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Journal articles on the topic 'La casa de Bernarda Alba'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

Flemming, Donald, Federico Garcia Lorca, and Herbert Ramsden. "La casa de Bernarda Alba." Modern Language Journal 69, no. 1 (1985): 112. http://dx.doi.org/10.2307/327923.

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2

Wilcox, John C., C. Brian Morris, and Garcia Lorca. "Garcia Lorca: La casa de Bernarda Alba." Hispanic Review 61, no. 4 (1993): 581. http://dx.doi.org/10.2307/474282.

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Boyle, Catherine M., and C. B. Morris. "Garcia Lorca: 'La casa de Bernarda Alba'." Modern Language Review 88, no. 1 (January 1993): 240. http://dx.doi.org/10.2307/3730869.

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4

Rojo Leyva, Gabriel. "C. B. Morris, La casa de Bernarda Alba. Grant & Cutler-Tamesis Books, Valencia, 1990; 127 pp." Nueva Revista de Filología Hispánica (NRFH) 43, no. 1 (January 1, 1995): 220–24. http://dx.doi.org/10.24201/nrfh.v43i1.958.

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López González, Luis F. "Celestina’s Influence on La casa de Bernarda Alba." Neophilologus 105, no. 2 (February 2, 2021): 223–38. http://dx.doi.org/10.1007/s11061-021-09669-7.

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AbstractThis study argues that the breadth and depth of influence of Fernando de Rojas’s Celestina on Federico García Lorca’s La casa de Bernarda Alba is much greater than previously acknowledged. García Lorca borrowed from Rojas not only motifs, images, and characterization, but also symbols, structure, and the effusive rhetoric that characterizes Celestina and Melibea’s mode of expression. Lorca’s La casa contains a microcosm of the social institutions and cultural dynamics that predominate in Celestina’s world and, by extension, in Rojas’s society. In this comparative analysis, I hope to show the far-reaching influence that Celestina has had since its publication in 1499 up to the twentieth century. By reading Lorca’s play from this perspective, I also uncover new levels of meaning that help us interpret La casa based on the systems of intertextual relations that underprop La casa’s foundations.
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6

Breiner-Sanders, Karen E. "Andalusian Drama in Two Takes: The House of Bernarda Alba and La casa de Bernarda Alba." Hispania 79, no. 3 (September 1996): 503. http://dx.doi.org/10.2307/345548.

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7

Da Silva Filho, José Francisco. "LA ATMÓSFERA NOCTURNA EN LA CASA DE BERNARDA ALBA Y EN DOROTÉIA." Revista de Estudos Acadêmicos de Letras 10, no. 2 (December 4, 2017): 182–90. http://dx.doi.org/10.30681/real.v10i2.2266.

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Este artículo tiene el propósito de analizar el tema de la atmósfera nocturna en las obras de teatro La casa de Bernarda Alba de Federico García Lorca e Dorotéia de Nelson Rodrigues. La primera imagen que nos llama la atención es el color negro predominante en las casas de Bernarda y de Dorotéia, lo que convierte este espacio en un lugar nocturno y sombrío. Si en la obra del español existe una noche que logra penetrar poco a poco el ambiente cerrado donde viven una viuda con sus cuatro hijas, en la del brasileño encontramos primas enlutadas viviendo la pesadilla de estar eternamente despiertas, en una especie de noche de vigilia e insomnio interminables. Para llevar a cabo este trabajo recurrimos a estudiosos que valoran el aspecto imaginativo y simbólico de las imágenes como Juan Eduardo Cirlot (1985), Henry Corbin (2000) y James Hillman (2004).
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8

Boessio, Ana Lúcia Montano, and Neemias Flor Brandão. "A cultura do masculino na voz das mulheres em A Casa de Bernarda Alba – uma questão de ressonância." Scriptorium 4, no. 1 (December 28, 2018): 2. http://dx.doi.org/10.15448/2526-8848.2018.1.31714.

