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The Metamorphosis of the Don Juan Legend in Tirso De 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. Universidad de La Rioja. Logroño (España). [email protected] EL ÁRBOL DE LA VIDA DE TERRENCE MALICK CURRÍCULUM VITAE Como desentrañar tamaña complejidad, el misterio de lo inabarcable, la génesis del Josémundo, Díaz lo-Cuesta, absoluto, licenciado el puro eny zigzagueanteFilología Inglesa recorrido por la Universidadabstracto de dela vida,Oviedo sometido y con quizás a una cosmogonía en imágenes –intensamente visual gracias al trabajo un máster en Historia y Estética de la Cinematografía por la Universidad de fotográfico de Lubezki-, entendiendo como cosmogonía un relato mítico relativo a los Valladolid,orígenes del esmundo, profesor una asociadoteoría científica a tiempo que tratacompleto del origen de Filología y evolución Inglesa del universo en la – Malick sostiene un espíritu creacionista, alejándose del evolucionismo de Darwin-. Universidad de La Rioja, en la que imparte, entre otras asignaturas, Cine AnglonorteamericanoEl realizador necesita lay Literaturavida, no tanto Comparada la ficción,, materia tomandos sobre mo deloslas que experimentales, ha dictado deshaciéndose de todo decorado, situando a los actores en la escena por espacios libres ponencias en foros internacionales y publicado estudios en revistas y libros que puedan recorrer libremente, incluso durante el montaje, aunque es este en un nacionalesúltimo término e internacionales.quien escoge y almacena,Está elaborando por otro ladouna nuncatesis doctoralnada es homogéneo,sobre la contrariamente a lo que el flujo de imágenes nos pueda hacer pensar, existe un espacio representación de masculinidades en textos fílmicos de terror dirigidos por Steven rasgado, más bien una grieta, una fisura que se establece entre la naturaleza y la Spielberg. 1Autor correspondiente: Jesús Miguel Sáez-González: Crítico de cine. Alcalá de Henares. Madrid Correo: [email protected] 13124 24 Revista de Comunicación Vivat Academia · Julio/agosto 2005 · Año VIII · nº 67 · pp. 24-37 Díaz-Cuesta, José (2005): The Metamorphosis of the Don Juan Legend in Tirso Díaz-CuestaAdaptation, José ( 2005- El burlador): The Metamorphosis de Sevilla - Tirso of the de MolinaDon Juan - The Legend Libertine in Tirso - Thomas Shadwell de Molina’s El burlador de Sevilla and Thomas Shadwells’s The Libertine. Vivat de Molina’s El burlador de Sevilla and Thomas Shadwells’s The Libertine. Vivat Academia. nº 67. Julio-Agosto. 2005. Páginas 24-36. Academia. nº 67. Julio-Agosto. 2005. Páginas 24-36. http://www.ucm.es/info/vivataca/anteriores/n67/DATOSS67.htm http://www.ucm.es/info/vivataca/anteriores/n67/DATOSS67.htm _______________________________________________________________ _______________________________________________________________ THE METAMORPHOSIS OF THE DON JUAN LEGEND IN TIRSO ABSTRACT DE MOLINA’S EL BURLADOR DE SEVILLA AND THOMAS This journal article looks into the first metamorphosis of the Don Juan legend in SHADWELL’S THE LIBERTINE England, from El burlador de Sevilla, attributed to Tirso de Molina, to Thomas Shadwell’s The Libertine. The article is not concerned with the question of who was LA METAMORFOSIS DE LA LEYENDA DE DON JUAN EN EL the real author of the Spanish play. Our first task is to compare the evolution of each BURLADOR DE SEVILLA DE TIRSO DE MOLINA Y THE LIBERTINE narrative in both plays. Secondly, we focus on the portrayal of characters, with DE THOMAS SHADWELL special emphasis on the Don Juan figure of each play. The last step is to consider the evolution of the legend itself, paying attention to the two main plots that are combined. The main conclusion is that although the overall story is preserved, the AUTOR same cannot be said of its feeling. El burlador de Sevilla is capable of containing most José Díaz-Cuesta: Profesor Asociado TC. Universidad de La Rioja. Logroño of the other interpretations that have appeared in various forms and countries, as (España). [email protected] Leo Wenstein (1959, p. 23) has put it. KEY WORDS CURRÍCULUM VITAE Adaptation - El burlador de Sevilla - Tirso de Molina - The Libertine - Thomas José Díaz-Cuesta, licenciado en Filología Inglesa por la Universidad de Oviedo y con Shadwell. un máster en Historia y Estética de la Cinematografía por la Universidad de Valladolid, es profesor asociado a tiempo completo de Filología Inglesa en la RESUMEN El presente artículo se centra en la primera metamorfosis de la leyenda de Don Juan Universidad de La Rioja, en la que imparte, entre otras asignaturas, Cine en Inglaterra, de El burlador de Sevilla, atribuida a Tirso de