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RESUMEN: Se estudia la caracterización genérica de Fineza contra fineza, una fiesta cortesana de Calderón estrenada en 1671. Aunque su condición de comedia mitológica resulta evidente por la aparición del dios Cupido, el tiempo mítico de la acción y su ubicación en la Grecia clásica, en su trama se registran abundantes elementos palatinos (personajes nobles, un amor cortés y refinado, una exigente ética del honor, el conflicto entre lealtad, amistad y amor, y diversas fórmulas de enredo: confusión de identidades, fingimientos, disimulaciones, secretos) y de capa y espada (un paso de “fantasma”, la función cómica de los personajes nobles y escenas de metateatro jocoso). Ello muestra el extraordinario dominio de las convenciones de los distintos géneros dramáticos por parte de Calderón, pues fue capaz de combinarlas sabiamente en esta comedia. ABSTRACT: This paper studies the generic characterization of Fineza contra fineza, a Calderón´s courtly festival performed for the first time in 1671. Although the classification as a mythological comedy is evident from the appearance of the god Cupid, the mythical time of action and the location in classical Greece, in the plot there are many palatine elements (noble characters, a courtly and refined love, a demanding ethic of honour, the conflict between loyalty, friendship and love, and some techniques of entanglement: identity confusion, simulations, dissimulations, secrets) and also typical features of cloak and sword plays (a “fantasma” scene, the comic role of noble characters and humorous metatheatre). This shows the extraordinary command of the conventions of all dramatic genres by Calderón, since he was wisely able to combine them in this comedy.

Impressionism is not exclusive style of the visual aesthetics, because others artistic expressions of the 19th century and modernity are touched by the trend. In Belle Époque, virtually all artists, literary or not, are its tributaries. Among the Portuguese-speaking literati, we mentioned Raul Pompeia, the last Machado de Assis and Eça de Queirós; Graça Aranha and Adelino Magalhães; everyone in the narrative. In the speakers of foreigner languages and even genre, we mentioned Edmond and Jules Goncourt, who paint chromatic verbal descriptions; Marcel Proust and Thomas Wolfe, in a memorialism of the sensations; and Henry James, from the perspective of the inaccurate. In the theater, we quote Chekhov, identified with a philosophy of the moment. Therefore here we discuss the dramatic genre, especially in modernity, in relation to the Impressionist painting, exactly in creations of Chekhov for impersonation, keeping us in approach of Three Sisters (1901), masterpiece of scenic Impressionism. O Impressionismo não constitui estilo exclusivo das estéticas plásticas, pois outras manifestações artísticas da etapa finissecular oitocentista e da Modernidade são tocadas pela tendência. Na Belle Époque, praticamente todos os artistas, literários ou não, são-lhe tributários. Entre os literatos lusófonos, destacamos Raul Pompeia, o último Machado de Assis e Eça de Queirós; Graça Aranha e Adelino Magalhães; todos no gênero narrativo. De línguas estrangeiras e mesmo gênero, mencionamos Edmond e Jules Goncourt, a pintar descrições cromático-verbais; Marcel Proust e Thomas Wolfe, num memorialismo das sensações; e Henry James, da perspectiva do impreciso. No teatro, citamos Anton Tchekhov, identificado com uma filosofia do momento. Dessa maneira, no presente artigo, abordamos o gênero dramático, sobretudo na Modernidade, em relação à pintura impressionista, mais exatamente numa visada sobre criações tchekhovianas para representação no palco, e detemo-nos por fim, com mais vagar, numa abordagem da peça As três irmãs (1901), obra-prima universal do Impressionismo cênico.

