Relevant bibliographies by topics / Autos Sacramentales

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Autos Sacramentales'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Autos Sacramentales"

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Suárez Miramón, Ana. "Cervantes en los autos sacramentales de Calderón." Anales Cervantinos 35 (December 30, 1999): 511. http://dx.doi.org/10.3989/anacervantinos.1999.039.

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Rozas, Juan Manuel. "El hombre como espectáculo." Epos : Revista de filología, no. 23 (January 1, 2007): 93. http://dx.doi.org/10.5944/epos.23.2007.10546.

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Se aborda el estudio del hombre como personaje en los autos sacramentales de Pedro Calderón de la Barca, centrado especialmente en Los encantos de la Culpa. Tras una introducción general, se aborda el estudio del tratamiento del Hombre como protagonista del auto y su caracterización y funcionalidad. Se concluye afirmando la universalidad, intemporalidad y modernidad de la pieza investigada y del género histórico, el auto sacramental, en el que se inserta.
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Moncunill Bernet, Ramón. "El antisemitismo en los autos sacramentales de Calderón." Hipogrifo. Revista de literatura y cultura del Siglo de Oro 5, no. 2 (November 2017): 107–19. http://dx.doi.org/10.13035/h.2017.05.02.08.

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Romeu, Luis María. ""A honor y gloria del pan": una revisión a los autos fiables de Lope." Rilce. Revista de Filología Hispánica 31, no. 1 (October 17, 2014): 224–46. http://dx.doi.org/10.15581/008.31.245.

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El trabajo trata de abordar la producción de los autos sacramentales de Lope de Vega. Un primer y fundamental problema se deriva de la definición misma del género. Por esto, se toman como referencia dos de las características más repetidas en la mayoría de definiciones: el carácter alegórico y la estructura sacramental-eucarística. Con un corpus de cuarenta y dos autos fiables del Fénix, se estudia la presencia de cada uno de estos dos rasgos y se trata, por un lado, de establecer su validez como definición genérica y, por otro lado, de dilucidar las afinidades estéticas del autor en el uso de la alegoría, la exaltación final eucarística, el uso de materia bíblica, de materia de tradición literaria, el estudio de posibles evoluciones internas… Se demuestra que Lope prefiere los autos de estructura alegórica a los bíblicos. Además, ninguna de estas obras con la exaltación eucarística final es de procedencia bíblica (salvo las parábolas), por lo que, para insertar el sacramento, Lope parece sentirse más cómodo con los límites más difusos que la alegoría ofrece. Así, aunque tomara prestado en ocasiones material argumental de la tradición literaria o religiosa, Lope prefiere inventar o participar de los lugares comunes de sus escritores contemporáneos a la hora de acercarse al auto sacramental. Ya por último, resulta interesante el uso de la historia en los autos, algo no muy bien visto por la tradición crítica y que, sin embargo, Lope no parece desdeñar en absoluto.
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Rodríguez Ortega, Davinia. "Escenas de lectura en los autos sacramentales de Calderón de la Barca." Castilla. Estudios de Literatura, no. 12 (March 30, 2021): 324–40. http://dx.doi.org/10.24197/cel.12.2021.324-340.

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Este artículo revisa los autos sacramentales escritos por Calderón de la Barca prestando atención a la inclusión de libros y lectores en su argumento, en lo que podría denominarse como “escenas de lectura”. A partir del estudio minucioso del corpus de textos, es posible afirmar que la inserción de textos leídos y volúmenes físicos no es casual, sino que responde a unas intenciones concretas por parte del autor: entender los autos como extensión de la misa, destacar el dogma católico frente a las reformas, exaltar la Eucaristía y mostrar el arrepentimiento y necesidad de redención del hombre.
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Zúñiga Lacruz, Ana. "El personaje de la reina en los autos sacramentales." Hipogrifo. Revista de literatura y cultura del Siglo de Oro 9, no. 2 (December 2021): 481–95. http://dx.doi.org/10.13035/h.2021.09.02.37.

