REV - RILCE - 2010-2019
Permanent URI for this communityhttps://hdl.handle.net/10171/20692
See
592 results
Results
- Redes de colaboración entre dramaturgos en el teatro español del Siglo de Oro: nuevas perspectivas digitales(Servicio de Publicaciones de la Universidad de Navarra, 2019) Ulla-Lorenzo, A. (Alejandra); Martínez-Carro, E. (Elena)This article proposes a method, based on the theory of nets or graphs, for analysing the social relations established between the Golden Age playwrights who take part in the composition of plays in collaboration. We pretend to achieve general conclusions on the operation of the net of authors, the position and importance of these in the context of the group, the relations established between them, the different communities that emerge and their operation. The results of this analysis will offer a visual representation of the data on the net in form of a graph. The visualization of nets helps us to show patterns of relation or communities that is not possible to determine if we studied the texts of individual form and, therefore, to propose conclusions from the information extracted of big groups of texts or historical documentation.
- "L’aver cura di donne è pazzia": una comedia italiana del siglo XVIII y "No puede ser" de Agustín Moreto(Servicio de Publicaciones de la Universidad de Navarra, 2019) Alviti, R. (Roberta)The present contribution deals with Aver cura di donne è pazzia, a comedy by the Florentine playwright Giovan Battista Fagiuoli (1660-1742). Until today, no parentage has been detected between this text and comedy by Agustín Moreto No puede ser, written in 1659 and first published in 1661. The identification of the Italian title in an eighteenth- century theatrical catalogue lead to speculate that there was a relationship between Fagiuoli and Agustín Moreto’s comedies; the collation between these two texts confirmed this relationship, and researchers may infer that Fagiuoli was fundamentally faithful to the main plot of the Spanish comedy, although he suppressed some dramatic segments so as to include new subplots in his re-worked version. This essay features a comparative chart of the diegetic units of the source text, based upon a summary divided in numbered cuadros, and the diegetic units of the Italian text, starting from a synopsis, divided into scenes. This chart highlights Fagiuoli’s apparent expansion of the dramatic material.
- La huella de Lope de Vega en "Cómo se vengan los nobles", de Moreto: continuidades y disidencias(Servicio de Publicaciones de la Universidad de Navarra, 2019) Castrillo-Alaguero, J. (Javier)Ruth Lee Kennedy, in her The Dramatic Art of Moreto (1932), pointed out eleven comedies by Moreto that were based on previous plays by Lope. However, not all of those cases stick to the authentic authorship of Lope and the corresponding version of Moreto. This research, after present some theoretical questions about concepts like rewriting/ recasting/intertextuality, aims to address one of these rewriting pairs: El testimonio vengado, by Lope, and Cómo se vengan los nobles, attributed to Moreto, deepening, among other aspects, in the similarities and divergences present between both works in regards to the plot, the characters or the space and the time where the action takes place.
- Una nueva comedia en colaboración entre ¿Calderón?, Rojas Zorrilla y Montalbán: "Empezar a ser amigos" a la luz del análisis estilométrico(Servicio de Publicaciones de la Universidad de Navarra, 2019) Demattè, C. (Claudia)A play of doubtful authorship is included in Agustín Moreto’s Tercera parte de comedias: Empezar a ser amigos is a play about a common theme in Spanish Golden Age theatre, i.e. loyalty between friends that love the same woman. The play is conserved in a suelta whose author is Juan Pérez de Montalbán but also in two manuscripts and a print edition all ascribed to Moreto. The research presents an hypothesis of dating and debates the question of authorship. Together with the philological and critical instruments, we analyse the play with package Stylo in order to support with stylometry the thesis that Empezar a ser amigos is a play written in collaboration between Calderón, Rojas Zorrilla y Montalbán.
- La comedia en colaboración y las prácticas refundidoras: el ejemplo de "La adúltera penitente"(Servicio de Publicaciones de la Universidad de Navarra, 2019) Rodríguez-Gallego, F. (Fernando)The story of Saint Theodora of Alexandria served as the basis for two Spanish Golden Age plays: Andrés de Claramonte’s Púsoseme el sol, saliome la luna, and La adúltera penitente, written in collaboration by Juan de Matos Fragoso, Jerónimo de Cáncer and Agustín Moreto. This article analyses the relationship between the two and concludes that the latter constitutes a recast of the former, so that they constitute a new example of play written in collaboration by authors of the Calderón school that use, as a procedure to compose their work, the recasting of an earlier one.