Many contemporary Polish dramas are works inspired by biographies of fa-mous people, created on the basis of a “biographical pact” between the author and the reader. This writing practice is so frequent that the term “biograma” has appeared in the academic and critical reflection. Authors of plays “includ-ing biography in the background” often use two types of artistic expression: they construct their texts either as monologues of the protagonist (updating the convention of the monodrama), or as stylistically diverse, often narrative frag-ments, constituting a demonstration of fragments of someone’s life – usually autothematic and metafictional. In the first case, playwrights take on the role of a biographer who “writes with themselves,” establishing a strong, intimate relationship with the hero/heroine (e.g. Artur Pałyga). In the second case, they choose the role of a biographer-researcher, who confronts different sources and documents, revealing the method of dealing with the selected biographical material (e.g. Małgorzata Sikorska-Miszczuk). Therefore, we can distinguish biogramas in the “bio” sense, i.e. texts constructed in the form of a monologue/monologues of characters, saturated with emotionality and corporeality of the protagonist’s speech act, as well as biogramas with an emphasis on the play/drama element, i.e. works created as an effect of the writer’s play with sources and documents. The dramatic texts discussed in this article form a distinct trend of bio-graphical writing in the area of contemporary theater production. However, they do not constitute a new dramatic genre. They are fragmentary and syn-cretic works, in which we can observe references to other, quite non-dramatic, forms of expression – to soliloquy and storytelling.

Teatro e infancia mantienen una relación muy sólida y productiva desde que el público infantil se asentó como un posible destinatario específico de estas obras. El teatro infantil ha estadorelacionado desde sus inicios con la institución escolar, puesto que ha destacado, especialmente, porsu potencial como herramienta didáctica para la transmisión de conocimientos y valores. No obstante,al igual que para el conjunto de la literatura, el valor estético es su principal requisito, lo que parece dificultarse para los escritores de obras dirigidas a los más jóvenes por la presión social sobre lo que deben decir, enseñar o transmitir. En el artículo se realizará una aproximación al término teatro infantil aportando datos que permitan definirlo y determinar su alcance, su evolución en el territorio español y se defenderá la posibilidad de recepción del género no sólo como espectáculo, también como texto de lectura., Teatro e infancia manteñen unha relación moi sólida e produtiva dende que o público infantil se asentou como un posible destinatario específico destas obras. O teatro infantil estivo relacionado dende os seus inicios coa institución escolar, posto que destacou, especialmente, polo seu potencial como ferramenta didáctica para a transmisión de coñecementos e valores. Non obstante, ao igual que para o conxunto da literatura, o valor estético é o seu principal requisito, o que parece dificultarse para os escritores de obras dirixidas aos máis novos pola presión social sobre o que deben dicir, ensinar ou transmitir. No artigo realizarase unha aproximación ao termo teatro infantil achegando datos que permitan definilo e determinar o seu alcance, a súa evolución no territorio español e defenderase a posibilidade de recepción do xénero non só como espectáculo, tamén como texto de lectura., Theatre and childhood have established a strong and productive relationship since children were considered a possible specific audience of these works. Children’s theatre has been in relation with the educational institution since its origin, because of it has pointed out specially for its potential as a teaching resource for the transmission of knowledge and values. However, in the same way that all the literary works, the aesthetic value is the main requirement, which seems difficult for children’s authors for social pressure about what Children and Young Adults Literature must say, teach or transmit. The aim of this study is to make an approach to the term children’s theatre, giving data which allow define it and determinate its scope, knowing its origin and development in Spain to the present dayand it will be defended the possibility of reception of dramatic genre not only such as show, but a reading text too.

El problema de la relación entre literatura y teatro suscitado por el género dramático es tan viejo como la teoría literaria misma: se inicia con el Arte Poética de Aristóteles. Él aborda el problema distinguiendo la tragedia de la epopeya a partir del modo de la imitación, presentativo en la tragedia, narrativo en la epopeya. Según dicho autor, este modo se manifiesta en la parte de la tragedia que él llama espectáculo (opsis). Sorprendentemente, otorga al espectáculo el último lugar en la jerarquía de las partes, porque la estima la menos propia del arte poética ya que, afirma, la fuerza del efecto trágico existe aun sin montaje teatral. Distinguiendo el espectáculo teatral de la visibilidad que surge del modo presentativo en la mera lectura a partir de diferentes consideraciones que Aristóteles hace en su texto, se propone en este artículo destacar la relevancia de la noción de espectáculo como modo de imitación, explicando el montaje físico como la materialización de una cualidad esencial del discurso dramático.The problem posed by the dramatic genre for the relation between literature and theatre is as old as literary theory itself: it appears for the first time in Aristotle's Poetics. He tackles the problem by differentiating the mode of tragedy from that of epic poetry: dramatic presentation from narration. This mode, the Greek author claims, makes itself evident in the part of tragedy he labels 'spectacle' (opsis). He astonishingly bestows this part the last place in the hierarchy of the parts on the grounds that it is the less related to the poetic art, since the force of the tragic efect is present even in the act of reading a tragedy. Taking into account several ideas present in Aristole 's text, the author of this paper differentiates the theatrical spectacle from the visibility emerging directly from the act of reading a text using the dramatic mode, and he claims that the theatrical spectacle is firmly grounded by Aristotle on the textual visibility produced by an essential quality of dramatic discourse, achieving in this way an enhancement of the value of the concept of spectacle.