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A partir de uma abordagem comparatista, este trabalho tem por objetivo analisar a representação do feminino enquanto ressonância de uma cultura dominante masculina em A Casa de Bernarda Alba – Drama de mulheres em povoados da Espanha (1936), de Federico García Lorca, contemplando três perspectivas: cultural, de acordo com o conceito trazido por Roy Wagner de cultura enquanto invenção; histórica, a partir da teoria da meta-história proposta por Hayden White, que relativiza o campo ao reconhecer o jogo de influências que o mesmo sofre e ao inserir no discurso histórico uma dimensão ficcional; e uma perspectiva religiosa, com base na visão de Pierre Debergé sobre o papel da mulher na sociedade. A construção ficcional de Lorca configura-se como um jogo de ressonâncias signíficas, onde o espaço da mulher e sua voz se (des)constituem no emaranhado das invenções e convenções sociais, culturais e históricas, desvelando, assim, a sua condição de silenciamento. *** The masculine culture in women’s voice in A Casa de Bernarda Alba – a matter of resonance ***From a comparative approach, this paper aims to analyze the representation of the feminine as a resonance of a dominant masculine culture in A Casa de Bernarda Alba – Drama de mulheres em povoados da Espanha (1936), by Federico García Lorca, considering three perspectives: cultural, according to Roy Wagner’s concept of culture as an invention; historical, through Hayden White’s metahistory theory, which relativizes the field by inserting a fictional dimension into the historical discourse, recognizing therefore the game of influences it undergoes; and a religious perspective based on Pierre Debergé’s point of view about the role of women in society. Lorca’s fictional construction constitutes itself as a game of signifying resonances, where women’s space and their voices (de)constitute themselves in the intertwinement of cultural, social and historical inventions and conventions, unveiling thus their silenced condition.Keywords: literature; feminine; culture; Federico Garcia Lorca.
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9

Morris, C. Brian. "Voices in a Void: Speech in La casa de Bernarda Alba." Hispania 72, no. 3 (September 1989): 498. http://dx.doi.org/10.2307/343475.

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10

González Chacón, María del Mar. ""Speaking through Another Culture": Frank McGuinness’s Version of Federico García Lorca’s The House of Bernarda Alba (La Casa de Bernarda Alba)." Miscelánea: A Journal of English and American Studies 60 (November 28, 2019): 71–89. http://dx.doi.org/10.26754/ojs_misc/mj.20196288.

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Translation and adaptation play an essential role in Irish contemporary theatre. Irish playwrights have turned to continental writers, such as Federico García Lorca, to rewrite their culture through another culture. Frank McGuinness has followed this tradition but, while his rewritings of Euripides or Sophocles have been widely discussed by scholarship, his version of Lorca’s The House of Bernarda Alba (1991) remains an unpublished text and, consequently, has not been the object of critical attention. This article intends to engage in close analysis of the play, addressing the strategies used by McGuinness to accommodate Lorca in the Irish context, and how the Lorquian themes voice the situation of women in the Northern Ireland of the 1990s, where McGuinness’s play was first produced.
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Michelotti, Graciela. "Rosana’s house." Short Film Studies 9, no. 2 (April 1, 2019): 161–64. http://dx.doi.org/10.1386/sfs.9.2.161_1.

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This article compares Roquet’s short with García Lorca’s La casa de Bernarda Alba (1936), exploring how relationships between maids and female employers have been preserved despite the passage of time. When framed by the incidence of class differences, long-held traditions and repressed emotions, silence dominates both texts.
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12

EDWARDS, GWYNNE. "C. B. Morris, "García Lorca: 'La Casa de Bernarda Alba'" (Book Review)." Bulletin of Hispanic Studies 70, no. 2 (April 1993): 280. http://dx.doi.org/10.3828/bhs.70.2.280.

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13

Hart, Stephen M. "The bear and the dawn: versions of La casa de Bernarda Alba." Neophilologus 73, no. 1 (January 1989): 62–68. http://dx.doi.org/10.1007/bf00399638.

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Olivares, Jorge. "A Twice-Told Tail: Reinaldo Arenas's “El Cometa Halley”." PMLA/Publications of the Modern Language Association of America 117, no. 5 (October 2002): 1188–206. http://dx.doi.org/10.1632/003081202x60279.

