An Annotated Bibliography of Lope De Vega Studies and Editions: 1963-1969
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A Study of Feminine and Feminist Subjectivity in the Poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980 Little, Philippa Susan
Images of Self: A Study of Feminine and Feminist Subjectivity in the Poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980 Little, Philippa Susan The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1501 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Images of Self: A Study of Feminine and Feminist Subjectivity in the Poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980. A thesis supervised by Dr. Isobel Grundy and submitted at Queen Mary and Westfield College, in fulfilment of the requirements for the degree of Ph. D. by Philippa Susan Little June 1990. The thesis explores the poetry (and some prose) of Plath, Sexton, Atwood and Rich in terms of the changing constructions of self-image predicated upon the female role between approx. 1950-1980.1 am particularly concerned with the question of how the discourses of femininity and feminism contribute to the scope of the images of the self which are presented. The period was chosen because it involved significant upheaval and change in terms of women's role and gender identity. The four poets' work spans this period of change and appears to some extent generally characteristic of its social, political and cultural contexts in America, Britain and Canada. -
Summer 2011 Issue 36
Express Summer 2011 Issue 36 Portrait of a Survivor by Thomas Ország-Land John Sinclair by Dave Russell Four Poems from Debjani Chatterjee MBE Per Ardua Ad Astra by Angela Morkos Featured Artist Lorraine Nicholson, Broadsheet and Reviews Our lastest launch: www.survivorspoetry.org ©Lorraine Nicolson promoting poetry, prose, plays, art and music by survivors of mental distress www.survivorspoetry.org Announcing our latest launch Survivors’ Poetry website is viewable now! Our new Survivors’ Poetry {SP} webite boasts many new features for survivor poets to enjoy such as; the new videos featuring regular performers at our London events, mentees, old and new talent; Poem of the Month, have your say feedback comments for every feature; an incorporated bookshop: www.survivorspoetry.org/ bookshop; easy sign up for Poetry Express and much more! We want you to tell us what you think? We hope that you will enjoy our new vibrant place for survivor poets and that you enjoy what you experience. www.survivorspoetry.org has been developed with the kind support of all the staff, board of trustess and volunteers. We are particularly grateful to Judith Graham, SP trustee for managing the project, Dave Russell for his development input and Jonathan C. Jones of www.luminial.net whom built the website using Wordpress, and has worked tirelessly to deliver a unique bespoke project, thank you. Poetry Express Survivors’ Poetry is a unique national charity which promotes the writing of survivors of mental 2 – Dave Russell distress. Please visit www.survivorspoetry. com for more information or write to us. A Survivor may be a person with a current or 3 – Simon Jenner past experience of psychiatric hospitals, ECT, tranquillisers or other medication, a user of counselling services, a survivor of sexual abuse, 4 – Roy Birch child abuse and any other person who has empathy with the experiences of survivors. -
Undergraduate Research Forum · · · Tuesday, April 1, 2014 1:00-4:00 Pm, Mulva Library
UNDERGRADUATE RESEARCH FORUM · · · TUESDAY, APRIL 1, 2014 1:00-4:00 PM, MULVA LIBRARY RECEPTION FOLLOWING · · · HENDRICKSON DINING ROOM 4:00-5:30 PM SPONSORED BY THE COLLABORATIVE: CENTER FOR UNDERGRADUATE RESEARCH The Undergraduate Research Forum highlights the valued tradition at St. Norbert College of collaboration taking place in laboratories, studios, and other scholarly or creative settings between our students and our faculty and staff, resulting in a rich array of scholarly research and creative work. This celebration features collaborative projects that evolved out of independent studies, class assignments, and casual interactions as well as formal collaborations supported by internal grant funding. 1 Table of Contents Abstracts………………………………..