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Abstract The querelle caldéronienne marks the entry of Frühromantik theories in Spain. In this polemic, the literati José Joaquín de Mora and Antonio Alcalá Galiano defended a neoclassical conception of literature, while the German-Gaditan couple Juan Nicolás Böhl de Faber and Francisca Larrea promoted August Wilhelm Schlegel’s vindication of Calderón. The second phase of the polemic dates from 1818-1820, when Böhl de Faber published the Pasatiempos críticos. This study analyses the five texts that Larrea contributed to the Pasatiempos under the pseudonym Cymodocea. Our aim is to investigate, on the one hand, how Larrea's discourse is configured within the polemic as a second voice in support of Böhl de Faber's, and, on the other, the main ideas she contributed. A preliminary review of her first public texts, written during the Spanish War of Independence, allows us to detect various strategies for weaponizing female authorship which will appear in the Pasatiempos. The content analysis, on the other hand, shows us the depth of the author's literary knowledge, as well as the political motives under her literary ideals

Since the first half of the 19th century, Russian theater appears to be genuinely drawn to Spanish dramaturgy, starting to convey the ideals of Spanish culture and incorporating Spanish mythologems. This intense and long-lasting passion for Spain can be attributed to the Russian culture seeking to acquire some of its features. Thus, Pedro Calderón’s play «The Surgeon of his honour», staged in 1830 by the great Russian actor Vasily Karatygin, was a manifestation of Russian «hispanophilia» in the 1820s, nurtured by the Russian Romantics’ interest in the revolutionary events in Spain. In the 1860s–1870s, during the era of liberal reforms initiated by Alexander II of Russia, performances based on the works of Lope de Vega resonated with the most pressing socio-political issues of Russia. In 1915, in the midst of World War I, Vsevolod Meyerhold staged Calderón’s play «The Constant Prince» which highlighted the world’s beauty and vulnerability. The success of Spanish comedies in the late 1930s and 1940s stood in stark contrast to the era of harsh trials. The directors of the second half of the 20th century sought to distance themselves as much as possible from the stereotypical way of staging Spanish performances that emerged in the USSR in the 1940s: Andrey Goncharov wanted to present Spain as a country of «dusty roads and braying donkeys», while Sergey Barkhin alluded to Spanish mannerism in Leonid Jeifets’ performance «Jealous of Herself». Consequently, the tradition of staging Spanish plays in Russian theaters manifested itself in attempts to go beyond the «popular» Spain, to find another Spain and new forms of portraying it on stage.

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Copyright of Área Abierta is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El objetivo de este artículo es estudiar un ciclo de films mexicanos que acusan una fórmula narrativa basada en la confección de cuadros de desnudos femeninos: La fuerza del deseo (Miguel M. Delgado, 1955), El seductor (Chano Urueta, 1955), La ilegítima (Chano Urueta, 1956) y La Diana cazadora (Tito Davison, 1957). Estos aprovecharon el aligeramiento de los códigos de la censura, y representaron al cuerpo femenino como fetiche profano e instrumento de atracción del público. Realizaremos un análisis narrativo y de la puesta en escena de dichos films, focalizando en las secuencias específicas en las que sus personajes participan de la confección de los cuadros. Los pondremos en confrontación con sus referencias en otras cinematografías y con sus implicancias estético-narrativas en el enfoque industrialista, destacando las propuestas publicitarias que emplearon para su instalación en el mercado nacional e internacional.

La proposta di intervento si concentra sul tema del sogno sia come narrazione, struttura e immaginario, sia come dispositivo performativo. Pasolini in Calderón e Strindberg in Un sogno si servono del sogno partendo da prospettive diverse e sono legati tra loro da un elemento strutturale: la simbologia carceraria del sogno. Il meccanismo del sogno–Prigione e la violenza dell’incarceramento introducono e riassumono tutta la complessa valenza etica e politica dei drammi; infine, non solo la vita come sogno, ma anche la metafora della prigione, con il suo declinarsi e specificarsi al corpo del sognatore, assumono un valore centrale, un riferimento costante per ciò che riguarda la semiosi “carceraria” individuabile tanto sul fronte drammaturgico quanto su quello assiologico e filosofico. È noto che fra i drammaturghi più considerati da Pasolini c’era August Strindberg e il suo nome circolava correntemente nella cerchia di Dacia Maraini, Enzo Siciliano e Alberto Moravia. Pasolini citerà incidentalmente Inferno anche nel brogliaccio del suo romanzo incompiuto Petrolio (scritto nella prima metà degli anni Settanta, ma pubblicato postumo nel 1992), la cui forma composita potrebbe aver tratto spunti, fra i tanti, anche dalla trilogia di Strindberg. Cercherò di individuare un possibile dialogo tra il Calderón di Pasolini e il dramma Un Sogno di August Strindberg. Lo studio si concentrerà su alcune analogie e rimandi nello svolgersi del sogno, nelle vicende di rappresentazione onirica e nella caratterizzazione dei personaggi. In questo senso intendo tracciare analogie tematico–strutturali tra i due autori, delineare dal punto di vista dell’immaginario la dimensione escatologica percepita e rappresentata all'interno dei loro testi; il sentire comune attraverso l'immagine di un Occidente al tramonto; la persistenza di un immaginario apocalittico che evoca distruzione anziché rigenerazione, catastrofe anziché salvezza.