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This essay analyzes the articulation of transgressive desires in Reinaldo Arenas's “El Cometa Halley,” a parodic continuation of Federico García Lorca's La casa de Bernarda Alba. I argue that by moving the Alba sisters from Spain to Cuba and liberating their repressed sexualities, Arenas pursues his fantasies of sexual freedom. Linking his rewriting of García Lorca to the historically significant arrival of Halley's comet in 1910, Arenas relies on the comet's phallic tail to set the story in motion. More specifically, “El Cometa Halley” sketches a preoedipal fantasy of mother-son incest that recurs in Arenas's life and work.
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15

LYON, JOHN. "Federico García Lorca, "La casa de Bernarda Alba", ed. H. Ramsden (Book Review)." Bulletin of Hispanic Studies 64, no. 2 (April 1987): 173. http://dx.doi.org/10.3828/bhs.64.2.173a.

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16

Gabriele, John P. "Of Mothers and Freedom: Adela's Struggle for Selfhood inLa Casa de Bernarda Alba." Symposium: A Quarterly Journal in Modern Literatures 47, no. 3 (September 1993): 188–99. http://dx.doi.org/10.1080/00397709.1993.10113464.

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17

Poeta, Salvatore J. "Poetic and Social Patterns of Symmetry and Contrast in Lorca's La casa de Bernarda Alba." Hispania 82, no. 4 (December 1999): 740. http://dx.doi.org/10.2307/346339.

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18

Lourenço, António Apolinário. "Mulheres dominadoras na dramaturgia espanhola: de La Serrana de la Vera a la Casa de Bernarda Alba." Revista de Estudos Literários 10 (September 28, 2020): 261–95. http://dx.doi.org/10.14195/2183-847x_10_14.

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A dramaturgia espanhola do Século de Ouro, que criou o mito de D. Juan Tenorio, produziu igualmente um conjunto de obras dramáticas em que as protagonistas são mulheres marginais, violentas e dominadoras, que conseguem, transitoriamente, impor o seu poder numa sociedade estruturalmente patriarcal. É o caso das duas comedias intituladas La serrana de la Vera, inspiradas numa mesma tradição folclórica, e cujos autores são dois dos mais importantes escritores barrocos espanhóis: Lope de Vega e Luis Vélez de Guevara. Estas obras serão estudadas neste artigo em contraponto com um drama contemporâneo, La casa de Bernarda Alba, de Federico García Lorca, em que se representa uma forma mais subtil, e por isso mais eficaz e mais duradoura, de dominação.
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19

Andrés Cuevas, Isabel María. "«Hijas de un sueño»." Castilla. Estudios de Literatura, no. 10 (March 18, 2019): LXI—LXIV. http://dx.doi.org/10.24197/cel.10.2019.lxi-lxiv.

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Reseña del libro Hijas de un sueño, de Gerardo Rodríguez Salas (prólogo de Ángeles Mora, Granada, Esdrújula, 2017). Cada una de las historias del volumen nos permite ser testigos del día a día de la gente corriente de Candiles, donde podemos escuchar el lenguaje popular de gentes sencillas y los sucesos cotidianos, en ocasiones teñidos por un realismo mágico o surrealismo que deja al descubierto el corazón más trágico del ser, pero a la vez también el más tierno y humilde. Rodríguez Salas recupera en esta colección de relatos el lenguaje popular, dentro de una corriente neorruralista, utilizando el modo de hablar de los pueblos andaluces, que aparece en unos diálogos que en ocasiones recuerdan al Lorca de La casa de Bernarda Alba.
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Salvador, Antonio Ruiz. "Ramsden, Herbert (ed.). Federico García Lorca’s La casa de Bernarda Alba. Manchester: Manchester University Press, 1983Ramsden, Herbert (ed.). Federico García Lorca's La casa de Bernarda Alba. Manchester: Manchester University Press, 1983. Pp. Lix, 106. $5.00." Canadian Modern Language Review 41, no. 4 (March 1985): 757. http://dx.doi.org/10.3138/cmlr.41.4.757.

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21

Martínez Carro, Elena. "Aproximación al teatro lorquiano desde la teoría de las redes sociales: La casa de Bernarda Alba." Artnodes, no. 24 (July 17, 2019): 134–41. http://dx.doi.org/10.7238/a.v0i24.3298.

