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This book studies the close connections between politics, culture, art, and philosophy in seventeenth-century Europe. As an emblem of this interrelationship, the author has chosen the phenomenon of the “splendid festive performance” of spectacular plays and operas given at absolutist courts in Rome, Madrid, Paris, Versailles, and Vienna between 1631 and 1668. Gods of Play fills voids in the scholarly literature on the seventeenth-century, on absolutism, on courtly theatricality, and on the philosophy of play. Aercke demonstrates that such splendid performances were not just frivolous entertainment for the courtly class but were serious activities with far-ranging political consequences.
In classical mythology Astraea, the goddess of justice, chastity, and truth, was the last of the immortals to leave Earth with the decline of the ages. Her return was to signal the dawn of a new Golden Age. This myth not only survived the Christian Middle Ages but also became a commonplace in the Renaissance when courtly poets praised their patrons and princes by claiming that Astraea guided them. The literary cult of Astraea persisted in the sixteenth century as writers saw in Elizabeth I of England the imperial Astraea who would lead mankind to peace through universal rule. This and other late flowerings of the Astraea myth should not be taken as the final phases of her history. Frederick A. de Armas documents in this book what may well be the last great rebirth of Astraea, one that is probably of greater political, religious, and literary significance than others previously described by historians and literary critics. The Return of Astraea focuses on the seventeenth-century Spanish playwright Pedro Calderón de la Barca, and analyzes the deity's presence in thirteen of his plays, including his masterpiece, La Vida es Sueho. Her popularity in this period is partially attributed to political motives, reflecting the aspirations and fears of the Spanish monarch Philip IV. In this broad study, grounded on such diverse fields as astrology, iconography, history, mythology, and philosophy, de Armas explains that Astraea adopts many guises in Calderón's dramas. Ranging from the Kabbalah to Platonic thought and from satires on Olivares to cosmogonic myths, he analyzes and reinterprets Calderón's theater from a wide range of perspectives centered on the playwright's utilization of the myth of Astraea. The book thus represents a new view of Calderón's dramaturgy and also documents the popularity and significance of this astral-imperial myth during the Spanish Golden Age.
The Buen Retiro, a royal retreat and pleasure palace, was built for Philip IV on the outskirts of Madrid in the 1630s. With its superb display of paintings by Vel zquez and other contemporary artists, the palace became a showcase for the art and culture of Spain's Golden Age. A Palace for a King, first published in 1980, provides a pioneering total history of the construction, decoration, and uses of a major royal palace, emphasising the relationship of art and politics at a critical moment in European history. produced on different aspects of the history of the palace and its decoration since the 1970s. A number of new, unpublished illustrations have been added, and many of the plates are now reproduced in colour. The publication of this edition gains added importance from the fact that plans for the expansion of the Prado Museum include the restoration of the Hall of Realms to approximate its original appearance, as reconstructed in this volume.
Magicians, necromancers and astrologers are assiduous characters in the European golden age theatre. This book deals with dramatic characters who act as physiognomists or palm readers in the fictional world and analyses the fictionalisation of physiognomic lore as a practice of divination in early modern Romance theatre from Pietro Aretino and Giordano Bruno to Lope de Vega, Calderón de la Barca and Thomas Corneille.
Pedro Calderon de la Barca (1600-1681), one of the great dramatists of Spain's Golden Age, wrote a series of mythological spectacle plays for the Habsburg courts. Written when court spectacles were an instrument of monarchical absolutism, these later works by Calderon have often been dismissed by critics as servile flattery of the royalty or mere displays of dazzling showmanship. Margaret Rich Greer argues, however, that many of the playwright's court dramas not only explore human life and social organization, but also possess artistic unity and thematic complexity that make them landmarks in European dramatic history. Analyzing seven of these plays, she demonstrates Calderon's mastery in the integration of music, dance, elaborate scenery, and stage machinery to enhance rather than overpower his poetic text. Greer shows that by envisioning each drama in the physical setting of its performance and in the political context of its time, readers can appreciate a complex relationship of texts: intertwined with the flattering image of the splendor of royal power are a discourse relevant to common spectators and another one that is subtly critical of the policies of the king and the court. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
"This collection of essays invites the contemporary reader to consider the works of Pedro Calderon de la Barca (1600-81), who became the most important and influential dramatist of the second period of the Spanish Golden Age, just as Lope de Vega (1562-1635) was for the preceding generation. A follower of Lope in his youth, Calderon, as a mature playwright, developed a drama all of his own, a drama that was highly conceptual, tightly knit, symbolic, and, in many cases, spectacular. Calderon's artistry in verbal and visual symbolism made the performance of his works a feast for both the senses and the intellect." "Until now, many of Calderon's critics have focused their attention on how the poetic devices, particularly metaphors and symbols, appearing in his plays represent his philosophy or his ideas. But as some scholars of Spanish Golden Age drama have argued, the study of Calderon's theater must take into account not only the literary text, but also the physical conditions of the stage, the elements used in the representation - decor, costumes, lighting, music - and the house dynamics at each performance. In other words, each play must be considered as a composition of the soul and body, of poetry and spectacle, in which both elements support, complement, and explain one another in performance." "This is the task that has been undertaken by the contributors to this volume. By focusing on the relationship between text and performance, they have highlighted several areas that are often overlooked in traditional text-based approaches. From different perspectives, they show how Calderon gives concrete shape to the concepts and tales from the Bible, theology, mythology, the Corpus Hermeticum, emblematic literature, philosophy, and realities of civic and domestic origin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
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.