En Las Dos Versiones De El Alcalde De Zalamea
    La cuestión de honor en las dos versiones de El alcalde de Zalamea Elizabeth I. Trexler A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages (Spanish). Chapel Hill 2009 Approved by: Dr. Carmen Hsu (director) Dr. Frank Domínguez Dr. José Polo de Bernabé © 2009 Elizabeth I. Trexler ALL RIGHTS RESERVED ii Abstract Elizabeth I. Trexler: La cuestión de honor en las dos versiones de El alcalde de Zalamea (Under the direction of Dr. Carmen Hsu) The following article explores how the Golden Age dramatists, Félix Lope de Vega Carpio and Pedro Calderón de la Barca defined the term “honor” in their versions of El alcalde de Zalamea and how that definition differentiates from the medieval concept of the term. Both authors arrive at a new definition of honor through the comedies’ protagonist Pedro Crespo and according to both authors, honor is no longer a quality that only the nobility can possess. The article concludes that it is through Pedro Crespo’s judicial duties as mayor that Lope derives his new definition, while it is through the evolution of Pedro Crespo’s character and the contrasts that Calderón establishes between Pedro Crespo and don Álvaro that Calderón arrives at his new definition of honor. iii Los casos de la honra son mejores, porque mueven con fuerza a toda gente; con ellos las acciones virtüosas, que la virtud es dondequiera amada, pues [que] vemos, si acaso un recitante hace un traidor, es tan odioso a todos que lo que va a comprar no se lo venden, y huye el vulgo de él cuando le encuentra; y si es leal, le prestan y convidan, y hasta los principales le honran y aman, le buscan, le regalan y le aclaman.
    [Show full text]
  • 36 Seventeenth-Century News
    36 seventeenth-century news the clockwork universe while leaving God with room to act led him to believe that some divine purposes can be known and that science was the right way to achieve that knowledge. The addition of a small collection of “Strange Reports” to his Experimenta & Observationes Physicae (1691) reflects this interest in extraordinary phenomena. They were natural anomalies that could not be explained through the basic tenets of mechanical worldview. Moreover, one must recall Boyle’s distinction between “supernatural” and “preternatural,” the last indicating perfect natural phenomena transgressing the ordinary course of nature. This collection of essays is the last of a series of collections by Mi- chael Hunter, Emeritus Professor of History at Birkbeck, University of London. As it deals with some specific aspects of Boyle’s thought and personal events, it is suitable to readers who have already acquired a basic knowledge of the topics belonging to the Scientific Revolution, the discussion on science in modern Britain, and the impact of the Irish scientist on the achievement of the scientific account of nature. The Spanish Golden Age: Painting and Sculpture in the Time of Velázquez, exhibition catalogue, München: Hirmer, 2016. 334 pp. + 122 colored plates. €29. Review by Livia Stoenescu, Texas A&M University. The catalogue associated with the exhibitions El Siglo de Oro: The Age of Velázquez (Gemäldegalerie – Staatliche Museen zu Berlin, 2016) and The Spanish Golden Age: Painting and Sculpture in the Time of Velázquez (Kunsthalle der Hypo – Kulturstiftung 2016/2017) is a scholarly undertaking. While the exhibitions’ purview was to present the German public with an unprecedentedly comprehensive access to leading seventeenth-century Spanish artists, the catalogue provided the theoretical undergirding for such enterprise.
    [Show full text]
  • THIS ISSUE: Comedy
    2014-2015 September ISSUE 1 scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: Comedy www.ista.co.uk WHO’S WHO @ ISTA… CONTENTS Patron 2 Connections Professor Jonothan Neelands, by Rebecca Kohler National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education 3 Comedy d’un jour and Chair of Creative Education in the Warwick Business School (WBS) at the University of by Francois Zanini Warwick. 4 Learning through humour Board of trustees by Mike Pasternak Iain Stirling (chair), Scotland Formerly Superintendent, Advanced Learning Schools, Riyadh. Recently retired. 8 Desperately seeking the laughs Jen Tickle (vice chair), Jamaica by Peter Michael Marino Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 9 “Chou” – the comic actor in Chinese opera Dinos Aristidou, UK by Chris Ng Freelance writer, director, consultant. 11 Directing comedy Alan Hayes, Belgium by Sacha Kyle Theatre teacher International School Brussels. Sherri Sutton, Switzerland 12 Videotape everything, change and be Comic, director and chief examiner for IB DP Theatre. Theatre teacher at La Chataigneraie. grateful Jess Thorpe, Scotland by Dorothy Bishop Co Artistic Director of Glas(s) Performance and award winning young people’s company 13 Seriously funny Junction 25. Visiting. Lecturer in the Arts in Social Justice at the Royal Conservatoire of Scotland. by Stephen Finegold Honorary life members 15 How I got the best job in the world! Dinos Aristidou, UK Being a clown, being a
    [Show full text]