International audience; Survey of Buddhist texts pertaining to the dramatic genre, in Buddhist Sanskrit, Tocharian (A and B), and Old Turkic (Old Uyghur).

First, this paper analyzes the common elements of the works called for Lope tragedia, in order to determine the characteristics that configure this genre in the production of our author. Second, we focus on the study of El castigo sin venganza to establish whether this work shares the key aspects of the genre tragedy compared with the rest of works analyzed En primer lugar, este trabajo analiza los elementos comunes de aquellas obras a las que Lope denomina en algún momento tragedia, para así poder determinar cuáles son las características que configuran este género en la producción dramática de nuestro autor. En segundo lugar, nos centramos en el estudio de El castigo sin venganza, para establecer en qué medida comparte los aspectos fundamentales del género tragedia con el resto de obras analizadas

Il contributo non intende proporre una soluzione alternativa a quelle comunemente praticate – per alcuni di ragione stilistica, per altri di riferimento all’allegoresi che si appoggia alla scelta del genere comico – per la scelta del titolo di Commedia per il poema dantesco (da alcuni, e anche recentemente, messo esso stesso in discussione). Si vuole proporre di aggiungere ad esse, alla parzialità della prima e alla risolutività dell’altra, una prospettiva intermedia, non a caso precisamente considerata da Boccaccio nell’accessus offerto dalle sue Esposizioni, in un passo assolutamente trascurato dalla critica. Un passo apparentemente oscuro e in realtà chiarissimo se ricondotto alla tradizione – di assoluta continuità nei secoli, nell’età tardoantica e nel medioevo e molto oltre – della teoria platonica delle “forme di dizione”, che distingue mimetico, diegetico e misto. Cosa il medioevo intendesse per genus dragmaticum o “comico”, in senso modale e non stilistico (anche se la critica normalmente li confonde) è oggetto del presente contributo., The paper doesn’t intend to propose an alternative to the usual practice –namely, for some, stylistic reason, for others, an allegoresis that relies on the choice of comic genre– regarding the choice of the title Comedy of Dante’s poem (recently, a term put itself into question). The purpose is to add to them, to partiality in the first case and to decisiveness in the other, an intermediate perspective. Not surprisingly, this is what Boccaccio precisely considered in the accessus offered by its Esposizioni, in a move completely overlooked by critics. A seemingly obscure move but also really clear if brought back to tradition –a tradition of absolute continuity over the centuries, the age of the late ancient and the Middle Ages, and far beyond– of the Platonic theory of the “forms of diction”, that distinguishes mimetico, diegetico and misto. What the Middle Ages meant by genus dragmaticum or “comic”, in the modal but not stylistic sense (even if the criticism usually confuses them) is the subject of this paper.

Performativity, as defined by Judith Butler, is a means of analysis that focuses on the dynamic constitution of a subject, rather than focusing on the end result alone. The postperformative rut, into which criticism of drama has fallen, is best illustrated through critics reliance upon the unwieldy concept of genre which results in the unnecessary anaesthetising of dramatic works. This article sets out to demonstrate how, through engaging with Butlers framework of performativity, Shakespeares plays can be liberated from the theoretical stranglehold of genre. Through specific analysis of The Taming of the Shrew, The Merchant of Venice, and King Lear, this article interrogates the dominant critical uses of marriage as a generic feature, illustrating how simplistic notions of generic categorisation actually inhibit and restrict the plays development and inherent performativity. The relevance of applying the principles of performativity to the study of dramatic works results in a process of analysis centring more on characterisation and dramatic dynamism rather than on archaic notions of dramatic genres. Keywords: William Shakespeare; gender; dramatic genres; performativity; Judith Butler; The Merchant of Venice; The Taming of the Shrew; King Lear; taxonomies.

definition of the history play and its relation to other dramatic genres