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1
Stuckwisch, Matthew Stephen McVay Ted E. "María de Zayas egalitarian poetic justice in the Spanish Golden Age /." Auburn, Ala, 2008. http://hdl.handle.net/10415/1463.
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Gonzalez, Luis. "The physical and rhetorical spectacle of the devil in the Spanish Golden Age Comedia." Thesis, Queen Mary, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266072.
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Bradbury, Jonathan David. "Cristóbal Suárez de Figueroa and the Spanish miscellany of the Golden Age." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610074.
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Jordan, Whitaker R. "STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE." UKnowledge, 2014. http://uknowledge.uky.edu/hisp_etds/15.
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This dissertation uses the seventeenth-century Spanish plays which employ an array of mythological stories of Theseus to analyze the Early Modern ideology of the Prince. The consideration of the different rulers in these plays highlights different aspects of these sovereigns such as their honor, prudence, valor, and self-control. Many of these princes fall well short of the ideal explained in the comedia and in the writings of the arbitristas. By employing the hylomorphic theory in which everything can exist in either its matter or its form, it is shown that in order to have the form of a prince, rulers must act in certain ways to reach that ideal or perfect state. Many princes in the plays, however, at least at certain times, only have the matter of a prince and fall short of the form. By drawing from mythological theories which describe the need for a mediation or an alleviation of an irresolvable contradiction within a society, it is shown that despite the imperfections of the flawed princes that are put on stage, these plays still defend and glorify the monarchical system in which they were created as well as the specific imperfect princes.
The six plays examined here in which Theseus is a primary protagonist are El laberinto de Creta, Las mujeres sin hombres, and El vellocino de oro by Lope de Vega; Los tres mayores prodigios by Calderón de la Barca; El labyrinto de Creta by Juan Bautista Diamante; and Amor es más laberinto by Sor Juana Inés de la Cruz and Juan de Guevara. These plays span a large portion of the seventeenth century and although the authors wrote some of them for the corrales, they created others to be performed before the court.
5
Rabone, Martin Richard Kenwyn. "A measure for measure : moderation and the mean in the literature of Spain's Golden Age." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:4163bf16-630f-4cc9-a5cb-f48fd0a3ca1c.
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This thesis presents the first sustained analysis of the reception of the Aristotelian golden mean in early modern Spanish literature. It argues that the critically-neglected ethical credo of moderation was an important part of the classical inheritance on which Golden-Age authors frequently drew, and that despite its famous origins in moral philosophy rather than literature, it was subject to just the same kind of imitative reworking as has long been acknowledged for literary predecessors. The analysis is divided into two sections. The first takes a synoptic view of the period, assessing the transmission of Aristotle's doctrine to the Renaissance and exploring what it meant to the Golden-Age mind. That includes identifying a particular early modern reformulation of the mean, which I argue was an important factor in the popularity of the Icarus and Phaethon myths, as analogues for Aristotle's moral. The body of the thesis then comprises three case studies of the role of moderation in works which span the period's chronological and generic range: the poetry of Garcilaso; Calderón's 'El médico de su honra'; and Gracián's 'Criticón'. These studies explore three important general trends in the reception of the mean: the association of excess and moderation with particular literary models; the incorporation of the mean into Christian thought; and its parallel existence as non-technical, commonplace wisdom. However, each chapter also constitutes an innovation within its own field, offering a reassessment of Garcilaso's relationship to literary tradition; a re-reading of the characters and plot structure of 'El médico', including the controversial King Pedro; and an analysis of the elusive moral approach behind Gracián's allegorical novel. The mean is thus remarkable for both the breadth and depth of its incorporation into literature, and a focus on its treatment offers substantial new insights into some of the canonical works of the age.
6
Barton, Sheila Jan. "A Qualitative Analysis of Brigham Young University's Golden Age Theater Production and Outreach Course." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2142.pdf.
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Hendrickson, D. Scott. "Golden Age Jesuit : Juan Eusebio Nieremberg and the rhetoric of discernment in seventeenth-century Spain." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:484fe9c8-8ece-4c9d-b5e7-79523560656c.
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This thesis examines the Jesuit and Ignatian influence on the works of Juan Eusebio Nieremberg (1595-1658), who was a prolific and widely published author and a member of the Society of Jesus in Spain. He wrote several works across different literary genres both in Spanish and Latin, but was best known for his popular works in Spanish: two miscellanies of natural philosophy, Curiosa filosofía (1630) and Oculta filosofía (1633); a catechism, the Práctica del catecismo romano (1640); his ascetical treatises, especially De la diferencia entre lo temporal y eterno (1640); and his ‘advice-books’ to princes and nobles, most notably Causa y remedio de los males públicos (1642). As a member of the Jesuit Order, Nieremberg wrote these works with the intention to ‘save souls’, this being the main apostolic goal of the Society. While they provide people with knowledge (‘noticia’) – whether doctrinal, natural, spiritual, or political – these works teach readers to view human existence according to its true end: God’s will of salvation. All things of the temporal world are portrayed as a means to that end. In order to accomplish this goal, Nieremberg incorporates elements from Loyola’s Ejercicios espirituales (1548), the spiritual foundation of the Jesuit Order, and develops a rhetorical strategy which encourages readers to discern the will of God in the world they inhabit. He also develops this rhetoric according to some of the principal literary and artistic conventions of the seventeenth century, and provides an important example of how a prominent Jesuit writer came to express the apostolic and spiritual principles of his Order, but in the language and imagery of Spain’s Siglo de Oro.