  • The Mythological Image of the Prince in the Comedia of the Spanish Golden Age
    University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2014 STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE Whitaker R. Jordan University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jordan, Whitaker R., "STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE" (2014). Theses and Dissertations--Hispanic Studies. 15. https://uknowledge.uky.edu/hisp_etds/15 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • THE PEOPLES and LANGUAGES of CHILE by DONALDD
    New Mexico Anthropologist Volume 5 | Issue 3 Article 2 9-1-1941 The eoplesP and Languages of Chile Donald Brand Follow this and additional works at: https://digitalrepository.unm.edu/nm_anthropologist Recommended Citation Brand, Donald. "The eP oples and Languages of Chile." New Mexico Anthropologist 5, 3 (1941): 72-93. https://digitalrepository.unm.edu/nm_anthropologist/vol5/iss3/2 This Article is brought to you for free and open access by the Anthropology at UNM Digital Repository. It has been accepted for inclusion in New Mexico Anthropologist by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. 72 NEW MEXICO ANTHROPOLOGIST THE PEOPLES AND LANGUAGES OF CHILE By DONALDD. BRAND This article initiates a series in which the writer will attempt to summarize the scattered and commonly contradictory material on the present ethnic and linguistic constituency of a number of Latin Ameri- can countries. It represents some personal investigations in the field and an examination of much of the pertinent literature. Chile has been a sovereign state since the War of Independence 1810-26. This state was founded upon a nuclear area west of the Andean crest and essentially between 240 and 460 South Latitude. Through the War of the Pacific with Bolivia and Perui in 1879-1883 and peaceful agreements with Argentina, Chile acquired her present extention from Arica to Tierra del Fuego. These northern and south- ern acquisitions added little to her population but introduced numerous small ethnic and linguistic groups. Chile has taken national censuses in 1835, 1843, 1854, 1865, 1875, 1885, 1895, 1907, 1920, 1930, and the most recent one in November of 1940.
    [Show full text]
  • The Background of the Revolution of May 25, 1810 at the Port of Buenos Aires
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1966 The Background of the Revolution of May 25, 1810 at the Port of Buenos Aires Mary Robert Reis Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the History Commons Recommended Citation Reis, Mary Robert, "The Background of the Revolution of May 25, 1810 at the Port of Buenos Aires" (1966). Master's Theses. 2198. https://ecommons.luc.edu/luc_theses/2198 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1966 Mary Robert Reis THE BACKGROUND OF THE REVOLUTION OF MAY 25, 1810 AT THE PORT OF BUENOS AIRES by Sister Mary Robert Rels, C. D. P. A Thesis Submitted to the Faculty of the Graduate SChool of Loyola University In Partial FulfUlment of the Requirements for the Degree of Master of Arts June 1986 TABLE OF CONTENTS I. INTRODUC'nON. • • • • • • • • • • • • • • •• 1 U. CREOLE AC11V'ITIES IN BUENOS AIRES • • • • • •• 18 m. THE BRITISH IN BUENOS AIRES • • • • • • • • •• 31 IV. THE PREUMlNAlUES OF REVOLtJT10N • • • • • •• "6 V. CONCLUSION...... • • • • • • • • • • •• 71 BlBLtO<lR.APHY • • • • • • • • • • • • • • • • • • •• 82 CHAPTER I INTRODUCTION Amcmg the many and diverse factors which caused the Revolution of May 26, 1810, In the port city of Buenoa Aires none stand out so promtnently as the econom1c.
    [Show full text]
  • Taking Matters Into Their Own Hands: Heroic Women of the Early Reconquest in the Spanish Comedia
    Trinity University Digital Commons @ Trinity Modern Languages and Literatures Faculty Research Modern Languages and Literatures Department 2014 Taking Matters into Their Own Hands: Heroic Women of the Early Reconquest in the Spanish Comedia Matthew D. Stroud Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/mll_faculty Part of the Modern Languages Commons Repository Citation Stroud, M.D. (2014). Taking matters into their own hands: Heroic women of the early reconquest in the Spanish comedia. Bulletin of the Comediantes, 66(2), 55-66. doi:10.1353/boc.2014.0034 This Article is brought to you for free and open access by the Modern Languages and Literatures Department at Digital Commons @ Trinity. It has been accepted for inclusion in Modern Languages and Literatures Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Taking Matters into Their Own Hands: Heroic Women of the Early Reconquest in the Spanish Comedia Matthew D. Stroud Trinity University, San Antonio ew moments in Spanish history are viewed more harshly in the comedia than the uncertain and troubling period at the end of the eighth century in which the new Christian kingdoms of the north were poorly served by two monarchs: Mauregato, the bastard son of Alfonso I and a manipulative usurper willing to betray his subjects for personal gain, and Alfonso II, a weak and untrustworthy leader whose repeated errors in judgment and statecraft
    [Show full text]