……………………3-18 Biography of Dr. George Yancy………………………….......19 Acknowledgments……………………………………………..20 Schedule…………………………………………………....21-22 2 Abstracts are listed in alphabetical order by presenter’s last name. The Afferent Connectivity of the Substance P Reactive Nucleus (SPf) in the Zebra Finch is Sexually Monomorphic Hannah Andrekus, Senior Biology Major Kevin Beine, Senior Biology Major David Bailey, Associate Professor of Biology The lateral boundary of the hippocampus in birds, a band of cells named SPf (due to high levels of the neuropeptide substance P), may be a homolog of the mammalian entorhinal cortex, the primary hippocampal input. Little is known about the regions that communicate with SPf. Prior studies in our lab revealed that, in male zebra finches, SPf receives input from cells within a number of visual, auditory, and spatial memory- forming regions. We have extended this work to female birds using the retrograde tracer DiI and fluorescence microscopy, which have revealed the connections of this region to be sexually monomorphic. -
MONSTROSITY and IDENTITY in the COMEDIAS of LOPE DE VEGA Sarah Apffel Cegelski a Dissertation Submitted to the Faculty at the Un
MONSTROSITY AND IDENTITY IN THE COMEDIAS OF LOPE DE VEGA Sarah Apffel Cegelski A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Romance Languages Department. Chapel Hill 2015 Approved By: Carmen Hsu Frank Dominguez Rosa Perelmuter Margaret Greer Valeria Finucci © 2015 Sarah Apffel Cegelski ALL RIGHTS RESERVED ii ABSTRACT Sarah Apffel Cegelski: Monstrosity and Identity in the Comedias of Lope de Vega (Under the Direction of Carmen Hsu) Monstrosity and Identity in the Comedias of Lope de Vega is concerned with the relationship between monstrosity and identity formation in early modern Spain. The monster was a popular cultural phenomenon in sixteenth and seventeenth century Spain, appearing in a variety of scientific and literary genres. The monster was not just an extraordinary and unusual creature that elicited reactions of awe, wonder, and terror; it was also considered a sign from God that required careful interpretation to comprehend its meaning. The monster also embodies those characteristics that a society deems undesirable, and so by contrast, it shows what a society accepts and desires as part of its identity. In Lope de Vega’s (1562-1635) comedias, the playwright depicts characters who challenged the social, political, and religious conventions of his time as monsters. This study of Lope’s monsters intends to understand how and why Lope depicted these characters as monsters, and what they can tell us about the behaviors, beliefs, and traditions that Lope rejected as unacceptable or undesirable parts of the Spanish collective identity. -
El Concepto De Belleza En Las Rimas Y Rimas Sacras De Lope De Vega Miriam Montoya the University of Arizona
El concepto de belleza en las Rimas y Rimas Sacras de Lope de Vega Miriam Montoya The University of Arizona studiar a Lope de Vega implica hacer un breve recorrido sobre su vida debido a que en ésta se inspiró para escribir muchas de sus obras. En Eeste ensayo se hará un recuento de los sucesos históricos más sobresalientes del tiempo en que vivió este prolífico escritor. También se discutirán los aspectos más importantes de la época literaria y finalmente se hablará sobre el estilo de la poesía lírica de Lope para destacar varios aspectos que permitan entender el concepto de belleza en algunos poemas de sus obras Rimas (1602) y Rimas Sacras (1614). De acuerdo al estudio de Fernando Lázaro Carreter, Lope Félix de Vega Carpio nació en Madrid el 25 de noviembre de 1562. Sus padres, Félix de Vega Carpio y Francisca Fernández Flores eran procedentes de la Montaña y habían llegado a Madrid poco antes del nacimiento de Lope. Félix de Vega era un bordador de renombre que murió cuando Lope tenía quince años. De su madre sólo sabemos que vivió hasta 1589. Acerca de su niñez se sabe que entendía el latín a los cinco años. Además, fue estudiante de un colegio de la Compañía de Jesús donde en tan sólo dos años, dominó la Gramática y la Retórica. Sobre sus estudios universitarios, se cree que estuvo matriculado en la Universidad de Alcalá de 1577 a 1582 y quizás también en la de Salamanca. En el año de 1583, cuando tenía veintiún años, formó parte de la expedición a las Islas Azores para conquistar la última de éstas: La Terceira. -