8
Warshawsky, Matthew D. "Longing for Justice: The New Christian Desengaño and Diaspora Identities of Antonio Enríquez Gómez." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1038919481.
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Allen, Philip. "Estudio y edición de La más constante mujer de Juan Pérez de Montalbán." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5815.
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La más constante mujer is a Spanish Golden Age play written by Juan Pérez de Montalbán in 1631 and published for the first time in 1632. Although he was once one of the most famous playwrights in Madrid, known for running in the same literary and social circles as Lope de Vega and Calderón de la Barca, the bulk of the dramatist's work has been greatly ignored by scholars, or is referred to as being of second rate, and the author himself has nearly tragically been forgotten throughout the centuries following his short life. Although research has been conducted to chronicle the literature produced by Montalbán, his plays have been generally overlooked by modern scholars and very little of the dramatist's theatrical production has been analyzed within the last one hundred years. As a result, there are no modern editions of his plays. The intention of this thesis is to provide a regularized critical edition of La más constante mujer, together with an in-depth analysis of the life and times of its author, and the play's main themes, topics, influences, and characteristics.
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New, April J. "QUESTIONING THE CODES: THE NOVELAS OF MARÍA DE ZAYAS Y SOTOMAYOR." UKnowledge, 2015. https://uknowledge.uky.edu/hisp_etds/22.
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Throughout her two collections of novelas, Novelas amorosas y ejemplares and Desengaños amorosos, María de Zayas, as a noble woman writing in Golden Age Spain, strategically holds onto aspects of the patriarchal society under which she lives, and from which she benefits, while simultaneously deviating slightly from some of these aspects. This adherence to and deviation from the norms characterizes her style and allows her to support some of the expected codes of conduct in her society while, at the same time, pointing out flaws and questioning these codes to show how they should be altered to make life better for both the men and women of that society.
Through various narrative voices and characters, Zayas creates a type of guidebook, or manual, for both the men and women of her society. Through cross dressing she establishes an essential equality between the abilities of the sexes and establishes that the actions of men and women are chosen activities, and are not related to innate ability or disability to perform a certain way. How individuals position themselves in regard to accepted or expected behavioral codes of conduct is a choice and, as individuals, men and women can choose to perform either negative or positive practices associated with their sex.
This dissertation looks closely at the guide that is created and the practices which are highlighted as good and bad, thus identifying which manners of being should be emulated and which should be avoided, and therefore altered as societal expectations or norms, by men and women. Through negative and positive portrayals, Zayas shows men and women how they should and should not act in order to create a more ideal and, consequently, more equal society that differs in some ways from their present society while still retaining the overall structure and values of the patriarchy under which they already exist. It is not the creation of an entirely new society that the resulting guidebook suggests, rather it suggests an alteration to the perspectives and behavior, toward the positive, of both men and women as they exist in their current society.
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De, Trazegnies Granda Fernando. "Interaction between Literature and Law." Derecho & Sociedad, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/118749.
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The seventeenth century represents formankind the creation of great literary works that narrate the events that occurred in the reality of that time flawlessly. This article wants to analyze the implications and reviews of some literary texts by renowned authors of that time like Miguel de Cervantes and William Shakespeare with modern legal institutions. Also, to think about how literature enriches the science of law.El siglo XVII representa para la humanidad la creación de grandes obras literarias que narran los sucesos acontecidos en la realidad de aquella época de manera impecable. El presente artículo busca analizar las implicancias y críticas de algunos textos literarios de renombrados autores de aquella época como Miguel de Cervantes y William Shakespeare con instituciones jurídicas modernas. Asimismo, reflexionar acerca de la manera en que la Literatura enriquece la ciencia del Derecho.
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Grace, Carmen Maria. "El Predicador Real Fray Alonso De Cabrera (1549?-1598) y El Poder De La Palabra: Elocuencia y Compromiso En El Sagrado Ministerio De La Predicación." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259770282.
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Aydogdu, Merve. "Tragedy At Court: An Analysis Of The Relationship Between Jealousy, Honour, Revenge And Love In John Ford." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615438/index.pdf.
