Iberica – serie

Al considerar el papel hegemonico que la Espana del siglo XVII ejercio en la peninsula italiana, un estudio del Barroco espanol no puede estar completo sin tener en cuenta su contraparte italiana. Marcella Salvi propone una nueva aproximacion al estudio del teatro barroco espanol examinando el centro (Espana) desde su periferia politico-cultural (Italia). Escenas en conflicto ilustra la relacion entre centro y periferia a traves de las perspectivas de personajes marginales como criados, embusteros de la calle, prostitutas, bufones y soldados mercenarios. Se analizan tres aspectos especificos del teatro barroco: el meta-teatro, la presencia de la mujer y la politica imperial.

Amistades peligrosas examina el discurso homoerotico que subyace a varias comedias de Lope de Vega y ofrece un contexto historico, sociologico y legal de la homosexualidad en la epoca del genial dramaturgo a partir de la correspondencia epistolar de este con su mecenas, el duque de Sessa. Se analiza la figura del monstruo que utiliza Lope en La prueba de los ingenios (1617) para codificar la relacion homoerotica entre las dos protagonistas, Laura y Florela. Esta comedia funciona ademas como metafora del espacio teatral que Lope establece con su revolucionario Arte nuevo de hacer comedias. En La boda entre dos maridos (1595-1601), Lope lleva el topico (neo)platonico de la amistad ideal entre dos hombres, Lauro y Febo, a los extremos de una relacion homoerotica. En El meson de la corte (1588-1595), la protagonista vestida de hombre para restaurar su honor provoca una serie de confusiones de tinte sexual que desafian las premisas fundamentales de la sociedad patriarcal. En conclusion, mediante una comedia nacida de los gustos y necesidades de su tiempo, Lope plantea un discurso repleto tanto de lo oficial como de lo prohibido, de lo canonico y lo revolucionario.Ese tercer espacio creado por Lope se ha revelado con el paso de los siglos como un discurso visionario que anticipaba los adelantos contemporaneos en la lucha por la igualdad de sexos y sexualidades.

Los poderes de la palabra: El improperio en la cultura hispanica del Siglo de Oro es una obra interdisciplinar, fruto del encuentro de areas cientificas diversas, que aborda el estudio de las manifestaciones de la violencia verbal en la Espana de los siglos XVI y XVII. Desde la autenticidad de los libelos infamatorios, o desde la oralidad cotidiana recogida en procesos legales, la perspectiva historica recupera denuestos, blasfemias y maldiciones, e interpreta su valor sociohistorico en los entresijos de la sociedad aurisecular. El analisis literario se adentra en la rica y variada produccion de este tiempo para analizar las manifestaciones de la agresion verbal (pullas, motes, insultos, burlas, acusaciones) y gestual que ofrecen autos sacramentales, comedias, villancicos, poesias cancioneriles, satiricas o religiosas; o bien descubre, en las relaciones verbales entre figuras literarias del Siglo de Oro espanol, los testimonios mas ingeniosos del improperio.El examen lingueistico reconoce, a partir de fuentes literarias y no literarias, los ambitos conceptuales del insulto en espanol clasico, y describe los recursos lexicos, morfosintacticos y pragmaticos empleados para la ofensa, los procedimientos intensificadores y los modos de insertar voces injuriosas y expresiones maldicientes.

Tradicion e innovacion en las Novelas a Marcia Leonarda de Lope de Vega reivindica la importancia del ciclo de novelas dedicado a Marcia Leonarda en el desarrollo de la novela moderna. Ensombrecidas quizas por la fama de dramaturgo de Lope, las Novelas a Marcia Leonarda han recibido una discreta atencion critica y son escasos los trabajos y los articulos publicados en torno al ciclo. No obstante, la radical experimentacion con diferentes subgeneros novelisticos del ciclo a Marcia Leonarda rivaliza con las Novelas ejemplares cervantinas en variedad e innovacion. El presente estudio constituye un analisis exhaustivo de la estrategia narrativa lopiana para enfrentarse y solucionar los diversos problemas entre teoria y practica narrativa, revelando la permeabilidad y porosidad del nuevo genero.Tradicion e innovacion en las Novelas a Marcia Leonarda de Lope de Vega podria utilizarse como referencia bibliografica y como libro de consulta en clases o seminarios graduados, bien panoramicos (sobre la prosa del Siglo de Oro, por ejemplo, sobre la historia general de la novela o sobre la historia general de la literatura espanola), bien monograficos (sobre la obra de Lope de Vega o sobre la metaficcion en la literatura espanola).

