Open Access. Powered by Scholars. Published by Universities.®

Modern Languages Commons

Open Access. Powered by Scholars. Published by Universities.®

Articles 1 - 14 of 14

Full-Text Articles in Modern Languages

Taking Matters Into Their Own Hands: Heroic Women Of The Early Reconquest In The Spanish Comedia, Matthew D. Stroud Jan 2014

Taking Matters Into Their Own Hands: Heroic Women Of The Early Reconquest In The Spanish Comedia, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

Against the backdrop of the uncertain and troubling history of Christian Spain at the turn of the ninth century, three comedias highlight the heroic deeds of the women of Asturias and León. In Lope de Vega’s Las doncellas de Simancas, women who are to be sent as tribute to the Emir of Córdoba sever their own hands, threaten suicide, and ultimately lead the resistance against the barbaric exchange. In Las famosas asturianas, also by Lope, Sancha, selected, as well, for delivery to the Moors, shames her countrymen by appearing undressed before them but not in the presence of the ...


The Biblical Ruth As Dama Principal: Tirso’S La Mejor Espigadera, Matthew D. Stroud Jan 2012

The Biblical Ruth As Dama Principal: Tirso’S La Mejor Espigadera, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

The comedia mined a variety of source texts for its plots—Italian novelle, Spanish history, Greek and Roman mythology, and, of course, the Bible—but always managed to adapt plot, setting, and characters to the conventions of the Spanish national theater. This process offered great benefits, such as audience familiarity, as well as challenges, including inherent and unavoidable limitations on artistic freedom. One of the more interesting adaptations is Tirso de Molina’s reworking of the Biblical story of Ruth in La mejor espigadera, primarily because of the lack of dramatic potential offered by the original: there are no villains ...


The Conversion Of Polyeucte’S Félix: The Problem Of Religion And Theater, Nina Ekstein Jan 2009

The Conversion Of Polyeucte’S Félix: The Problem Of Religion And Theater, Nina Ekstein

Modern Languages and Literatures Faculty Research

The relationship between religion and theater gave rise in seventeenth-century France to much discussion and dissent, commonly referred to as the Querelle de la moralité du théâtre. The 1640s were a rare period during which religious subjects were popular on the French stage; almost all of the major playwrights wrote at least one play that could be thus categorized (Pasquier 201). I propose to examine the friction between the domains of theater and religion through a discussion of the two most enduringly famous religious plays of this period, Pierre Corneille's Polyeucte (1643) and Jean Rotrou's Le Véritable Saint ...


The Play Of Means And Ends: Justice In Lope's Fuenteovejuna, Matthew D. Stroud Apr 2008

The Play Of Means And Ends: Justice In Lope's Fuenteovejuna, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

Lope’s masterpiece, Fuenteovejuna, is generally considered to be a glowing endorsement of the reign of Fernando and Isabel, who represent not just a glorious and hopeful Spanish history but political acumen, justice, and the triumph of good over evil. A closer examination of several key plot elements, however, reveals that almost every time characters are called upon to make decisions, they choose the option that at best circumvents the requirements for justice and at worst actively works to the detriment of the proper administration of justice and law. This study focuses on four pivotal moments—when Frondoso takes the ...


Entre El Dinamismo Ideológico Y El Estatismo Filosófico: La Aproximación Al Género Y A La Mujer En La Obra De Valle-Inclán, Estrella Cibreiro Jan 2008

Entre El Dinamismo Ideológico Y El Estatismo Filosófico: La Aproximación Al Género Y A La Mujer En La Obra De Valle-Inclán, Estrella Cibreiro

Spanish Department Faculty Scholarship

No abstract provided.


Review Of Colonial Encounters In New World Writing, 1500-1786. Performing America., Gladys A. Robalino Jan 2006

Review Of Colonial Encounters In New World Writing, 1500-1786. Performing America., Gladys A. Robalino

Educator Scholarship

Performing America es un ambicioso trabajo que cubre de manera muy amplia tres siglos de literatura colonial en las Américas. El enfoque principal es el estudio de textos coloniales considerados por la autora como polifónicos (dentro de los géneros teatrales y parateatrales) en los que analiza las maneras en que escritores europeos e indígenas representan sus interacciones. Para Castillo, el encuentro de estas dos cosmovisiones epistemológicamente divergentes habría dado lugar a ciertas estrategias de integración escrituraria de la alteridad americana; en otras palabras, en dichos textos habría el intento de crear una coexistencia harmónica, o por lo menos canales para ...