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The aim of this study is to demonstrate the destructive effects of infidelity in the old-aged husband-the young wife marriages which end up with tragedy. In John Ford&rsquos Love&rsquo
s Sacrifice (1633) and Lope de Vega&rsquo
s Punishment Without Revenge (1631), tragedy turns out to be the inevitable consequence of the plays since the motives of jealousy, honour, revenge and love converge and lead people to commit sinful crimes. Within this scope, the first chapter of the thesis is devoted to the historical information about the state of English and Spanish theatres together with the biographies of the playwrights. In the second chapter, the tripartite relationship between jealousy, revenge, and honour is dealt with based upon examples from the primary sources in a historical framework. The reasons and results of these themes are studied through the characters in the plays. The third chapter covers the theme of love, its history and its influence on characters. In this chapter, the nature of love between the characters and its consequences are examined. The conclusion asserts that the old-aged husband and the young wife create a mismatched union and accompanied with the motives of honour, jealousy and revenge, the institution of marriage breeds tragic consequences. The analysis of the above mentioned themes is based on a historical context and it is also concluded that although Love&rsquo
s Sacrifice (1633) and Punishment Without Revenge (1631) belong to the Renaissance age, both plays bear the influences of the Greco-Roman drama tradition. Thus, the similarities and differences between classical and Renaissance tragedy are demonstrated.
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Del, Barco Valeria. "Diálogos Transoceánicos Coloniales: Poética Criolla en Negociación." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22672.
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My dissertation focuses on the poetic production of three criollas —the offspring of Spaniards in the Americas— in dialogic relation with prominent male writers across the Atlantic. The works studied, Clarinda’s Discurso en loor de la Poesía (1608); Epístola a Belardo (1621) by Amarilis; and Sor Juana’s Primero sueño (1692) and La Respuesta (1691), span the entirety of the 17th century, in both the Viceroyalty of Perú and New Spain. Important interventions in Latin American colonial culture have noted criollos’ ambivalence towards the culture inherited from Spain as well as the need to assert their cultural agency through writing. The poets at the center of my study participate in this preoccupation with the added complication of being women, whose works are habitually read in isolation, as exceptions. My dissertation defines a feminine criolla poetics dialogically negotiated with western tradition, be it Spanish gongorismo or Italian humanism, while highlighting the tension between inserting themselves in the canon and critiquing it. In place of readings that emphasize the transfer of discourse and knowledge from the center to the periphery, from the metropole to the colonies, I demonstrate that the writings of these women challenge, or even reverse, this logic.
My study analyzes rhetorical and intertextual strategies by which criollas, twice removed from power due to their birthplace and gender, negotiated a space in the canon. My analysis reveals the acute consciousness of gender that informs each woman’s writing; however, I also participate in recent movements in criticism and theory that interrogate conventional notions of power, space and the directionality of colonial exchange. This dissertation examines the processes of cultural appropriation as it defines a feminine criolla poetics dialogically negotiated with western tradition, one that also opens up a space to critique this tradition through parody, irony and textual transformation.
This dissertation is written in Spanish.
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Roy, Alvarado Estela R. "Los campos literario y de poder en el virreinato del Perú: Los escritos de Juan del Valle y Caviedes (1645-1697)." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1353087906.
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Treviño, Salazar Martha Elizabeth. "Estudio y edición de la parte segunda del sarao y entretenimiento honesto (1647) de María de Zayas y Sotomayor." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/666800.
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El esqueleto de esta tesis doctoral es bimembre. Se compone, por un lado, de una edición crítica de la Parte segunda del sarao y entretenimiento honesto (1647) de María de Zayas y Sotomayor; por el otro, se encuentra el estudio preliminar que la acompaña. Dos caras de la misma moneda. Razones para encomendarnos a la tarea de preparar una edición de la segunda colección de relatos de la escritora, las había. La primera es de índole ecdótico: cuando nos planteamos este objetivo, no contábamos con una edición que reconociera y considerara testimonios del siglo XVII relevantes en la tradición de la segunda parte del Sarao zayesco. La nuestra es la primera en contemplar los tres ejemplares de la editio princeps de los cuales, a la fecha, tenemos noticia (ninguno de estos se conserva íntegro, lo que solo pone de relieve la necesidad de estudiar la tríada); también contempla con cuidado las primeras ediciones que salieron a la luz de la totalidad de novelas de María de Zayas, es decir, abarcando tanto la primera colección, publicada originalmente bajo el título de Novelas amorosas y ejemplares en 1637, como la segunda. La veintena de relatos de la autora fue reunida en un solo volumen para el público lector del seiscientos cuando, en 1659, apareció un volumen que recogía la Primera y segunda parte de las novelas amorosas y ejemplares de doña María de Zayas y Sotomayor y desde entonces, y durante los dos siglos posteriores, circularían mayoritariamente así, como un núcleo indisoluble.