- "Vivir de las letras": Lope de Vega y el mecenazgo de los Afán de Ribera(Servicio de Publicaciones de la Universidad de Navarra, 2019) Cimadevilla, M. (María)Sponsorship and patronage have always been the reasons that concerned Lope’s artistic life and we can see this in a great number of his works. In the present investigation, I study the play Las grandezas de Alejandro and its literary dedication, showing a different point of view from the studies made before. In order to do this, I will investigate the biography of the patron Lope refers to in the work, Fernando Afán de Ribera, focusing on his prececessors and the nobiliary life of his lineage. The research shows the author’s necessity to please the political powers of his time and the desire he had of ascending to the aristocracy. I have also considered another reading of the drama: the autor claims his works as an artist, and suggests that sponsors and patrons need to be enlightened by the artists they protect. Thus, drama and dedication have a political and an artistic reading, which complement each other.
- Arcangelo Spagna y "El desdén con el desdén" (I): "Lo sdegno con lo sdegno si vince"(Servicio de Publicaciones de la Universidad de Navarra, 2019) Vaccari, D. (Debora)The article examines the case of the melodramma Lo sdegno con lo sdegno si vince by Arcangelo Spagna, an Italian dramatist of the beginning of the 18th century. Many critics have pointed out the Moretian affiliation of the work that would depend on El desdén, con el desdén, but so far nobody has found out whether or not the libretto of melodramma is linked to the Spanish hypotext beyond the obvious resemblance of the title.
- La reescritura en colaboración: "El príncipe perseguido" de Luis Belmonte, Agustín Moreto y Antonio Martínez de Meneses frente a la comedia fuente "El gran duque de Moscovia y Emperador perseguido" de Lope de Vega(Servicio de Publicaciones de la Universidad de Navarra, 2019) Baczynska, B. (Beata)El príncipe perseguido offers an interesting example of theatrical rewriting. The comedia was written by three authors –Luis Belmonte Bermúdez, Agustín Moreto and Antonio Martínez de Meneses– before 16th of April 1645. The three poets used a relatively early play by Lope de Vega El gran duque de Moscovia y Emperador perseguido (Parte séptima, 1616). The comparison of both texts –the comedia colaborada and its source– allows to investigate the modes of collaborative writing for stage in the Spanish Golden Age theatre. The analysis concentrates on the plot (based on the history of the false Dmitry) and macro- and microtextual quotes. The study refers to one of the most complex moments in the history of public theatre in the 17th century Spain (1644-1651).
- "La viuda, casada y doncella", de Lope, fuente de "La desdicha en la constancia", novela corta bizantina de Miguel Moreno (con unas notas sobre "La Circe")(Servicio de Publicaciones de la Universidad de Navarra, 2019) Fernández-Rodríguez, D. (Daniel)This article examines La desdicha en la constancia, a short novel by Miguel Moreno published in 1624. Firstly, I place the text in its context as a tragic Byzantine novella. Secondly, I shed light on some similarities between Moreno’s work and La viuda, casada y doncella by Lope de Vega, written in 1597 and included in the Parte VII (1617). Having studied their respective plots and their historical and literary backgrounds, it is my contention that Moreno composed his novel drawing on Lope’s play. Thus, I also analyse how he may have had access to this play. Finally, I explore the common ground between La desdicha en la constancia and the novels published by Lope in La Circe (1624), which suggests that these two writers –and friends– may have exchanged readings or ideas.
- Antonio Coello, poeta dramático y colaborador de poetas dramáticos(Servicio de Publicaciones de la Universidad de Navarra, 2019) Coenen, E. (Erik)Nothing of substance has been written about the dramatic output of Antonio Coello since Emilio Cotarelo’s study, written a century ago. This paper unites new data and reconsiders certain aspects, such as chronology, (joint) authorship of certain plays, his collaboration with other poets and the relevance of Coello as a playwright in his own right and not only as a joint author with other poets. It also examines the possible motives of his lack of literary prestige as a playwright.