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 ...


Defining The Comedia: On Generalizations Once Widely Accepted That Are No Longer Accepted So Widely, Matthew D. Stroud Jan 2006

Defining The Comedia: On Generalizations Once Widely Accepted That Are No Longer Accepted So Widely, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

Defining the comedia is a challenge that is rarely addressed directly in the pages of the Bulletin of the Comediantes. Those of us who spend our professional lives working with the plays that are brought together under this cover term have a visceral or intuitive understanding of what falls into the category of comedia and what lies outside of it. We are hardly exempt from having to articulate our definitions in concrete terms, however, because students, colleagues, and organizations to whom we write grants all want us to establish the limits, scope, and parameters of our field of study. Sometimes ...


The Odd Man Out: The Kings In Corneille's Machine Plays, Nina Ekstein Oct 2005

The Odd Man Out: The Kings In Corneille's Machine Plays, Nina Ekstein

Modern Languages and Literatures Faculty Research

Andromède and La Conquête de la Toison d’or have a largely unenviable status in Corneille’s oeuvre. They are often either dismissed or marginalized, and almost inevitably read as different from, and therefore inferior to, the more canonical Cornelian works. In fact, both plays are richer and more interesting than commonly thought, as I hope to suggest by an examination of the curious and curiously similar role of the king.


Catalunya Invisible: Contemporary Drama In Barcelona, Sharon G. Feldman Jan 2002

Catalunya Invisible: Contemporary Drama In Barcelona, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

During the winter of 2000, Lluís Pasqual staged a Catalan version of Anton Chekov's The Cherry Orchard at Barcelona's Teatre Lliure, the historic home of Catalonia's most stable, accomplished, and distinguished repertory theatre company. In Chekov's play, Madame Lyobov Andreyevna Ranyevskaya, an emblem of the fading elegance and dwindling supremacy of the Russian aristocracy, is compelled by her situation of financial despair to sell her estate and cherry orchard to the nouveau-riche Lopakhin and then return to Paris on the eve of the Revolution. The orchard that was once admired for its beauty eventually will be ...


Staging The Tyrant On The Seventeenth-Century French Stage, Nina Ekstein Jan 1999

Staging The Tyrant On The Seventeenth-Century French Stage, Nina Ekstein

Modern Languages and Literatures Faculty Research

The tyrant is a frequent figure of seventeenth-century theater. While not as ubiquitous as young lovers, fathers, or kings, the tyrant is a persistent subset of this last group throughout the period. Like so many elements of seventeenth-century theater, the tyrant has it origins in antiquity, both in terms of political theory and drama. Tyrants first appeared on the stage of fifth-century Athens, and the legends and histories of the tyrants of antiquity are often repeated on the French stage of the seventeenth century, from Hérode sending Marianne to her death, to Brute assassinating César, to Néron eliminating his rival ...


The Comedia In Amsterdam, 1609-1621: Rodenburgh's Translation Of Aguilar's La Venganza Honrosa, Matthew D. Stroud Jan 1997

The Comedia In Amsterdam, 1609-1621: Rodenburgh's Translation Of Aguilar's La Venganza Honrosa, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

In the seventeenth century, the Spanish comedia was not only known outside of Spain, it informed other national literatures and was even performed abroad, either in Spanish or in translation. In most cases, it was received into an established cultural environment, such as Corneille's adaptations in France; its appearance was not considered politically inflammatory in any sense as the host cultures were able to deal with the comedia as only a literary phenomenon. In the case of the Low Countries before 1648, however, the comedia was translated and performed in a colony in more or less open rebellion against ...


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 ...


Stylistic Considerations Of Calderón’S Opera Librettos, Matthew D. Stroud Jan 1982

Stylistic Considerations Of Calderón’S Opera Librettos, Matthew D. Stroud

Modern Languages and Literatures Faculty Research

The two plays of Calderón that were set to music in their entirety have a number of common characteristics beyond those associated with the mythological plays as a whole. Both of the plays were performed in 1660, La púrpura de la rosa on January 17 to celebrate the marriage of the Infanta María Teresa to Louis XIV of France, and Celos aun del aire matan on December 5 to celebrate the third birthday of the Infante Felipe Próspero. Presented in the Palacio del Buen Retiro, set to music by Juan Hidalgo, staged with the appropriate elaborate machinery, and performed by ...