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La casa de Bernarda Alba de García Lorca ha sido motivo de numerosos estudios filológicos en las últimas décadas. La última obra del poeta es incuestionable como clásico teatral. Por otra parte, las actuales investigaciones digitales, tanto la marcación textual como la aplicación de la teoría de las redes sociales a los textos dramáticos, permiten estudiar esta obra de manera cuantitativa y gráfica y realizar una comparativa con los estudiosos críticos y filológicos precedentes. A través de la marcación en lenguaje XML-TEI de la obra teatral lorquiana, y su volcado en programas como Ghepi, puede observarse la organización del universo dramático como una red social que el poeta quiso plasmar en el escenario. La constatación de la coincidencia en algunos aspectos entre los estudios tradicionales y el análisis digital y la divergencia en otros, especialmente los referidos al protagonismo de las mujeres en la obra, demuestra la existencia de nuevas vías de interpretación del teatro lorquiano, como se pretende demostrar.
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Katona, Eszter. "Las interpretaciones de La casa de Bernarda Alba en los teatros húngaros en el siglo XXI." Acta Hispanica 18 (January 1, 2013): 105–29. http://dx.doi.org/10.14232/actahisp.2013.18.105-129.

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Federico García Lorca's last play, The House of Bernarda Alba was in fact his first drama that was presented to the Hungarian audience in the 1950s. Nearly sixty years have passed since then, and numerous Hungarian theaters have included this play in their repertoire. I managed to trace 19 premiers from the period of 1955-2000 and 25 since the turn of the century. However, behind these high numbers we do not always find traditional theatrical presentations working with Lorca’s text. Other adaptations, like dance or musical plays, were also inspired by Lorca's drama, but with their different forms of expression they distinguished themselves from the traditional prose theater. Nevertheless, the presentation of these performances is important as well, as they contribute to the formation of Lorca's image in the Hungarian audience. From these performances this study examines some of those from the first decade of the 21st century that, in some way, were significant, memorable or outstanding stagings.
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23

Gabriele, John P. "A case of intertextual discourse: Ernesto Caballero'sPepe el Romanoand Federico García Lorca'sLa casa de Bernarda Alba." Journal of Iberian and Latin American Studies 19, no. 2 (August 2013): 117–37. http://dx.doi.org/10.1080/14701847.2013.867390.

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Dabrowska, Monika. "Análisis semántico y cuantitativo de La casa de Bernarda Alba en el aula con Voyant Tools." Revista Internacional de Pedagogía e Innovación Educativa 2, no. 2 (November 16, 2021): 57–74. http://dx.doi.org/10.51660/ripie.v2i2.82.

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El trabajo se propone innovar la enseñanza de la literatura en el aula de Secundaria y Bachillerato, ofreciendo una aproximación al texto literario desde el análisis semántico con las herramientas digitales, para ganar el interés de los alumnos acostumbrados a las aplicaciones tecnológicas y textos en formato digital. En concreto, se presenta un ejemplo de uso de Voyant Tools, una herramienta de uso abierto y fácil para realizar estudios cualitativos de textos en línea. En cuanto a la metodología, se muestran actividades que pueden realizar los docentes para analizar La casa de Bernarda Alba de Federico García Lorca. Tras una sesión inicial dedicada al autor y su obra, se familiarizará a los alumnos con la herramienta. Después, en grupos, tendrán que analizar nube de palabras, gráfica de frecuencia de los términos y el árbol de palabras, cantidad de palabras únicas, densidad de vocabulario, palabras más utilizadas y su contexto. Finalmente, cada grupo presentará la visualización de los resultados, sus conclusiones y reflexión final. La propuesta permite enfocar las actividades literarias de forma dinámica y atractiva, estimular la lectura, desarrollar las competencias digitales y dinámicas de colaboración. Además, puede ser una vía para iniciar a los estudiantes en las Humanidades Digitales.
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Gómez, Michael. "La Casa de Bernada Alba: A Nietzschean Reading." Bulletin of Hispanic Studies 87, no. 2 (January 2010): 221–39. http://dx.doi.org/10.3828/bhs.2009.13.

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Consiglieri, Marissa. "¿Hijas o esclavas?" Cuadernos Literarios 7, no. 10 (December 1, 2013): 67–80. http://dx.doi.org/10.35626/cl.10.2013.30.

