Ilustración 1 Vista De Sevilla, Atribuído a Claudio Sánchez Coello (Museo Del Prado, Madrid)
Ilustración 1 Vista de Sevilla, atribuído a Claudio Sánchez Coello (Museo del Prado, Madrid). SEVILLA COMO ESPACIO DRAMÁTICO EN LA COMEDIA DEL SIGLO DE ORO DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Judith García-Quismondo García, M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Professor Donald R. Larson, Adviser Professor Vicente Cantarino _______________________ Professor Salvador García Adviser Professor Donald M. Terndrup Spanish & Portuguese Graduate Program ABSTRACT When discussing the typical Spanish commedia—especially the palatine or urban one dealing with duels, swords, and cloaks to conceal identities, and focused mainly on the interaction of citizens with the Baroque buildings of an urban surrounding (palaces, particular houses, gardens, churches)—Madrid, as the capital of the Spanish Empire, always stands out. Countless studies about the interplay between the city and the private spheres of its citizens have been written and discussed, all of them centered on the city of Madrid. As far as Sevilla is concerned, only Héctor Brioso Santos has examined the city in depth during the Golden Age period, centering his approach on narrative fiction and considering the city as a locus for turmoil. My study, however, is focused on the public sphere of Seville in the Spanish Golden Age, and its cultural representation in the existing dramatic corpus. Through literary, social and urbanistic depictions I confront the portrayal of Seville as a magnificent and thriving commercial emporium within the pages of the Spanish comedia, in contrast to the portrait of crime and vice permeating the Golden Age narrative.
[Show full text]