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This study illustrates how a focus on language, which is manifest in so much of contemporary literary theory, can help to open some of the canonical texts of Spanish Golden Age theater to new readings.
Drawing on the groundbreaking Spanish scholarship and editions of earlier generations and relying on research conducted in Spanish archives, this pioneering group of English-speaking scholars offers a new treatment of familiar material. The editors yoke together widely varying critical practices, including incisive New Critical readings and far-reaching explorations that draw on the most current European critical thought. In addition to these more strictly literary studies, there are interdisciplinary essays focusing on seventeenth- and twentieth-century reception and the social makeup of the comedia audience. The whole thus presents a balanced picture of the many ways in which the comedia can be viewed, and the contributors complement each other's work in often surprising ways, illuminating the same corpus from a number of perspectives.
During the Golden Age, poetry and drama entered into a dynamic intertextual and intergeneric exchange. The Comedia appropriated the different poetic currents prevalent during the Renaissance and also often enacted the controversies surrounding poetic language. Of particular interest is the influence of gongorismo on the comedia. Luis de Gongora himself experimented with dramatic form in his two little-known plays, "Las firmezas de Isabela and El doctor Carlino." In his quest for effective dramatic language, Lope de Vega dramatized Gongorine language through both parody and respectful imitation. Calderon de la Barca, whose plays represent the culmination of Gongora's influence on Golden Age theater, transformed gongorismo into a rich, performative code that functions simultaneously as poetic discourse and dramatic convention.
This anthology of materials by and about Elena Garro includes translations of two of her one-act plays and several essays that explore her theatrical and narrative pieces. Also presented are a personal interview and a chronology of her life by her own account.
In this volume, experts on the Spanish Golden Age from the United Kingdom, Ireland, and the United States offer analyses of contemporary works that have been influenced by the classics from the sixteenth and seventeenth centuries. Part of the formation of a sense of national identity, always a problematic concept in Spain, is founded in the recognition and appreciation of what has come beforehand, and no other era in the history of Spanish literature and drama represents the talent and fascination that Spaniards and non-Spaniards alike possess with the artistic legacy of this country. In order to establish properly a context for the study of literature or history, one cannot always study the works, writers, or era in isolation; rather, performing scholarly studies on these topics as a continuation of what has come before reveals that many thoughts, concepts, character types, criticisms, and social issues have been thoroughly explored by our literary ancestors. This era is referred to as the Golden Age not only because of the voluminous production of art, literature, drama and poetry, but also because writers such as Miguel de Cervantes, Lope de Vega, and Pedro Calderón de la Barca, influenced by the re-birth of the Classical masters, presented the reading and viewing public with genuine human emotions and experiences in a more comprehensive manner than in previous eras. In the twentieth century, Spain faced a series of political crises; the Spanish Civil War (1936-39) and the Franco Dictatorship (1939-75), followed by the Transition and the concept of historical memory, have provided contemporary Spanish writers with the impetus and freedom to express their views. A frequent source of inspiration has been the Golden Age, that epoch of history that produced such political and religious upheaval, and this book explores the manner in which contemporary Spaniards have reached into the past to connect with their present world.
Nise and Finea are famous beauties. Their father, Don Octavio, a wealthy businessman, is doing his best to marry them off and an exotic collection of determined young suitors are competing for the prizes. The sticking point? Nise, the elder sister, is too clever for her own good, whilst younger sister Finea is notoriously stupid. Can the family hide Finea's shortcomings long enough to hoodwink a suitor into marriage? Surely the combination of a dancing master and a huge dowry will do the trick? The ploy is more successful than anyone might have anticipated... A Woman of Little Sense is a big-hearted and hilarious romantic comedy which celebrates the power of love.
Richly varied collection of 10 plays from 16th through 20th centuries. The Vigilant Sentinel by Miguel de Cervantes; Fuente Ovejuna by Lope de Vega; Life Is a Dream by Pedro Calderon de la Barca; Blood Wedding by Federico García Lorca, 6 more. Preface by John Gassner. Introduction and notes on each play.
The purpose of this book is to help the English-speaking reader, with an interest in Spanish literature but without specialised knowledge of Cervantes, to understand his long and complex masterpiece: its major themes, its structure, and the inter-connections between its component parts. Beginning from a review of Don Quixote's relation to Cervantes's life, literary career, and its social and cultural context, Anthony Close goes on to examine the structure and distinctive nature of Part I (1605) and Part II (1615), the conception of the characters of Don Quixote and Sancho, Cervantes's word-play and narrative manner, and the historical evolution of posterity's interpretation of the novel, with particular attention to its influence on the theory of the genre. One of the principal questions tackled is the paradoxical incongruity between Cervantes's conception of his novel as a light work of entertainment, without any explicitly acknowledged profundity, and posterity's view of it as a universally symbolic masterpiece, revolutionary in the context of its own time, and capable of meaning something new and different to each succeeding age. ANTHONY CLOSE, now retired, was Reader in Spanish at the University of Cambridge.