Lusitanian playwrights who wrote comedias during and after the Dual Monarchy (1580–1640), when the Portuguese and Spanish thrones were united under Habsburg rule, continue to be largely unexplored. This edition highlights the contributions of one of this group’s most successful and celebrated members, Jacinto Cordeiro. It describes the sparse critical attention that Cordeiro has received as well as his life, literary career, and historical context. Most importantly, it provides a modern critical edition of Cordeiro’s most enduring play, El juramento ante Dios, y lealtad contra el amor, based on a collation of the twenty-one extant witnesses that comprise its textual tradition. Additionally, it includes an in-depth account of the transmission of the play with a stemma that documents the genealogical relationships between extant versions. It also provides an analysis of how Juramento may have been performed for seventeenth-century theatergoers, based on stage directions and performance cues written into the dialogue. In short, this edition introduces modern readers to both Jacinto Cordeiro, a bilingual author who successfully competed in a second language with the giants of Spain’s Golden Age, and El juramento ante Dios, a play whose popularity lasted two centuries.

This volume, organized in five major sections, honors the myriad scholarly contributions of Matthew D. Stroud to the field of Early Modern Spanish theater. Building upon Stroud’s seminal studies, each section of essays simultaneously claims and wrestles with aspects of the rich legacy generated by his explorations. The essays included in this volume consider the moral, ethical, and legal backdrop of uxoricide, explorations of the meaningful intersections of psychoanalytic theory and the comedia, and engage the topics of women, gender, and identity. They also bridge the gap between dramatist and actors and between page and stage as they consider everything from the physical demands on Early Modern actresses to the twenty-first-century performance possibilities of comedias. Moreover, these essays incorporate studies that transcend temporal, spatial, political, and cultural limits, continuing to push at the edges of traditional scholarship characteristic of Stroud’s pioneering research. Both scholars and students will find this cohesive, compelling collection of interest across a wide spectrum of disciplines from theater history to performance studies, from philosophy to queer studies.

The essays in this book honor the seminal contributions to the field of early modern Spanish drama of Donald T. Dietz, who has devoted his career to the promotion of classical theater, not just as dramatic poetry but as vibrant performance art. Written by a variety of respected scholars and never before published, the twenty-two essays, organized into six sections, present a wide variety of interests, approaches, and methodologies, including ideological and theological exegesis, poetic analysis, cultural studies, and semiotics of theater. The first section reviews Dietz’s impact on the field of Comedia studies, where he played a critical role in moving the discussion from page to stage. The next two sections explore facets of religious theater, including autos sacramentales and comedias de santos, as well as religious aspects of secular theater. Essays from the other sections explore questions of reading and of staging classical theater, in the original Spanish, in English translation, and in adaptation for the stage and for radio, as well as theoretical and practical approaches to the pedagogy of performance. Specialists and students within and across many disciplines—theater history, comparative performance studies, literary studies—will find this collection both useful and illuminating.

This text examines the character of Don Quixote, the book describing his fictional exploits, and their implications in the theological realm as well as in the fictive, using Gónzalez and Maldonado’s definition of theology as "la explicación de la realidad cósmica" ["the explanation of cosmic reality"], including the identity and nature of God. The first chapter examines the implications of the basin-helmet in El ingenioso hidalgo Don Quixote de La Mancha, in context with the historical and theological developments of the end of the sixteenth century. The second chapter looks first at the religious climate of the sixteenth and early seventeenth centuries in Spain and the rest of Europe to tease-out the theological and ecclesiastical preoccupations that undergird much of the content in Don Quixote. The third chapter examines a few details from the life of Miguel de Cervantes in order to place him within the historical and literary context examined in the second chapter, and the fourth chapter examines chivalry as a mode of religious life. The fifth chapter then approaches various other characters, events, and discussions in the novel that carry religious content, and the sixth considers transformation, transubstantiation, and translation, using the topos of the baciyelmo as a metaphor for Cervantes.