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La cultura de sujeción de la mujer instituida desde siempre en el mundo es una realidad que no debemos descalificar. Las cadenas, reales o figurativas, que atan a la mujer y le impiden desarrollarse como individuo están presentes desde muy temprano en su existencia incluso hoy, en pleno siglo XXI. La represión comienza en el hogar, espacio que supuestamente debe proteger y fomentar el florecimiento individual. Esta represión temprana condena, casi indefectiblemente, a la mujer a una vida trunca. El artículo “¿Hijas o esclavas?...” compara el trato a las hijas en La casa de Bernarda Alba (1936) de Federico García Lorca y Como agua para chocolate (1989) de Laura Esquivel.
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Vidal Ortuño, José Manuel. "Federico García Lorca; Mariano de Paco de Moya (ed. lit.). La casa de Bernarda Alba. Barcelona: Octaedro, 1999." Estudios Humanísticos. Filología, no. 23 (December 15, 2001): 419. http://dx.doi.org/10.18002/ehf.v0i23.4553.

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Owens, Imani D. "Toward a “Truly Indigenous Theatre”: Sylvia Wynter Adapts Federico García Lorca." Cambridge Journal of Postcolonial Literary Inquiry 4, no. 1 (January 2017): 49–67. http://dx.doi.org/10.1017/pli.2016.34.

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AbstractThis article recuperates the creative work of Jamaican cultural theorist Sylvia Wynter, arguing that her activities as a dramatist and translator constitute foundational efforts to imagine an emerging postcolonial reading public. The article considers Wynter’s heretofore-neglected adaptation of Federico García Lorca’sLa Casa De Bernarda Alba. The play appears in the newly foundedJamaica Journalin 1968, alongside an essay theorizing adaptation, production, and sets. Adaptation, for Wynter, is strategy of postcolonial reading that requires carefulreinterpretation, an emphasis on historicity, and sensitivity to the imperatives of theatricality. The play evidences Wynter’s concern with the politics and poetics of translation, a transformative act that exemplifies the process ofindigenizationtheorized in her later works. Wynter transforms Lorca’s original, “transposing” it to a Jamaican setting and adding dialogue and content to craft a scathing meditation on the legacies of colonialism. Published shortly after Jamaican independence in 1962, this play imagines a “truly indigenous theatre” as central to the formation a postcolonial public.
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Pino, Manuel Cabello. "La influencia de La casa de Bernarda Alba en la creación de personajes femeninos en la obra de Gabriel García Márquez." Bulletin of Hispanic Studies 93, no. 2 (February 2016): 209–20. http://dx.doi.org/10.3828/bhs.2016.13.

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Arlandis, Sergio. "La destruición de Numancia de Miguel de Cervantes según Rafael Alberti y Federico García Lorca: dos propuestas teatrales alternativas." Anales Cervantinos 49 (November 21, 2017): 169. http://dx.doi.org/10.3989/anacervantinos.2017.008.

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Las lecturas que hicieron algunos escritores de la generación del 27 sobre nuestros clásicos han tenido una amplia gama de interpretaciones al respecto. El caso es que Miguel de Cervantes fue uno de esos autores retomados en los albores de la Guerra Civil española y una obra suya, La destruición de Numancia, pronto fue considerada como uno de los referentes ideológicos de los dos bandos. Este trabajo vendrá a poner el acento en un debate concreto: ahondar en el modo en el que dos escritores tan próximos como Alberti y García Lorca, asimilaron, de manera tan distinta, ese legado cervantino, uno llevando hasta su máxima politización la tragedia clásica con su puesta en escena en Madrid; y el otro —y esto no ha sido estudiado aún— por cómo intentó apartarse de ese sello político quedándose con toda la estructura teatral como fundamento en La casa de Bernarda Alba, por lo que se propone, en estas líneas, una posible fuente cervantina en García Lorca que, hasta la fecha, siempre se había quedado fuera de las ya señaladas por la crítica.
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Nabet Egger, Carole. "« Los hombres también llevamos nuestra Bernarda clavada en el alma » : des emprunts à La casa de Bernarda Alba à l’empreinte de la dramaturgie lorquienne dans Pepe el Romano de Ernesto Caballero." Recherches, no. 9 (December 1, 2012): 177–87. http://dx.doi.org/10.4000/cher.11641.

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Gomes da Silva, Mônica. "Mujeres a punto de casarse: la búsqueda matrimonial malograda en García Lorca y Nelson Rodrigues." Revista de Estudios Brasileños 7, no. 15 (March 18, 2021): 19–33. http://dx.doi.org/10.14201/reb20207151933.