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Arellano, Ignacio. "La flora simbólica en los autos sacramentales de Calderón." Neophilologus 97, no. 2 (June 8, 2012): 315–32. http://dx.doi.org/10.1007/s11061-012-9314-4.

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Zafra. "DOS MUESTRAS DE MÚSICA PARA AUTOS SACRAMENTALES DE CALDERÓN." Revista de Musicología 45, no. 1 (2022): 69. http://dx.doi.org/10.2307/27204754.

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Pagnotta, Josefina. "Pedro Calderón de la Barca, El santo rey don Fernando. (Segunda parte). Ed. crít. de Carmen Pinillos. Reichenberger-Universidad de Navarra, Kassel-Pamplona, 2016; 198 pp. (Autos Sacramentales Completos de Calderón, 93)." Nueva Revista de Filología Hispánica (NRFH) 66, no. 2 (June 26, 2018): 742–47. http://dx.doi.org/10.24201/nrfh.v66i2.3440.

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Zúñiga-Lacruz, Ana. "Fiesta, juego y didactismo en el contexto navideño áureo: dos autos al nacimiento de Cristo en la «Nochebuena» de Cosme Gómez de Tejada y de los Reyes." Rilce. Revista de Filología Hispánica 38, no. 1 (December 22, 2021): 365–86. http://dx.doi.org/10.15581/008.38.1.365-83.

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Los autos al nacimiento de Cristo han recibido, en general, menor atención que los conocidos como sus “hermanos mayores”: los autos sacramentales. A modo de contribución para subsanar esta laguna, en este artículo se va a presentar brevemente la obra Nochebuena. Autos al nacimiento del Hijo de Dios con sus loas, villancicos, bailes y sainetes para cantar al propósito, compuesta por Cosme Gómez de Tejada y de los Reyes a principios del siglo XVII, y se van a analizar, asimismo, dos de los cuatro autos que la integran. Todo ello permitirá establecer que el autor, oriundo de Toledo, inserta sus creaciones en la secular tradición teatral navideña y pastoril, pero concede una especial y particular importancia a los personajes alegóricos y al desarrollo en escena de diversos juegos, adivinanzas y enigmas con los que se persigue la doble finalidad característica del teatro áureo: docere y delectare.
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Dissertations / Theses on the topic "Autos Sacramentales"

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Calderón, de la Barca Pedro Arellano Ignacio Plata Parga Fernando Armendáriz Aramendía Ana Antonucci Fausta Suárez Ana Ruano de la Haza José M. Galván Luis Pérez Ibáñez Ignacio Pacheco Alejandra Illescas Salinas Eva. "Autos sacramentales completos /." Pamplona : Univ. de Navarra, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016609279&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Fuller, Amy. "The autos sacramentales of Sor Juana de la Cruz." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528517.

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Alonso, Rey Maria Dolores. "Emblèmes et iconographie dans la dramaturgie caldéronienne : les autos sacramentales." Tours, 2002. http://www.theses.fr/2002TOUR2029.

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Dans les autos sacramentales de Pedro Calderón de la Barca, la terminologie emblématique est amplement employée et fonctionne comme attribut linguistique des personnages incarnant le Mal. Nous retrouvons l'empreinte de l'emblématique à différents niveaux : au niveau de l'expression verbale apparaissent des références à des motifs qui coi͏̈ncident avec ceux des livres d'emblèmes. Mais le dramaturge détourne leur sens traditionnel. On retrouve l'emblème dans la genèse, dans la structure globale, dans certaines scènes et dans le décor des autos. Calderón crée des formulations visuelles complexes en combinant une série de matériaux d'origines diverses. Dans ces réseaux symboliques, l'iconographie joue un rôle décisif dans la construction de scènes à caractère emblématique. La matière dramatique s'organise suivant les phases de Création/Tentation/Chute/Pénitence/Rédemption. À chaque unité correspond une série d'images. L'auto s'organise comme une succession de tableaux emblématiques.
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King, Errol L. "Resurrecting Lope's autos /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1587.pdf.

