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A new examination of the important theme of conversion in seventeenth-century Spanish drama.
Collecting and displaying finely crafted objects was a mark of character among the royals and aristocrats in Early Modern Spain: it ranked with extravagant hospitality as a sign of nobility and with virtue as a token of princely power. Objects of Culture in the Literature of Imperial Spain explores how the writers of the period shared the same impulse to collect, arrange, and display objects, though in imagined settings, as literary artefacts. These essays examine a variety of cultural objects described or alluded to in books from the Golden Age of Spanish literature, including clothing, paintings, tapestries, playing cards, monuments, materials of war, and even enchanted bronze heads. The contributors emphasize how literature preserved and transformed objects to endow them with new meaning for aesthetic, social, religious, and political purposes ­– whether to perpetuate certain habits of thought and belief, or to challenge accepted social and moral norms.
This book engages with new ways of thinking about boundaries of the early modern Hispanic past, looking at current scholarly techniques.
The Golden Age of Spanish mysticism has traditionally been read in terms of individual authors or theological traditions. God Made Word, however, considers early modern Spanish mysticism as a question of language and as a discourse that circulated in concrete social, institutional, and geographic spaces. Proposing a new reading of early modern Spanish mysticism, God Made Word traces the struggles over the representation of interiorized spiritual union – the tension between making it known and conveying its unknowability – far beyond the usual canon of mystic literature. Dale Shuger combines a study of genres that have traditionally been the object of literary study, including poetry, theatre, and autobiography, with a language-based analysis of other areas that have largely been studied by historians and theologians. Arguing that these generic separations grew out of an increasing preoccupation with the cultivation and control of interiorized spirituality, God Made Word shows that by tracing certain mystic representations we come to understand the emergence of different discursive rules and expectations for a wide range of representations of the ineffable.
How does society deal with a serial killer in its midst? What if the murderer is a Catholic priest living among native villagers in colonial Peru? In The Chankas and the Priest, Sabine Hyland chronicles the horrifying story of Father Juan Bautista de Albadán, a Spanish priest to the Chanka people of Pampachiri in Peru from 1601 to 1611. During his reign of terror over his Andean parish, Albadán was guilty of murder, sexual abuse, sadistic torture, and theft from his parishioners, amassing a personal fortune at their expense. For ten years, he escaped punishment for these crimes by deceiving and outwitting his superiors in the colonial government and church administration. Drawing on a remarkable collection of documents found in archives in the Americas and Europe, including a rare cache of Albadán’s candid family letters, Hyland reveals what life was like for the Chankas under this corrupt and brutal priest, and how his actions sparked the instability that would characterize Chanka political and social history for the next 123 years. Through this tale, she vividly portrays the colonial church and state of Peru as well as the history of Chanka ethnicity, the nature of Spanish colonialism, and the changing nature of Chanka politics and kinship from the fifteenth to the eighteenth century.
Combines, updates, and expands two earlier Salem Press reference sets: Critical survey of drama, Rev. ed., English language series, published in 1994, and Critical survey of drama, Foreign language series, published in 1986. This new 8 vol. set contains 602 essays, of which 538 discuss individual dramatists and 64 cover broad overview topics. The dramatist profiles contain more than 310 photographs and drawings.
The Golden Age of Spanish drama extends from the close of the 15th century to the death of Calderón in 1681. During that time, the humanists, as dramatists, followed Italy's artistic awakening direction, and imitated Classical drama. With originality and dreams of greatness, they subverted the nature of tragedy; modified the approach of Comedy and invented the New Play, the Comedia Nueva. In it the poet-dramatists introduced important modificaitons of realism, included imagined reality, Christian symbolism and theatricality, as artistic truth. They elaborate all kinds of syntheses. For this reason, the Spanish Golden Age theater can be viewed as part of a tradition that includes the Greco-Roman comedy and tragedy, Christian tragedy, and the authentic national literary and dramatic tendencies. The entries in this reference book explore the fascinating history of the Golden Age of Spanish drama. The volume begins with an introductory overview of the literary, cultural, and historical contexts that shaped dramatic writing of the period. The book then presents alphabetically arranged essays for nineteen significant Spanish dramatists of the Golden Age. Each essay is written by an expert contributor and includes biographical information, an analysis and evaluation of major works, a discussion of critical response to the plays, and an extensive bibliography of primary and secondary sources. The volume closes with a selected general bibliography of central critical studies of Golden Age Spanish drama.