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En el ámbito de los estudios comparativos, se han señalado innumerables relaciones entre las obras teatrales de Federico García Lorca (1898-1936) y Nelson Rodrigues (1912-1980). Este artículo contempla el tema del matrimonio, uno de los más representados en los dramas familiares de los escritores. Se estudia la importancia atribuida a la unión matrimonial y cómo ésta incide en los papeles vividos por las protagonistas lorquianas y rodriguianas, especialmente, en las mujeres solteras sometidas a un ambiente social limitado y represor. Las piezas representan las consecuencias de acciones extremas de una verdadera carrera rumbo al altar y el destino frustrado para los personajes que no tienen éxito en esa lid. El artículo se centra en las obras Doña Rosita, la soltera (1935), La casa de Bernarda Alba (1936) de García Lorca y Vestido de noiva (1943), Álbum de família (1945) de Nelson Rodrigues. Para comprender la tragedia como género y las características de las obras rodriguianas y lorquianas, se han utilizado los trabajos de Albin Lesky (2015), Sábato Magaldi (2004), Miguel García-Posada (2010), entre otros. Se propone, por consiguiente, el análisis de las obras aludidas, principalmente, la representación de la hýbris de los personajes inmersos en el conflicto entre las limitaciones impuestas y el deseo de trascendencia.
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Stainton, Leslie, Federico Garcia Lorca, and Robert David MacDonald. "The House of Bernarda Alba." Theatre Journal 39, no. 2 (May 1987): 232. http://dx.doi.org/10.2307/3207692.

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34

Sullivan, Esther Beth, Federico Garcia Lorca, and Lynne Parker. "The House of Bernarda Alba." Theatre Journal 46, no. 1 (March 1994): 137. http://dx.doi.org/10.2307/3208969.

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35

Tariq, Humaira. "Protagonist: Bernarda Alba or Pepe el Romano? In Lorca’s “The House of Bernarda Alba”." IOSR Journal of Humanities and Social Science 7, no. 4 (2013): 35–37. http://dx.doi.org/10.9790/0837-0743537.

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Stephens, Jeffrey. "The House of Bernarda Alba (review)." Theatre Journal 54, no. 1 (2002): 145–47. http://dx.doi.org/10.1353/tj.2002.0030.

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37

Chalaye, Sylvie. "Déyé Kaz Bernarda Alba, d'après La Maison de Bernada Alba de Federico Garcia Lorca." Africultures 56, no. 3 (2003): 243. http://dx.doi.org/10.3917/afcul.056.0243.

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Rosier, Johanne. "La maison de Bernarda Alba : déni du féminin et refus du changement." Adolescence 77, no. 3 (2011): 665. http://dx.doi.org/10.3917/ado.077.0665.

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Cifuentes, Luis Fernandez, and Dennis A. Klein. "Blood Wedding, Yerma, and The House of Bernarda Alba. Garcia Lorca's Tragic Trilogy." Hispanic Review 62, no. 1 (1994): 135. http://dx.doi.org/10.2307/474449.

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Precioso Izquierdo, Francisco, and Domingo Beltrán Corbalán. "La biblioteca de José Álvarez de Toledo, XI marqués de Villafranca y duque consorte de Alba. Estudio y transcripción." Cuadernos de Estudios del Siglo XVIII, no. 3 (December 17, 2019): 1–156. http://dx.doi.org/10.17811/cesxviii.3.2019.1-156.

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RESUMENEl principal objetivo de este trabajo es ofrecer la edición del catálogo de libros propiedad de José Álvarez de Toledo (1756-1796), XI marqués de Villafranca y duque consorte de Alba: el catálogo de 1796, conservado en el Archivo General de la Fundación Casa Medina Sidonia (leg. 66). Junto a la transcripción, se analiza en detalle el contenido más significativo del fondo bibliográfico del aristócrata, el proceso de formación de la librería, el número y formato de las obras y los temas predominantes entre las 1.650 entradas recogidas en el documento.PALABRAS CLAVEBiblioteca; Aristocracia; José Álvarez de Toledo; Casa Medina Sidonia. TITLEThe library of José Álvarez de Toledo, XI Marquis of Villafranca and Duke consort of Alba. Study and transcriptionABSTRACTThis work offers an edition of José Álvarez de Toledo’s (1756-1796), 11th Marquis of Villafranca and jure uxoris Duke of Alba, 1796 book catalogue, currently preserved at the Archivo General de la Fundación Casa Medina Sidonia (leg. 66). Together with the catalogue transcription, we provide a detailed analysis of its bibliographical content, looking at the number, format and main themes of the 1,650 works here gathered, as well as a description of how the library was formed and established.KEY WORDSLibrary; Aristocracy; José Álvarez de Toledo; Casa Medina Sidonia.
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Katona, Eszter. "Bodas de sangre de Federico García Lorca en las tablas húngaras. Algunas representaciones memorables entre 1957-2014." Acta Hispanica 19 (January 1, 2014): 79–100. http://dx.doi.org/10.14232/actahisp.2014.19.79-100.