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. -
De Caupolicán a Rubén Darío
Miguel Ángel Auladell Pérez Profesor titular E.U. de literatura española de la Universidad de Ali- cante. Su actividad docente e in- vestigadora se ha centrado princi- palmente en la literatura española del siglo XVII y de la época de Fin de Siglo. Ha formado parte de va- rios proyectos de investigación, tanto de financiación pública como privada. Ha participado en nume- rosos congresos nacionales e inter- nacionales de su especialidad y ha DE CAUPOLICÁN A RUBÉN DARÍO publicado artículos sobre diversos MIGUEL ÁNGEL AULADELL PÉREZ escritores barrocos (Liñán y Verdu- go, Lope de Vega, Ruiz de Alarcón, Calderón) y finiseculares (Rubén Darío, Azorín). Es autor de la mo- nografía titulada La 'Guía y avisos de forasteros que vienen a la Cor te ' del Ldo. Antonio Liñán y Verdu go en su contexto literario y editor Rubén Darío publicó su conocido «Cau- Se ha repetido hasta la saciedad que Rubén del Ensayo bio-bibliográfico de es critores de Alicante y su provincia policán» en el diario santiaguino La Época el habría introducido nuevos textos en^lz^L. pa- de Manuel Rico García. Asimismo, 11 de noviembre de 1888. Bajo el título de «El ra tratar de paliar en lo posible la acusación de ha editado una Antología de poesía y prosa de Rubén Darío. Actual- Toqui», venía acompañado de otros dos sone- «galicismo mental» que le había propinado mente, dirige la edición digital de tos, «Chinampa» y «El sueño del Inca», agru- Juan Valera en dos de sus Cartas americanas di- la obra de Lope de Vega en la Bi- blioteca Virtual Cervantes. -
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. -
Translating Rubén Darío's Azul…
Translating Rubén Darío’s Azul… A Purpose and a Method Adam Michael Karr Chesapeake, Virginia B.S. International History, United States Military Academy at West Point, 2005 A thesis presented to the Graduate Faculty of the University of Virginia in Candidacy for a Degree of Master of Arts English Department University of Virginia May, 2014 TABLE OF CONTENTS Thesis Text……….3-47 References………..48-50 Appendix A: “Stories in Prose”………51-88 Appendix B: “The Lyric Year”……….89-116 2 George Umphrey opens the preface of his 1928 edited assortment of Rubén Darío’s prose and poetry with the familiar type of panegyric that begins much of the dissemination and exegesis of Darío’s work – “No apology is needed for [this] publication…he is one of the great poets of all time.” To Umphrey it was nothing more than a quip and a convenient opening statement. Darío had passed away just 12 years earlier but his posterity was assured. The Nicaraguan modernista poet has inspired an entire academic and publishing industry in Spanish language literature that is analogous to Milton or Dickens in English.1 He has had every possible commendation lavished on his legacy, is credited with revolutionizing the Spanish language, dragging it out of two centuries of doldrums following the glorious “Golden Age” of Cervantes and Lope de Vega, and creating the ethos and the identity for an independent Spanish America that would later inspire Borges, Neruda, and García-Márquez. Umphrey had no reason to doubt that any reproduction and exploration of Darío’s work, regardless of language, would be self- justifying, but he unwittingly makes assumptions about the future of language study in universities, priorities and structure in literature departments, the publishing industry and commercial audience, and a myriad of other contextual factors that would complicate Darío’s legacy. -
Abstracts I Ehumanista 24 (2013) Marta Albalá Pelegrín, El Arte Nuevo De Lope De Vega a La Luz De La Teoría Dramática Italia