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King, Errol LeRoy. "Production of Meaning: Spectacle as Visual Rhetoric in the Auto Sacramental." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242434.

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Few would refute the didactic nature of stained glass windows, paintings, and sculptures used in Spanish cathedrals during the Counter-Reformation. For hundreds of years the artistic renderings of biblical narratives and of Catholic dogmata had aided both the literate and illiterate alike to internalize the teachings of the Church. In contrast, the seemingly complex web of semiotic signs that form part of the aural and visual spectacle of the auto sacramental has understandably led some to question if such productions could have truly held much meaning for commoners with little formal education. However, as a theatrical genre, the auto sacramental does not deviate much from the literal meaning and allegorical symbolism of the more static art forms that adorn cathedral walls and altarpieces. The usage of ships, highwaymen, and courtroom trials represent some of the most prominent symbols utilized by playwrights to create a Counter-Reformatory drama that facilitated the audiences' ability to decode the plays' allegorical meaning. The repeated use of these semiotic signs allowed the culturally literate public in urban centers across Spain to draw upon their intertextual knowledge of such symbols to appreciate and understand these Corpus Christi performances. Modern readers less familiar with these semiotic signs and their meaning experience an additional handicap because of their inability to see the visual spectacle designed, if not as the primary didactic tool of the genre, then at least as an effective complement to the instructive dialogue that takes place between the different characters of the auto. In spite of these additional challenges that the modern reader faces, the auto sacramental offers some insight into sixteenth- and seventeenth-century Spain that cannot be found in the more secular genres of the time. The added effort to investigate and understand the missing links of intertextual knowledge open a window that offers a panorama of a largely unexplored landscape of early-modern, Spanish society.
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Brooke, Alice. "Between two worlds : Baroque spectacle and enlightenment thought in the autos sacramentales by Sor Juana Inés de la Cruz (1648-1695)." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:2b29ce13-f9e4-4578-8bbe-10c359029245.

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This thesis is the first book-length study of the three autos sacramentales by Sor Juana Inés de la Cruz. Sor Juana’s religious drama has received little attention, despite her status as one of the greatest figures of Mexican literature. She was also writing during a particularly significant period in Hispanic literary history: at the end of the Spanish Golden Age, and at the rise of a new class of intellectual élites in the New World, the criollos. I contend that Sor Juana’s autos sacramentales are crucial to understanding how she contributed to the formation of a criollo identity. In doing so, she engaged with the mentalities of two continents and two historical periods: Europe and the Americas, and the Baroque and the Enlightenment. To demonstrate this, I provide a study of each of Sor Juana’s sacramental plays, alongside the loa which was written to accompany them. My method combines close-text reading with a historical approach, and I pay particular attention to the theological function of the plays. In each chapter, I focus on the concurrent strands of thought in her works. I consider how the plays demonstrate the Catholic doctrine of transubstantiation, and how they engage with the aesthetic and theological mindset of the Spanish Baroque. I study how they incorporate indigenous Nahuatl theatrical traditions, and ask how they engage with the scientific developments of the Enlightenment. I conclude that in her autos sacramentales Sor Juana expresses a mindset that is both geographically and historically “between two worlds.” The influence of Nahuatl theatre on Sor Juana’s dramaturgy has never before been studied. The influence of Enlightenment thought on her works has been noted by a few scholars, but never considered in relation to her religious works. The demonstration of the interaction of Enlightenment and Catholic ideas challenges our notion of the Enlightenment as a secularising movement, and has potential implications for scholars of the period beyond the sphere of Sor Juana studies.
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Hidalgo, Campos Jesús Juan Pablo. "La consolidación del poder y el poder de la consolidación : Felipe IV y la comunidad católica española en tres autos sacramentales calderonianos." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2010. http://tesis.pucp.edu.pe/repositorio/handle/123456789/666.

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Mérique, Cyril. "L'évolution de la théâtralité dans les drames eucharistiques espagnols du XVIe siècle." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00652671.

