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Calderón

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Full-Text Articles in Modern Languages

Another Look At Calderón’S El Príncipe Constante As Tragedy, Matthew D. Stroud Jan 2006

Another Look At Calderón’S El Príncipe Constante As Tragedy, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

The forms and definitions of tragedy have been a frequent preoccupation for James Parr over the course of his distinguished career. One of his more influential articles was "El príncipe constante and the Issue of Christian Tragedy," published in 1986. Parr's approach was primarily ethical and formalist, dealing with the Aristotelian requirements of tragedy: areté, hubris, catharsis. He countered the long and distinguished scholarship that maintains that Christian tragedy is an impossibility by reconsidering, even redefining, hamartia and anagnorisis, and essentially ignoring peripeteia. Hamartia, in his reading, is much more than a flaw or an error. Instead, relying on ...


Some Practical Thoughts On Producing Calderón’S Court Plays, Matthew D. Stroud Jul 1984

Some Practical Thoughts On Producing Calderón’S Court Plays, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

Calderón's comedias de tramoyas present special problems to a modern producer attempting an authentic stage presentation. This article discusses possible answers to questions relating to staging (the theater itself, sets, the length of the performance, funding, etc.), direction, special effects, costumes, hairstyles, and text (cuts, versions, the use of loas and entremeses, etc.). In addition, court plays also require decisions about the music—tessitura, pitch, instrumentation, and orchestration—most of which must rely on conjecture rather than on concrete knowledge of the original. For each problem, it quickly becomes apparent that absolute authenticity is quite impossible. Stated generally, one ...


Social-Comic Anagnorisis In La Dama Duende, Matthew D. Stroud Oct 1977

Social-Comic Anagnorisis In La Dama Duende, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

La dama duende has become quite a puzzle. Barbara Mujica, in her article, "Tragic Elements in Calderón's La Dama Duende," discusses several elements of Calderonian tragedy in a work which she ultimately defines as "comedy in its highest sense," (p. 328) and she finds implicit social criticism in its vaguely happy ending. Robert ter Horst refutes the idea of comedy and tragedy as leading a double life by saying, in effect, that comedy is potential tragedy which is averted by "anticipating or delaying the conclusions to which tragedy leaps," but then he goes on to claim that Don Manuel ...