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The House of Bernarda Alba was the first play of Federico Garcia Lorca that was staged by a Hungarian company in 1955. Hungarian directors followed with close attention the dramas of the Andalusian playwright and two years later, in 1957, the Hungarian National Theater included on its program another play of Lorca, Blood Wedding, written in 1933. Since then, the popularity of this drama on Hungarian stages has not diminished at all, it also inspired dance and opera adaptations. Recently, in the 2013-2014 season, Magyar Színház theater has also staged this play. The aim of this paper, which has been inspired by the aforementioned premiere, is to offer an overview of the Hungarian reception of Blood Wedding, highlighting some important productions of the past six decades.
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G. Pereira, João, and José Romão de Sousa. "Casa de Alba: Therapeutic community for severe mental health problems." European Journal of Psychotherapy & Counselling 16, no. 1 (January 2, 2014): 61–68. http://dx.doi.org/10.1080/13642537.2013.879331.

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Oliveira, Amanda Da Silva. "A escrita feminina em La casa de los espíritus, de Isabel Allende." Letrônica 13, no. 1 (April 8, 2020): 35139. http://dx.doi.org/10.15448/1984-4301.2020.1.35139.

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A obra La casa de lo sespíritus, de Isabel Allende, corresponde a uma importante narrativa de escrita de mulheres latino-americanas. Publicada em 1982, faz parte do pós-boom, movimento que atualiza a escrita do boom latino-americano para determinadas características literárias, como o memorialístico. O objetivo deste artigo é analisar a obra de Allende a partir da (re)escritura que a personagem Alba faz da história da família como modo de recuperar a si mesma como sujeito. A escrita da memória de Alba significa os novos rumos da literatura latino-americana pós-boom: uma escrita para não esquecer. Por fim, conclui-se desenvolvendo brevemente de que maneira La casa dos espíritus serve como um texto que reforça o papel feminista de empoderamento da mulher, por meio da escrita.
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LONDON, JOHN. "Dennis A. Klein, "'Blood Wedding', 'Yerma' and 'The House of Bernarda Alba': García Lorca's Tragic Trilogy" (Book Review)." Bulletin of Hispanic Studies 70, no. 4 (October 1993): 475. http://dx.doi.org/10.3828/bhs.70.4.475.

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현수정. "Repression and Subversion of Problematic Mothers in Musicals - Focusing on Bernarda Alba, Next to Normal, Brothers Were Brave." Journal of korean theatre studies association 1, no. 67 (August 2018): 119–63. http://dx.doi.org/10.18396/ktsa.2018.1.67.004.

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Rodríguez Peinado, Laura. "Herrero Carretero, Concha; Molina, Álvaro y Vega, Jesusa. La decoración ideada por François Grognard para los apartamentos de la duquesa de Alba en el palacio de Buenevista. Madrid: Ministerio de Defensa – Casa de Velázquez, 2020." Anales de Historia del Arte 31 (September 22, 2021): 469–72. http://dx.doi.org/10.5209/anha.78070.

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Reseña de la obra de Herrero Carretero, Concha; Molina, Álvaro y Vega, Jesusa. La decoración ideada por François Grognard para los apartamentos de la duquesa de Alba en el palacio de Buenevista. Madrid: Ministerio de Defensa – Casa de Velázquez, 2020.
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Edwards, Gwynne. "Lorca on the English Stage: Problems of Production and Translation." New Theatre Quarterly 4, no. 16 (November 1988): 344–55. http://dx.doi.org/10.1017/s0266464x00002943.