En el Estudio preliminar primero nos concentramos en realizar una revisión crítica de los datos biobibliográficos de la autora, pues la biografía de la autora se ha visto muchas veces manchada por su misma ficción; con el mismo ojo crítico, también nos interesamos en estudiar lo mucho que se ha repetido y dado por sentado la buena fortuna editorial de la escritora, por lo que nos hemos detenido a analizar en detalle si es correcto afirmar que las novelas de Zayas fueron un bestseller áureo, situándola tanto en el contexto español del siglo XVII como en el extranjero. Finalmente, hemos observado el arte narrativo de María de Zayas observado desde distintas perspectivas, situándola dentro del contexto del —entonces emergente— género literario en el que se manejó con soltura, analizando las posibles fuentes de los relatos de la Parte segunda y del marco narrativo (que ocupa un lugar preeminente en las colecciones de novelas de nuestra autora) y examinando con atención el interesante e intrincado juego de voces narrativas que confluyen en la prosa zayesca y revisando cuestiones estilísticas e ideológicas propias de la autora (al fin feminista avant la lettre) por mencionar algunos aspectos.The skeleton of this Ph.D. thesis has two main parts. It is composed, on the one hand, of a critical edition of the Parte segunda del sarao y entretenimiento honesto (1647) by María de Zayas y Sotomayor; on the other, there is the preliminary study that accompanies it. Two sides of the same coin. Reasons to entrust us with the task of preparing an edition of the writer’s second collection of stories, there were. The first is of an ecdotic nature: when we set out on this objective, we did not have an edition that recognized and considered relevant 17th-century testimonies in the tradition of the second part of the Sarao zayesco. Ours is the first to contemplate the three copies of the editio princeps of which, to date, we have news (none of these is kept intact, which only highlights the need to study the triad), as well as contemplates carefully the first editions that came to light of the totality of novels by María de Zayas, that is, covering both the first collection, originally published under the title of amorous novels and copies in 1637, as this second part. The twenty stories of the author were gathered in a single volume for the reading public of the six hundred when, in 1659, appeared a volume that collected the First and second part of the love and exemplary novels of Doña María de Zayas and Sotomayor and since then, and during the two subsequent centuries, they would circulate for the most part, as an indissoluble nucleus. Now, in the preliminary study, we first focus on a critical review of the biobibliographic data of the author, since the author's biography has often been stained by her own fiction; with the same critical eye, we are also interested in studying how much has been repeated and taken for granted the editorial good fortune of the writer, so we have stopped to analyze in detail if it is correct to affirm that Zayas’ short stories were a bestseller at their time, placing it both in the Spanish context of the 17th century and abroad. Finally, we paid special attention to Zayas’ narrative art from different perspectives, reviewing it within the context of a —then emergent— literary genre, analyzing the possible sources of Parte segunda and its cornice (which occupies a prominent place in the collections of novels by our author) and carefully examining the interesting and intricate set of narrative voices that converge in the zayesque prose and stylistic and ideological issues of the author (not forgetting her place as a feminist avant la lettre ) to mention some aspects.
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Araújo, Paula Renata de. "Cervantes e a nova arte de novelar em \'Rinconete y Cortadillo\'." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-26042010-164035/.
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O presente trabalho tem como objetivo contextualizar a novela exemplar \"Rinconete y Cortadillo\" no conjunto da obra de Miguel de Cervantes, bem como analisá-la estabelecendo o diálogo com alguns gêneros literários de sua época, como a picaresca e o teatro. Será examinada a trajetória do texto desde sua menção no Dom Quixote de 1605 até a sua publicação entre as Novelas Exemplares em 1613. Serão estudados os diversos discursos presentes na composição da obra, considerada a grande aproximação de Cervantes à literatura picaresca. Ao incorporar elementos do gênero dramático à narrativa, o autor realiza, com comicidade, uma interessante aproximação aos temas cotidianos, assim como a comédia o fazia. Será possível observar como \"Rinconete y Cortadillo\" expõe, de maneira cômica e satírica, algumas máculas e vícios da sociedade sevilhana dos séculos XVI e XVII.The objective of this work is to contextualize Rinconete y Cortadillo exemplary novel within the works of Miguel de Cervantes and analyze it by establishing a dialogue with some of the literary genres of its time, namely the picaresque novel and drama. This current dissertation examines how the text evolves since it was first mentioned in Don Quixote (1605) until its publication among the Exemplary Novels in 1613. I will analyze the several forms of speech pervading the novel in light of Cervantes propinquity to the picaresque literature .By incorporating into the narrative drama-related elements, the author brings his work to deal more closely with everyday topics, as comedy has been used to. Thereby one can notice how Rinconete y Cortadillo displays, both comically and satirically, certain vices and blemishes present in the 16th- and 17thcentury Sevillan society.
18
Migliari, Giselle Cristina Gonçalves. "Dom Quixote: poesia, crítica e tradução. Estudo dos versos preliminares de Dom Quixote e proposta de tradução." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-04072012-154738/.