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Si l'auto sacramental baroque du XVIIe siècle est aujourd'hui amplement étudié, moins fréquentes sont les études consacrées aux drames eucharistiques espagnols du XVIe siècle, et plus rares encore celles qui ont pris comme objet la théâtralité spécifique de ces modestes pièces de la Renaissance. Travailler sur les pièces eucharistiques du XVIe siècle demandait une réflexion préalable sur l'origine d'un genre dramatique qui s'est développé dans la péninsule ibérique tout au long de la Renaissance, époque à laquelle la question religieuse a fréquemment occupé le devant de la scène (crypto-judaïsme, Concile de Trente, Contreréforme, question des morisques). Toutefois, ce n'est pas seulement l'interrogation obsédante concernant l'origine des drames eucharistiques qui a guidé ces travaux, mais surtout le concept de théâtralité --on entend par là les signes inscrits dans le texte dramatique et possédant un potentiel de spectacularité--, afin de rechercher comment ce théâtre s'est progressivement doté des caractéristiques qui lui sont propres. C'est sur un corpus de trente-deux pièces d'origines et de style divers que nous avons construit une réflexion dont le premier point concerne l'espace dramatique et montre que les lieux infernaux et célestes acquièrent une importance croissante dans ce théâtre. L'analyse des dialogues et de leur enchaînement a permis ensuite de souligner la place prise par les figures d'"attaque" et de "mouvement-vers", suivant la terminologie vinaverienne. Par ailleurs, en nous inspirant de concepts sémiotiques relatifs aux structures "sémio-narratives de surface" comme le modèle actantiel de Greimas, nous avons montré les différentes stratégies discursives propres aux drames eucharistiques, afin de mieux pénétrer les mécanismes qui régissent les dialogues et caractérisent les liens entre les personnages de ce théâtre. L'évolution des éléments comiques a pu être mise en relief par une étude minutieuse des procédés langagiers, gestuels, ou encore des effets tirés de l'utilisation de personnages populaires. Enfin, une approche de l'allégorie (élément considéré comme fondamental dans l'auto sacramental), sous l'angle de la théâtralité, a souligné combien les développements successifs de cette figure dans le drame eucharistique du XVIe siècle l'ont doté d'une structure cohérente permettant des effets toujours plus spectaculaires.
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Kraus, Dorothea [Verfasser]. "Das «auto sacramental» Calderóns zwischen Tridentinum und Theatralität / Dorothea Kraus." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1191648508/34.

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King, Errol LeRoy. "Resurrecting Lope's Autos." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/815.

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By the turn of the seventeenth century, the auto sacramental quickly became the most elaborate dramatic genre in Spain. Shortly after the Council of Trent, professional playwrights replaced clerics who had previously written autos for the Corpus Christi celebrations held each year, but none were more influential than Lope de Vega in refining thematic, literary, and staging elements and techniques. At the middle of the nineteenth century, critics began to study the genre that a royal decree had banned almost a century earlier; however, few have dedicated much time to Lope's autos. As a result, most critics have misunderstood Lope's contributions to the genre. This study addresses some of the issues that scholars have particularly misunderstood or ignored, namely, Lope's treatment of the Eucharistic theme in his autos, the level of dramatic unity displayed in his Corpus Christi plays, and the contribution of spectacle to the overall performance. Using a textual analysis of three of Lope's autos, I conclude that Lope could and did write profound, unified liturgical plays designed to disseminate Catholic dogma in an effective and entertaining manner. Each of the three autos used in this study, Las aventuras del Hombre, El viaje del Alma, and Los dos ingenios y esclavos, presents a protagonist representing mankind, who must learn to disregard evil influences faced in mortality and turn to Christ and the Eucharist for salvation. These elaborate liturgical performances, whose budgets exceeded those of the popular comedias of the day, all took place in city plazas around the country. In order to understand the deserved popularity that Lope's autos clearly enjoyed in their original setting, scholars need to return to the texts themselves and not merely rely on criticism.
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Books on the topic "Autos Sacramentales"

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Ignacio, Arellano, Oteiza B, and Zugasti Miguel 1962-, eds. Autos sacramentales. [Pamplona, Spain?]: Instituto de Estudios Tirsianos, 1998.