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The production during 1987 of no less than three plays by the usually-neglected Spanish dramatist Lorca – Blood Wedding, Yerma, and The House of Bernarda Alba – provided a rare opportunity for a reconsideration of the plays as works for the live theatre, and of the particular problems involved in ‘translating’ them (in every sense of the word) for the English-speaking stage. In the following article. Gwynne Edwards considers the difficulties which confront the translator of Lorca's plays, the production-style which is implicit in Lorca's theatre, and the varying extents to which the three recent productions approximated to it. Gwynne Edwards is Professor of Spanish at the University College of Wales, Aberystwyth. He has published full-length studies of Lorca and of Luis Buñuel, and numerous translations of Spanish plays, including two in the volume of Three Plays published by Methuen in 1987, and the version of Blood Wedding used in the Contact Theatre production here considered.
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Diamond, Catherine. "Dreaming our own Dreams: Singapore Monodrama and the Individual Talent." New Theatre Quarterly 24, no. 2 (May 2008): 170–88. http://dx.doi.org/10.1017/s0266464x08000146.

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For its size, Singapore hosts an exceptional amount of theatrical activity, emanating both from within the city state and from its role as sponsor of regional international workshops and productions. Its English-speaking dramatists are in the forefront of staging original plays about the foibles of Singaporean society and serving as mediators among South-east Asian theatre practitioners. While troupes depend on government funding and must obtain government permits to perform, most have opted to take an alternative position to the government's narrative of the Singapore success story. This has created an uneasy relationship that undermines the strength of the theatre's social-political critique and encourages self-censorship. In the following essay, Catherine Diamond examines the psychologically cramped conditions within which current Singaporean dramatists operate through a comparison of monodramas. Catherine Diamond is a professor of theatre at Soochow University in Taiwan, and a frequent contributor to NTQ. She is currently directing a flamenco dance-drama adaptation of The House of Bernarda Alba.
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HERNÁNDEZ FRANCO, Juan. "Matrimonio, consanguinidad y la aristocracia nueva castellana: consolidación de la Casa de Alba (1440-1531)." Medievalismo, no. 28 (October 8, 2018): 43–74. http://dx.doi.org/10.6018/medievalismo.28.344261.

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Historia Social, Historia de la Familia e Historia Política convergen en el presente artículo para intentar analizar cómo se forma la casa de Alba, y avanzar en su trayectoria de ascenso social desde el siglo XIII, cuando son miembros de la oligarquía toledana, hasta 1531, inicios del periodo del ducado de Fernando Álvarez de Toledo, el Grande. En ese proceso desempeña un destacado papel las alianzas matrimoniales con casas aristocráticas de más lustre (Enríquez y Benavente) y con posterioridad, especialmente en el siglo XVI, la recurrencia a matrimonios entre parientes muy cercanos en grado de consanguinidad. Social History, Family History and Political History converge on this article, in which we try to analyse how the house of Alba was formed, and progress in the trajectory of social ascent the house of Alba experienced from the 13th century —when they were members of the oligarchy of Toledo— until 1531, when the Duchy was created for Fernando Álvarez de Toledo, the Great. In this process, marital alliances with more prestigious aristocratic families, such as the Enríquez and the Benavente, played a prominent role, and subsequently, in the sixteenth century, marriages between close relatives with some degree of consanguinity became recurrent.
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Edwards, Gwynne. "Lorca on the London Stage: Problems of Translation and Adaptation." New Theatre Quarterly 21, no. 4 (October 19, 2005): 382–94. http://dx.doi.org/10.1017/s0266464x05000242.

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In this article, Gwynne Edwards examines recent London productions of Lorca's Blood Wedding and The House of Bernarda Alba, two great Spanish plays which, in comparison with the works of Ibsen and Chekhov, are performed relatively rarely in the United Kingdom. He argues that, because these plays are among Lorca's rural tragedies and are deeply rooted in the soil and traditions of southern Spain, their performance and translation require a sound knowledge both of that background and of Lorca's dramatic style. In this context, the two productions at the Almeida and the National Theatre are seen to be a useful guide to the pitfalls of staging Lorca's plays in a cultural environment which is very different from his own. Gwynne Edwards is Professor of Spanish at the University of Wales, Aberystwyth, and a specialist in Spanish theatre. Ten of his translations of Lorca's plays have been published by Methuen, and most of these have had professional productions. A number of his translations of Golden Age and South American plays have also been published and performed.
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