From 1890 to 1945, Europe was shaken by political, social, and cultural revolutions brought about by the crisis of modernity. Marx, Nietzsche, and Freud stoked the yearnings of a convulsed era, devastated by the First World War. It was a time when all kinds of alternative and radical models of modernity were erected in pursuit of a new world: from the exasperation of communist and fascist totalitarianism to the frenzy of the artistic avant-gardes and biopolitics.Hungry for transcendence and tormented by hope, this passionate age also gave rise in Europe to a Catholic revival in literature. Writers such as G. K. Chesterton, Evelyn Waugh, and Graham Greene in England; Charles Péguy, Paul Claudel, and Georges Bernanos in France; and Ramiro de Maeztu and José Bergamín in Spain found that Catholicism was the key to coping with the enigmas and paradoxes of modern man. At the same time, by injecting the political and artistic principles of modernity into the Christian tradition, they transformed a reactionary Catholicism into the paradigm of ultramodernity.This book explores the intellectual history of a European cultural phenomenon that has thus far been left out of most works of criticism, despite its magnitude. Moreover, it does so through vibrant prose that makes this work of research read like a novel.

Si bien Miguel de Cervantes Saavedra jamás pisó el continente americano, se sabe que por lo menos en dos ocasiones buscó establecerse en él. Su anhelo, sin embargo, jamás se concretó. Con todo, el Nuevo Mundo cautivó poderosamente su interés e imaginación. Por una parte, el alcalaíno fue un lector puntual de los diversos textos que durante el siglo XVI dieron fe de la conquista de las tierras americanas y de los conflictos que surgieron en dichos territorios; y, por otra, América tuvo para él desde muy joven un interés literario, según se deduce de su primera novela, La Galatea, donde en el Canto de Calíope hace un conocido elogio de los poetas del Nuevo Mundo. Asimismo, precisa señalar que muy pronto llegaron las obras de Cervantes al Nuevo Mundo y fueron leídas con sumo interés y gusto por sus habitantes, sobre todo el Quijote. El impacto de la obra cervantina en el desarrollo de la literatura latinoamericana y en su imaginario no puede ser subrayado lo suficiente. Si ya en la época colonial Cervantes influyó en algunas figuras señeras de las letras en América Latina, en el siglo XX su huella fue decisiva y alcanzó a autores de la talla de Carlos Fuentes, Gabriel García Márquez, Jorge Luis Borges o Mario Vargas Llosa. En Cervantes transatlántico / Transatlantic Cervantes prestigiosos investigadores de Estados Unidos, Europa y Latinoamérica estudian la presencia de América y de lo americano en la obra de Cervantes desde una perspectiva multidisciplinaria.

A tribute to Henry W. Sullivan in celebration of his 80th birthday, this volume encompasses a wide spectrum of Hispanic literary scholarship to honor a prolific scholar whose contributions have been extensive, not only as a Golden Age Hispanist but also as a devoted Lacanian scholar, literary critic, translator, poet, novelist, playwright, and composer. The title of the collection comes directly from Sullivan’s recent study on tragic drama in the Golden Age of Spain. Even though the “ghost” he attempts to lay there is the critical controversy around defining and classifying tragedy among Spanish classic comedias, the label extends and applies to Sullivan’s lifelong commitment to the relevance of Spanish drama of the Golden Age within the universal canon, especially from an English-language perspective. Moreover, his arguments are easily applicable in defense of the Humanities and the significance of Literature amid the unwelcome structural changes in Academia.

This book presents an annotated edition, English translation, and an in-depth study of Lope de Vega’s La prueba de los ingenios. Through this translation, the authors aim to make this significant yet lesser-known work accessible to a wider audience, while providing scholarly insights into its historical, cultural, and literary contexts. The book's introduction explores themes of genre and gender hybridity, and socio-cultural self-fashioning, showcasing Lope's nuanced response to societal norms and his creative engagement with contemporary debates on authorship, professional theater, and gender issues. The annotations offer valuable commentary, guiding readers through the complex layers of Lope’s text and underscoring its relevance to both early modern and contemporary discussions on gender, sexuality, and social identity.

In November 1680, an arch designed by Carlos de Sigüenza y Góngora and constructed in the Plaza of Santo Domingo in Mexico City audaciously displayed a central panel depicting the incoming viceroy, Tomás de la Cerda, enthroned on a Mexican eagleand surrounded by ancient Mexica emperors. Sigüenza’s mirror for princes, Teatro de virtudes, curiously and cleverly endows the viceroy with two bodies, one natural and the other immortal and collective. This book explores the centrality of this royal paradigm in understanding Sigüenza’s innovative vision of viceregal governance as a socially unifying force.