Copyright of Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper considers a little-studied play, Los empeños de un engaño by Juan Ruíz de Alarcón, as a possible source text for both Calderón de la Barca's Los empeños de un acaso and Sor Juana Inés de la Cruz's Los empeños de una casa. The phonetic similarities of the latter two titles have relegated Ruíz de Alarcón's unique drama to obscurity. However, the unusual details of both the Alarcón and Sor Juana pieces demonstrate the relative freedom the two New World authors had in composing unique versions of the capa y espada genre, particularly when compared to their peninsular counterpart. Although all three plays are similar in title, plot, and even character names, they are ultimately unique pieces that speak to the specific conditions under which each of their authors composed and staged their work. It is also the author's wish that this paper, along with the recent discovery that the play La monja alferez was penned by Alarcón and not Pérez de Montalbán (Vega García-Luengos, in: Cañal, González (eds) Sor Juana Inés de la Cruz y el teatro novohispano, Ediciones de la Universidad de Castilla-La Mancha, 2021), will inspire more scholars to consider the Mexican dramaturg's oeuvre beyond his better-known pieces such as La verdad sospechosa or Las paredes oyen. [ABSTRACT FROM AUTHOR]

La obra de Jorge Luis Borges (1899-1986) siempre suele relacionarse con la de autores ajenos a la literatura española como De Quincey, Stevenson, Whitman, Chesterton, Coleridge o Poe. Su anglofilia es bien conocida por todos. También su relación con el idioma de Goethe o con la cultura árabe y Las mil y una noches. Sin embargo, asumiendo su propia sentencia «Mi destino es la lengua castellana, el bronce de Francisco de Quevedo», rastrearemos las huellas indelebles que dejó la literatura española del Barroco y de los Siglos de Oro en la obra del escritor argentino, y cómo los símbolos del siglo XVII son recuperados desde la literatura reconstructivista de Borges para continuar con una tradición y al mismo tiempo transformar su significado.

The paper discusses how the metadramatic modalities of simultaneous deconstruction and reconstruction of the fictional universe figure in two contemporary plays: Pascal Rambert’s The closure of love (2011) and Tim Crouch’s The Author (2009). The discussion reveals that the two much-acclaimed plays belong to a resilient self-reflective line of dramas questioning the closure of representation that starts in the early modern period with such classical pieces as Shakespeare’s Hamlet and Calderón’s The Great Theatre of the World.

Góngora’s fondness for music is beyond doubt because, in addition to his own affirmations, we have evident proof in the indisputable musicality of his verses, as well as in the use of musical principles as the basis of his poetic inspiration. It should not be surprising, therefore, the early and abundant musicalization of his romances and letrillas by composers of diverse training and employment, nor that they were used repeatedly in theatrical works of different genres and periods. Being considered Calderón the most gongorist author of the Golden Age authors, it is common for him to repeatedly include some of these poems in his own works. This is the case of the romance «Guarda corderos, zagala», reused in works as different as a corral comedy (El maestro de danzar), two palatial plays (Los tres afectos de amor y Fieras afemina amor) and a sacramental auto (El pastor fido). In this article I will try to decode and understand the expressive and structural use of the song in each of them. In addition, the way in which it is reused in works so different and far apart in time allows us to observe how the function of music in them evolved, as well as the progressive mastery of the author when using it.

The article is the first analysis of the literary activity of Konstantin Timkovsky (1814–1881), translator and propagandist of Spanish literature in Russia. Unlike his predecessors, Timkovsky had a good knowledge of written and partly spoken Spanish and did not use intermediary translations. Timkovsky is also distinguished by the number of works and authors translated, namely Cervantes, Calderon, Francisco de Rojas, Leandro Moratín, Agustín Moreto. Being a pioneer in the direct translation of Spanish dramaturgy, Timkovsky assumed regular but inconsistent shortenings of texts: he omitted passages that, due to internal or external censorship, might have seemed obscene or affected religion. In Calderon’s drama “Life is a Dream” all references to Russia and Russians were replaced by Bohemia and Bohemians; instead of translating puns, Timkovsky uses comments: he declares that it is impossible to transmit the wordplay into Russian and quotes the original text for comparison. The most important and still nowhere mentioned feature of all Timkovsky’s works is the choice of prose for the translation of poetic dramatic texts. The sentence in the Petrashevsky case and the exile prevented Timkovsky from carrying out a large-scale project: to compile a translated set of Spanish literature and to write its “complete history” in the form of a series of articles.

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La fuerza de la sangre de Miguel de Cervantes contó con tres reescrituras dramáticas a lo largo del siglo XVII: la homónima de Guillén de Castro (1625), El agravio satisfecho (1629) de Alonso de Castillo Solórzano, y No hay cosa como callar (1662) de Pedro Calderón de la Barca. Este trabajo propone un análisis estructural de la novela cervantina que nos permita determinar sus elementos constructivos y su relación con diversas configuraciones genológicas. En segundo lugar, revisaremos las modificaciones estructurales que las tres reescrituras operan sobre el esquema narrativo de Cervantes.