Molina, a The Libertine de Anglonorteamericano y Literatura Comparada, materias sobre las que ha dictado Thomas Shadwell. El artículo no pivota en torno a la cuestión de quién fue realmente ponencias en foros internacionales y publicado estudios en revistas y libros el autor de la obra española. Nuestro primer cometido consiste en comparar la nacionales e internacionales. Está elaborando una tesis doctoral sobre la evolución de cada narración en ambas obras. En segundo lugar, nos fijamos en la representación de masculinidades en textos fílmicos de terror dirigidos por Steven caracterización de personajes, prestando especial atención a la figura de Don Juan en Spielberg. cada obra. El último paso que damos considera la evolución de la leyenda propiamente dicha, prestando atención a los dos argumentos que se combinan. La conclusión principal es que, aunque se preserva la historia general, no se puede decir 25 24 25 Revista de Comunicación Vivat Academia · Julio/agosto 2005 · Año VIII · nº 67 · pp. 24-37 ISSN: 1575-2844 · DOI: http://dx.doi.org/10.15178/va.2005.67.24-37 Díaz-Cuesta, José (2005): The MetamorphosisDíaz-Cuesta of the Don Juan Legend in Tirso de Molina’s El burlador de Sevilla and Thomas Shadwells’s The Libertine. Vivat Academia. nº 67. Julio-Agosto. 2005. Páginas 24-36. http://www.ucm.es/info/vivataca/anteriores/n67/DATOSS67.htm _______________________________________________________________ lo mismo de su sentimiento. El burlador de Sevilla es capaz de contener en sí misma la mayoría de las interpretaciones que han aparecido en diversas formas y países, como señala Leo Wenstein (1959, p. 23). PALABRAS CLAVE Adaptación – El burlador de Sevilla – Tirso de Molina – The Libertine – Thomas Shadwell. ÍNDICE 1. Introduction. 2. Narrative development: the not so different plots. 3. Characterization. 4. The legend and its themes. 5. Conclusion. 6. Biblography. “To live with him for ever were too much” (Byron, 1958, p. 173) 1. Introduction. Some may argue that Thomas Shadwell’s play The Libertine does not deserve being studied, be we think that it is not its literary value that counts (something it does 26 26 Revista de Comunicación Vivat Academia · Julio/agosto 2005 · Año VIII · nº 67 · pp. 24-37 Díaz-Cuesta, José (2005): The Metamorphosis of the Don Juan Legend in Tirso Díaz-CuestaAdaptation, José ( 2005- El burlador): The Metamorphosis de Sevilla - Tirso of the de MolinaDon Juan - The Legend Libertine in Tirso - Thomas Shadwell de Molina’s El burlador de Sevilla and Thomas Shadwells’s The Libertine. Vivat de Molina’s El burlador de Sevilla and Thomas Shadwells’s The Libertine. Vivat Academia. nº 67. Julio-Agosto. 2005. Páginas 24-36. Academia. nº 67. Julio-Agosto. 2005. Páginas 24-36. http://www.ucm.es/info/vivataca/anteriores/n67/DATOSS67.htm http://www.ucm.es/info/vivataca/anteriores/n67/DATOSS67.htm _______________________________________________________________ _______________________________________________________________ lo mismo de su sentimiento. El burlador de Sevilla es capaz de contener en sí misma la have), but the actual development of the legend from one author1 to the other, from mayoría de las interpretaciones que han aparecido en diversas formas y países, como one country —Spain— to the other —England. Furthermore, if we study these two señala Leo Wenstein (1959, p. 23). texts we shall be dealing with the literary origins of the legend both in England and in Spain, and with how this first metamorphosis into the English language of the Don PALABRAS CLAVE Juan legend took place. We are not alone on defending this, as Hellen Pellegrin argues, referring to The Libertine: Adaptación – El burlador de Sevilla – Tirso de Molina – The Libertine – Thomas Shadwell. “despite its importance as the first version of the Don Juan legend to appear in England and as an historical and philosophical document, The Libertine ÍNDICE has been ignored or severely criticised by scholars.” (Shadwell, 1987, p. ix) 1. Introduction. Tirso’s work has also been somehow forgotten: according to Leo Weinstein, 2. Narrative development: the not so different plots. “Tirso’s play has never received the recognition it deserves, not merely for being the first Don 3. Characterization. Juan creation but on its own merits” (Weinstein, 1959, p. 22). 4. The legend and its themes. 5. Conclusion. The organization of this article will be as follows. Firstly we shall compare the 6. Biblography. narrative development, that is, the plots, of both plays. Then we shall study how the different characters are portrayed, focusing particularly on the Don Juan figure of each play.
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