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O presente trabalho objetiva desenvolver um estudo analítico dos versos preliminares de O engenhoso fidalgo Dom Quixote de La Mancha - obra escrita em 1605 por Miguel Cervantes -, bem como uma proposta de tradução de tais versos, anexada ao final da dissertação. Neste estudo, serão ressaltados certos olhares da crítica cervantina, relacionados à valorização do escritor espanhol e de sua obra poética, e alguns dos elementos formais e conceituais que permeiam os dez poemas de abertura da narrativa do cavaleiro manchego. Além disso, serão evidenciados os elementos burlescos dos versos, como modo de apresentar uma constituição poética relevante e de estabelecer parâmetros que possam servir de alicerce para as traduções. A partir do trabalho de pesquisa acerca dos versos preliminares do Quixote, o processo de tradução, no que se refere à versificação e à interpretação poética, poderá se fundamentar.Not only has this work been devoted to an analytical study of the preliminary verses of El ingenioso hidalgo Don Quijote de La Mancha, written in 1605 by Miguel de Cervantes, but also a proposal of their translation attached in the end of this work. The research has taken into account different considerations about Cervants criticism. Most of them revealed how the author was worth being read as a writer and others highlighted his poems. As a consequence of the literary appreciation that had been brought up before this research, form and content are still permeating the ten introductory poems of the Manchegos narrative knight. Beyond this, burlesque elements in the verses will be referred as a way of showing relevant poetic concepts and, consequently, parameters established to support an innovative Portuguese version. It must be mentioned that the present translation is systematically based on rhyme and poetic interpretation.
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Daguerre, Blandine. "Passage et écriture de l’entre-deux dans El Pasajero de Cristóbal Suárez de Figueroa." Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1025/document.
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Le présent travail de recherche se propose d’étudier comment se décline le concept d’entre-deux dans El Pasajero de Cristóbal Suárez de Figueroa, en prenant pour point de départ l’épineuse question de l’appartenance générique de cette œuvre. La première partie de cette étude définit les influences diverses dont s’abreuve le texte. Par-delà l’inspiration italienne, le texte plonge ses racines dans un substrat folklorique hispanique réaffirmant ainsi la prégnance du concept d’entre-deux dans la prose figuéroène. Ce dernier se manifeste, en effet, dès le paratexte puisque le titre complet de l’œuvre, El Pasajero, advertencias utilísimas a la vida humana doit être lu comme une invitation à une pratique étendue de la transtextualité, une invitation que viennent confirmer les dires du meneur de l’interaction. La porosité des frontières entre réalité et fiction tend à ériger le texte en laboratoire d’expérimentation littéraire et en lieu de passage vers de nouvelles formules littéraires, aspect auquel est consacrée la deuxième partie de cette étude. Le traitement de l’espace et du temps mais aussi celui des personnages sont autant de points qui attestent de la fonction déterminante que joue le concept d’entre-deux dans la genèse de l’œuvre figuéroène. Celle-ci oscille perpétuellement entre tradition et innovation littéraires. Enfin la dernière partie de cette étude montre comment au-delà d’une certaine bigarrure, l’entre-deux confère aussi au texte figuéroen une cohérence et une homogénéité en devenant un élément structurant, à l’instar du discours sur le mérite qui sous-tend l’œuvre. Autrement dit, l’entre-deux, chez Figueroa, devient une stratégie d’écriture qui passe par différents mécanismes de glissements qui confirment la nature profondément hybride de El PasajeroThe purpose of this PhD thesis is to study the in-betweenness concept in Cristóbal Suárez de Figueroa's El Pasajero in all its forms and will first deal with the thorny issue raised by the generic identity of the work. The first part of this study aims to define the different influences pervading the text. Besides being Italian-inspired, the text is deeply rooted in the Hispanic folk substrate, which thus testifies to the prevalence of the in-betweenness concept in Figueroa's prose. Indeed, the concept emerges as soon as one reads the paratext, for the full title of the work, El Pasajero, advertencias utilísimas a la vida humana, has to be construed as an invitation to indulge in extensive transtextual practices, as confirmed by the words of the character who presides over interaction. The porous frontiers between reality and fiction tend to transform the text into a laboratory where literary forms are experimented on and a place of exchanges leading to new literary patterns, which are the focus of attention in the second part of the study. The treatment of space and time and characterization all contribute to underlining the key role played by the in-betweenness concept in the genesis of Figueroa's work. The latter keeps wavering between literary tradition and innovation. Finally, the last part of the study shows that beyond the colourful patchwork, in-betweenness gives consistency and homogeneity to Figueroa's text by becoming a structuring principle, like the discourse on merit inscribed in the work. In other words, in Figueroa's work, in-betweenness is the cornerstone of a writing strategy based on different slippage mechanisms that account for the profoundly hybrid nature of El Pasajero
20
HILL, Mathew J. K. "The Indigenismo of Emilio "El Indio" Fernández: Myth, Mestizaje, and Modern Mexico." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1915.