V prispevku razpravljam o načinih, kako se metadramske modalnosti simultane dekonstrukcije in rekonstrukcije fiktivnega vesolja pojavljajo v dveh sodobnih igrah, Zapiranju ljubezni (2011) Pascala Ramberta in Avtorju (2009) Tima Croucha. Pokažem, da obe priznani igri spadata v trdoživo avtorefleksivno linijo dramatike, ki preizprašuje zaprtje reprezentacije, ki se začenja v zgodnjem modernem obdobju s klasičnimi besedili, kakršni sta Shakespearov Hamlet in Calderónovo Veliko gledališče sveta

Este artículo tiene como objetivo discutir las particularidades de la traducción para la construcción escénica en América Latina, su carácter de traducción cultural. Por ello, es necesario preguntarse por el contexto, la estética y por lo que importa en determinado espacio y tiempo. Para ese objetivo se analizan cuatro montajes nacidos de traducciones: dos de portugués a español (Till de Márcio Abreu y A mulher que andava em círculos de Éder Rodrígues y de dos chilenas: Hilda Peña de Isidora Stevenson y Clase de Guillermo Calderón.

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article studies the importance of the three graciosos in Calderón de la Barca’s mythological comedia La fiera, el rayo y la piedra, first performed at the Buen Retiro Coliseum. Within the specific features of courtly theatre, and in relation to the defining features of the gracioso character, Brunel, Lebrón y Pasquín show an increasing independence from their respective masters while establishing solidarity links among themselves, and play a mediating role between the theatrical fiction and the audience by becoming commentators of the main action with their parodic remarks.

Calderón da un papel clave a don Juan de Austria en Amar después de la muerte, pieza donde trata la rebelión de los moriscos en 1568-1571. El dramaturgo insiste en su condición de hijo del emperador Carlos V e invierte la secuencia de los hechos históricos al presentarlo como vencedor de Lepanto. Su don Juan de Austria evoluciona de jefe militar a dirigente político. Calderón puede abordar así un tema candente, la necesidad de dar prioridad a la conservación sobre la reputación en la monarquía de los Austrias, con planteamientos teóricos afines a la Escuela de Salamanca.

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artículo trata de analizar las posibles semantizaciones de una determinada asonancia de Pedro Calderón de la Barca. Basándose en una base de datos de las asonancias del dramaturgo, se señala en qué momentos aparece la asonancia u-a y cómo crea, junto a las palabras rimadas, un significado propio. Para este fin se analizan recurrencias de esta asonancia en diferentes géneros de teatro. El artículo defiende la tesis que la asonancia en u-a sirve para la ambientación de escenas de miedo y horror, así como para la creación de efectos sonoros sutiles en los que la estructura fónica de la rima produce efectos de desengaño frente al engaño de la superficie del texto.

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abordo en este ensayo la cuestión de la intermedialidad, en concreto –y valiéndome como ejemplo de uno de los medios más efímeros y deleznables, el teatro– cómo su misma condición de performance efímera, deleznable e inconstante puede servir para generar conceptos, o paraconceptos, de subjetividades políticas: crea conatos de constancia. Los operadores mayores son los conceptos de performatividad, intraducibilidad (entre lenguas y medios) y contingencia. El ejemplo principal es la obra de Pedro Calderón de la Barca, El príncipe constante (1629), así como la producción de esta de 1965 por Jerzy Grotowski. [ABSTRACT FROM AUTHOR]

We inscribe the considerations of the present work inside the research nowadays in process on the melancholy and the madness in the theatre of the Golden Age. We are interested in investigating how there are represented two passions that cross recurrently the dramatic baroque productions, specially those referred to tragic genre: the melancholy and the madness. These passions, which have been studied from multiple perspectives (as diseases, social practices, modes), turn out to be frequently associated with the war. In consequence, we will focus our work in the representations of the above mentioned passions in interrelationship with the semantic field of struggle, whether external or internal, in two texts linked by the rewriting: The Great Semiramis by Cristóbal de Virués and The Daughter of the Air by Pedro Calderón de la Barca. We will analyze the construction of a specific rhetoric in each one that notices on a social imaginary of unusual turbulence.

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Clásica: Estudios Latinos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El repertorio de teatro infantil y juvenil en la escena actual es realmente diverso. Y entre todas las obras que podemos ver encontramos un número considerable de montajes que son adaptaciones de obras clásicas. Sin embargo, en muchas ocasiones no son textos dramáticos de los que parten, sino textos narrativos como El Quijote o los cuentos de Perrault. Y en el caso de ser una pieza dramática, Shakespeare y su tragedia Romeo y Julieta son el autor y la obra que más vemos representados. Este trabajo analiza esta situación y trata de mostrar, a través de montajes innovadores llevados a cabo por compañías como Pie Izquierdo o Tropos Teatro de títeres, que el teatro de los dramaturgos barrocos españoles como Lope de Vega y Calderón, también puede ser una apuesta excelente para divertir y enseñar valores universales al público más joven.