Abstracts i Marta Albalá Pelegrín, El Arte nuevo de Lope de Vega a la luz de la teoría dramática italiana contemporánea: Poliziano, Robortello, Guarini y el Abad de Rute Abstract: Since the end of the 15th century Italian poetic theory was the stage of numerous polemics concerning the conception of comedy that deeply influenced Western theatrical production. During the 16th century we encounter two main currents of thought: one of them was constituted by theorist who, starting with Francesco Robortello (1516-1567), reread Aristotle's Poetics as a set of rules, with which to determine and judge the quality of contemporary artistic production; the other was composed by men of letters such as Angelo Poliziano (1454-1494) or Battista Guarini (1538-1612), who conceived of comedy as a historically changeable category, one which was generically malleable, and open to the innovations of contemporary playwrights. This article reveals Lope de Vega's New Art of Making Comedies (1609) as a text belonging to this latter tradition, with which it presents numerous concomitances and points of contact at both the discursive and the conceptual level. The existence of such actual relation is attested in a contemporary work that has been overlooked up to date, the Didascalia Multiplex (1615) by the Abbot of Rute (1565-1526). Resumen: Desde finales del siglo XV la teoría poética italiana fue escenario de numerosas polémicas en torno a la concepción de la comedia que tuvieron gran impacto en la producción teatral occidental. A lo largo del siglo XVI encontramos -
Sylvia and the Absence of Life Before Ted
http://dx.doi.org/10.5007/2175-7917.2018v23n1p133 SYLVIA AND THE ABSENCE OF LIFE BEFORE TED. Mariana Chaves Petersen* Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Sul Abstract: As Bronwyn Polaschek mentions in The Postfeminist Biopic, the film Sylvia (Christine Jeffs, 2003) is based on biographies of Sylvia Plath that focus on her relationship with husband Ted Hughes – such as Janet Malcolm’s The Silent Woman. In this paper, grounded in the works of Linda Hutcheon, Mary E. Hawkesworth, and Tracy Brain, I argue that this biography works as a palimpsest of Sylvia and that the film constructs Plath as the Ariel persona, neglecting her “Juvenilia” – her early poetry, as it has been defined by Hughes. Sylvia actually leaves Plath’s early life – before she met Hughes – aside and it thus ends up portraying her more as a wife than as a writer. Finally, by bringing information on Plath’s life before she met Hughes from a more recent biography (by Andrew Wilson), I analyze how a different image of Plath might have been created if this part of her life were not missing in the film. Keywords: Sylvia. Sylvia Plath. Adaptation studies. Biopic. Feminist criticism. She wanted to be everything, I think. She was always searching for the self that she was going to be. — Elinor Friedman Klein, qtd. in Andrew Wilson, Mad Girl Love’s Song How can you be so many women to so many people, oh you strange girl? — Sylvia Plath, from her journals Introduction: a chosen branch Several were the attempts to fictionalize Sylvia Plath by making her a character in novels, poems, films, and biographies. -
Internacional… . De Hispanistas… …
ASOCIACIÓN………. INTERNACIONAL… . DE HISPANISTAS… …. ASOCIACIÓN INTERNACIONAL DE HISPANISTAS 16/09 bibliografía publicado en colaboración con FUNDACIÓN DUQUES DE SORIA © Asociación Internacional de Hispanistas © Fundación Duques de Soria ISBN: 978-88-548-3311-1 Editora: Blanca L. de Mariscal Supervisión técnica: Claudia Lozano Maquetación: Debora Vaccari Índice EL HISPANISMO EN EL MUNDO: BIBLIOGRAFÍA Y CRÓNICA ÁFRICA Argelia, Marruecos y Túnez...................................................................................... 11 Egipto........................................................................................................................ 13 AMÉRICA Argentina.................................................................................................................... 14 Canadá........................................................................................................................ 22 Chile........................................................................................................................... 25 Estados Unidos........................................................................................................... 29 México........................................................................................................................ 41 Perú.............................................................................................................................49 Venezuela..................................................................................................................