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As one of the major directors of Mexico's Golden Age of Cinema (1936-1956), Emilio “El Indio” Fernández (1904-1986) created films which for many came to express the official vision of Mexican identity. Part of this identity was based on the ideology of indigenismo, which posited that the pre-Columbian past held the basic kernel of Mexico's national essence while advocating the incorporation of modern Indian groups into mainstream society. El Indio's films reflect the paradox of indigenismo: praise for indigenous cultures and a simultaneous effort to make them disappear. The following study examines three of his indigenista films, María Candelaria, Río Escondido, and Maclovia, to see how Fernández created representations of Mexico's indigenous populations that contributed to and deviated from indigenista policies in post-Revolutionary Mexico. This representation relies on the formation of a national myth based on a static, aestheticized Indian which incorporates all Mexicans into official state history.
21
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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Anipa, Kormi. "A critical examination of linguistic variation in Golden-Age Spanish." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624913.
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Pliego-Moreno, Ivan Hilmardel. "Optimism betrayed : the golden age of Mexican-Spanish relations, 1931-1939." Thesis, London School of Economics and Political Science (University of London), 2006. http://etheses.lse.ac.uk/1875/.
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Mexico and Spain have had a long and complex relationship since the former achieved independence from the latter at the beginning of the nineteenth century. The two countries established diplomatic relations in 1836, yet it took almost a century before relations became meaningful and mutually beneficial. The establishment of the Second Spanish Republic in 1931 signified a new era in Spanish politics, and Spain's foreign policy towards the Americas adopted a more pragmatic and progressive approach. In particular, this led to a new era in transatlantic relations towards Mexico. During the next five years, Spain and Mexico developed amicable and cooperative social, economic and political ties. The military uprising in Spain in the summer of 1936 put the Spanish Republic's international relations to the test, revealing her true friends and allies. Mexico proved to be, beyond any doubt, Spain's firmest supporter, although the relationship was unable to counterbalance the influence of European Non- Intervention, and American neutrality. Mexican efforts to gather sympathy and support for the Republican cause in the League of Nations had little effect. Mexico, along with the Soviet Union, and the contribution of the International Brigades, represented the legitimate Spanish Government's only hope of international support. Other Latin American countries did not follow the example set by Mexican foreign policy towards Spain during the civil war. Nevertheless, Mexico's stance demonstrated its commitment to democracy, whilst at the same time, showing its independence from the United States. There was an intense interest in the fate of the Spanish Republic, and after its defeat in 1939, Mexico opened the doors to nearly 30, 000 Spanish Republican exiles. They made an important contribution to Mexican cultural life, and became a constant reminder that the Second Republic was truly a significant, though thwarted, step towards the establishment of a democratic regime in Spain.
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Pozas-Loyo, Julia. "The development of the indefinite article in Medieval and Golden-Age Spanish." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/610.
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Unitary cardinals are a common source for indefinite markers. This thesis is a quantitative diachronic study of the development of Spanish un, from its cardinal value to its use as an indefi nite article. Based on a corpus comprising texts from the thirteenth to the seventeenth century, I present an analysis and chronology of the main changes undergone by un throughout this period, notably its increasing use as a marker of non-speci c indefinites, and its further incorporation in generic noun phrases and predicates. Additionally, I demonstrate that the development of the plural indefinite determiner unos is, with a few restrictions, parallel to that of its singular counterpart, not only in its increasing frequency, but also in its introduction into new contexts. Furthermore, I present a comparison between un and alg un in terms of speci city and conclude that although there are evident links between them, both being inde nite determiners derived from Latin unus, they have always had di erent functional domains. Finally, I show that one of the consequences of the incorporation of un into generic contexts is the rise of the so-called impersonal uno, and explain that this event is crucial to explain the disappearance of another generic pronoun, omne, whose last examples are found in the sixteenth century, that is, precisely the moment where the first instances of impersonal uno occur.
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Ball, Rachael I. "An Inn-Yard Empire: Theater and Hospitals in the Spanish Golden Age." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281290896.
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Zas, Rey Susana Maria. "Picaresque and romance in Golden Age Spain and postcolonial Britain : a comparative study." Thesis, University of Hull, 2004. http://hydra.hull.ac.uk/resources/hull:8309.
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Multiculturalism is not a new phenomenon in European history. Neither are its literary and artistic manifestations. This thesis compares and contrasts two distant but similar multicultural contexts: Golden Age Spain and postmodern Britain. Picaresque and romance are chosen to illustrate how authors question religious oppression, cultural intolerance and thought control within multicultural contexts. Cervantes and Rushdie give voice to marginalised minorities and deconstruct the grand-narratives of religion; Aleman, Kureishi, Dhondy and the author of Estebanillo Gonzalez all depict life at the margins. The establishment of a counter-canonical critique of literary tradition in Golden Age Spain, and the emergence and development of genres such as the picaresque, would not have been possible without Spain's multicultural heritage and the presence of Spanish marginal and dissident voices. Gradually these voices from the periphery vanished as Spanish minorities were absorbed by the centre. Likewise, the power to confront of a marginal genre, such as the picaresque, disappeared. From the Spanish case we can draw a parallel in contemporary Britain, where representations of the margins are becoming absorbed into the mainstream. Postmodern Britain recalls the Spanish case not only in terms of the emergence of minority voices which are being absorbed by the centre, but also in terms of the choice of genres to express hybridity, difference and cross cultural and religious encounters. However, there is a difference between sixteenth and seventeenth century Spain and postmodern Britain; ethnicity has become desirable.