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Godínez, Felipe. Autos sacramentales. Huelva [Spain]: Diputación Provincial, 1995.

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Hernández, Luisa Josefina. Autos sacramentales. México D.F: Editorial Jus, 1994.

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Pedro Calderón de la Barca. Autos sacramentales. Madrid: Fundación José Antonio de Castro, 1996.

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Pedro Calderón de la Barca. Dos autos sacramentales. [Spain]: Albatros Hispánofila, 1988.

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Pedro Calderón de la Barca. Los encantos de la culpa. Pamplona [Spain]: Universidad de Navarra, 2004.

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de, Molina Tirso. Obras completas: Autos sacramentales, II. [Madrid]: Instituto de Estudios Tirsianos, 2000.

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Enrique, Rull Fernández, ed. Autos sacramentales del Siglo de Oro. Madrid: Ediciones Libertarias/Prodhufi, 2003.

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Arellano, Ignacio. Diccionario de los autos sacramentales de Calderón. Kassel: Reichenberger, 2000.

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Pedro Calderón de la Barca. Autos sacramentales completos de Calderón: Edición crítica. Edited by Arellano Ignacio. Pamplona: Universidad de Navarra, 1992.

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Book chapters on the topic "Autos Sacramentales"

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Strosetzki, Christoph. "Autos sacramentales." In Calderón, 138–53. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02743-6_6.

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Kluge, Sofie. "Autos Sacramentales." In The Routledge Hispanic Studies Companion to Early Modern Spanish Literature and Culture, 370–85. London: Routledge, 2022. http://dx.doi.org/10.4324/9781351108713-29.

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Ly, Nadine. "Du Dieu des autos du XVIe siècle au Dieu des autos sacramentales du XVIIe siècle: l'invention d'un personnage." In Dieu et les dieux dans le théâtre de la Renaissance, 71–97. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.er-eb.4.00050.

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Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII." In Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.

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The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
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Vuelta García, Salomé. "Navi che portano nell’aldilà: la raffigurazione del bivium in El viaje del alma di Lope de Vega." In Studi e saggi, 63–82. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-467-0.07.

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The bivium of human life, narrated in the myth of Hercules and symbolized by the Pythagorean Y, was a recurring motif in Spanish theater since the second half of the sixteenth century. Lope de Vega already developed it in one of his most remote sacramental plays, Comedia del viaje del hombre. In Viaje del alma, auto sacramental of Lope composed around 1599, on the occasion of the double royal wedding of Philip III with Margaret of Austria and the infanta Isabella Clara Eugenia with the archduke Albert of Austria, and published in El peregrino en su patria, the crossroads is represented through two opposing ships, of which the playwright offers us an accurate description that has its origin in the iconographic tradition in force at the time
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Küpper, Joachim. "Repräsentation und Real-Präsenz. Bemerkungen zum auto sacramental (Calderóni: Psiquis y Cupido)." In Theatralität und die Krisen der Repräsentation, 83–100. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-05566-8_5.

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"LOS AUTOS SACRAMENTALES DE LOPE DE VEGA." In Literatura y devoción en tiempos de Lope de Vega, 185–209. Vervuert Verlagsgesellschaft, 2019. http://dx.doi.org/10.31819/9783964568526-007.

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"Los autos sacramentales y la historia de la salvación." In La dramaturgia de Calderón: técnicas y estructuras, 305–24. Vervuert Verlagsgesellschaft, 2006. http://dx.doi.org/10.31819/9783865279323-018.

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Fothergill-Payne, Louise. "The World Picture in Calderón's Autos sacramentales." In Calderon and the Baroque Tradition, 33–40. Wilfrid Laurier Press, 2006. http://dx.doi.org/10.51644/9780889207332-006.

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"La alegoría del sueño en los autos sacramentales de Calderón." In Anuario calderoniano 4 (2011), 145–68. Vervuert Verlagsgesellschaft, 2011. http://dx.doi.org/10.31819/9783954879915-008.

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