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Mundo, Guinot Marta. "Justas ensoñaciones. Estudio jurídico de los Sueños de Quevedo." Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-189611.
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Los Sueños de Quevedo es una obra satírica que contiene una incisiva crítica social, de la que no escapa la realidad jurídica de la época. Con la ayuda que prestan los puentes metodológicos generados con la combinación de las ciencias literaria y jurídica, en este trabajo de investigación interdisciplinar se analiza el componente jurídico presente de forma dispersa en esta narración ficcional de naturaleza satírica, estudiando su contenido y forma de presentación en base a la clasificación que se propone de los elementos de carácter jurídico. Mediante su comparación con fuentes documentales jurídicas de la época y con el filtro que proporciona el pensamiento pluridimensional filosófico y doctrinal del autor, se pretende además una aproximación a las circunstancias histórico-jurídicas de finales del siglo XVI y principios del XVII, así como, a la visión que tiene Quevedo de la misma y la valoración que otorga a la administración de justicia y a la justicia misma, contribuyendo con ello al mejor conocimiento de la obra literaria, de su creador y de la época en la que se escribió.Sueños by Quevedo is a satirical work that contains an incisive social criticism, from which the legal reality of the time does not escape. This interdisciplinary research analyzes the legal component present in Quevedo’s fictional narrative with help from the methodological bridges built between the literary and legal sciences. In this paper a proposed classification of the legal elements is used as the basis for analysis of Sueños’ content and form. By comparing the results with legal documentary sources of the time and with the filter provided by the author's multidimensional philosophical and doctrinal thought, an approach to the historical-legal circumstances of the late sixteenth and early seventeenth centuries is also reached, as well as, Quevedo's view and assessment of the administration of justice and justice itself in his contemporary society. The analysis contributes to a better understanding of Sueños, its author and the time in which it was written.
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Araujo, Paula Renata de. "Dom Quixote e o jovem leitor: estudo das adaptações da obra e sua recepção no âmbito escolar (Brasil e Espanha)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-18072017-150143/.
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Este trabalho tem como objetivo propor um diálogo entre a leitura do Quixote em contexto escolar e os estudos literários, por meio da análise do processo de transferência da obra canônica de Miguel de Cervantes para o sistema literário infantil. Apontamos, neste percurso, as principais questões, enfrentadas tanto por adaptadores da obra quanto por educadores, no que tange à complexa tarefa de colocar a obra ao alcance dos leitores infantojuvenis. Esta pesquisa permite discutir aspectos textuais, históricos e culturais das adaptações, além de sugerir uma abordagem prática da introdução do Quixote em contexto escolar que estimule o empoderamento do leitor infantojuvenil, resgatando seu papel de leitor ativo na própria narrativa cervantina. Palavras-chave: Dom Quixote de la Mancha, Escolarização da leitura, Ensino de espanhol, Adaptação, Literatura infantojuvenil, Formação do leitor, Empoderamento do leitor, Literatura espanhola século de ouro, Miguel de Cervantes (1547-1616), Recepção de QuixoteThis research aims to propose a dialogue between the reading of Quixote in the school context and the literary studies, analyzing it by the process of transferring the Miguel de Cervantes canonical book to the childrens literary system. We focus on the main issues, faced by adapters and educators, in the complex task of providing the work to the childrens readers. This thesis allows us to discuss textual, historical and cultural aspects of the adaptations, as well as it suggests a practical approach to use of the Quixote in the school context, stimulating the empowerment of the childrens reader, and resignifying their active role in the Cervantes narrative.
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Laguna, Fernández Juan Ignacio. ""Historia ejemplar de las dos constantes mujeres españolas" (1635) de Luis Pacheco de Narváez : texto y contextos." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20096.
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Cette thèse présente une édition philologique et annotée du roman peu connu, écrit et publié par le maître d’escrime de Philippe IV, Luis Pacheco de Narváez, dont le titre est Historia ejemplar de las dos constantes mujeres españolas, imprimé pour la première fois à Madrid par l’Imprenta del Reino l’année 1635. Le travail est divisé en cinq chapitres, puisque en plus de celui consacré à l’édition du roman (chap. V), qui établit un texte annoté basé sur les deux seules éditions connues (Madrid, 1635 et Séville, 1744) avec son catalogue de variantes, quatre autres lui servent de contexte. Ainsi, nous présentons une biographie de Pacheco de Narváez (Baeza, 1560-Madrid, 1640), rédigée autour de la documentation conservée, qui est accompagnée par une liste de références littéraires d’époque qui évoquent sa figure et son œuvre, et une épigraphe qui se veut une réflexion scientifique sur ses relations avec Francisco de Quevedo (chap. I); une histoire du texte qui étudie la date de composition du roman, la première édition et le moment compliqué pour publier des romans dans ces années à cause de la censure (1625-1635), d’un projet de publication non abouti et de la seconde édition, ainsi que la trajectoire critique du roman et l’absence d’éditions ultérieures (chap. II); une étude de nature taxonomique (bien que l’accent soit mis aussi sur la moralité présente dans le roman) qui implique son rattachement, en dépit de son extension, au genre du roman «courtois» (chap. III); et enfin un chapitre dédié au contexte littéraire, divisé en deux grands blocs: l’un consacré aux sources et aux matériaux que l’auteur a utilisés pour donner forme au roman, et un autre qui étudie, à titre d’exemple, l’un des sujets présent dans ce dérnier et qui était aussi très courant dans la littérature de l’époque: la descriptio tempestatis. Cette dernière partie est complétée par un appendice qui analyse le sujet de la tempête dans la Jerusalén conquistada (1609) de Lope de Vega (chap. IV)This thesis present a critical edition of the non-well known novel written and published by the fencing master of Philip IV, Luis Pacheco de Narváez, whose title is Historia ejemplar de las dos constants mujeres españolas, printed for the first time in Madrid by the Imprenta del Reino the year 1635. The work is divided into five chapters. In addition to the section dedicated to the edition of the novel (ch. V), which establishes an annotated text based on the only two known editions (Madrid, 1635 and Seville, 1744) with her list of variants, another four serve as context to it. Thus, we present a biography of Pacheco de Narváez (Baeza, 1560-Madrid, 1640), drafted in accordance with the preserved documentation, which is complemented by a literary list of references of this period about the figure and the work of the author, and an epigraph that wants to be a scientific consideration on his relations with Francisco de Quevedo (ch. I); a history of the text that studies the date of composition, the first edition and the complicated situation to publish novels in these years due to censorship (1625-1635), an aborted publication project and the second edition, as well as the critical trajectory of the novel and the absence of later editions (ch. II); a taxonomic study (although emphasis is placed on the morality present in the story) that implies its attachment to the genre of the so-called “courtly novel” (ch. III); and finally a chapter dedicated to the literary context, divided in two large parts: one dedicated to the sources and materials that the author could use to form the novel, and another that studies, by way of example, one of the literary topics present in the text and in the literature of the time: the descriptio tempestatis. This last part complements, as addition, with a study of the subject of the storm in the Jerusalen conquistada (1609) by Lope de Vega (ch. IV)
El objeto de esta tesis es presentar una edición filológica y anotada de la poco conocida novela escrita y publicada por el maestro de esgrima del monarca Felipe IV, Luis Pacheco de Narváez, cuyo título es Historia ejemplar de las dos constantes mujeres españolas, impresa por vez primera en Madrid por la Imprenta del Reino el año de 1635. El trabajo se divide en cinco capítulos, pues además del específico dedicado a la edición de la obra (Cap. V), que establece un texto anotado sobre la base de las dos únicas ediciones conocidas (Madrid, 1635 y Sevilla, 1744) junto con su aparato de variantes, otros cuatro sirven de contexto a la misma. Así, presentamos una nueva y completa biografía de Luis Pacheco de Narváez (Baeza, ha. 1560-Madrid, 1640), redactada en torno a la documentación conservada, que se complementa con un importante elenco de las menciones literarias de época que hacen referencia a la figura y la obra del autor, y un epígrafe que quiere ser una reflexión científica sobre sus relaciones con el escritor Francisco de Quevedo (Cap. I); una historia del texto que estudia la fecha de composición de la obra, la primera edición madrileña de 1635 y la complicada tesitura para publicar novelas en estos años a causa de la censura imperante (1625-1635), un proyecto de publicación abortado y la segunda edición sevillana de 1744, así como la trayectoria crítica de la novela y la inexistencia de ediciones posteriores (Cap. II); un estudio de carácter taxonómico (aunque se haga hincapié en la moralidad presente en el relato) que supone su adscripción al género, pese a su extensión, de la denominada como novela «cortesana», bien que se constate y analice también la presencia de elementos de otros géneros como la novela bizantina, caballeresca, etc. (Cap. III); y por último un capítulo dedicado al contexto literario, dividido a su vez en dos grandes bloques: uno dedicado a las fuentes y materiales que pudo utilizar el autor para conformar la novela, y otro que estudia, a manera de ejemplo, uno de los tópicos literarios presentes en la misma y en la literatura de la época: la descriptio tempestatis. Este último bloque se complementa, en tanto que apéndice, con un estudio del tema de la tormenta en el libro VII de La Jerusalén conquistada (1609) de Félix Lope de Vega (Cap. IV). Se cierra la tesis con el consabido apartado bibliográfico
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Dobson, Eleanor. "Literature and culture in the golden age of Egyptology." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7248/.
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This thesis argues that a nuanced understanding of Egyptological writing across the late nineteenth and early twentieth centuries can only be achieved through the consideration of the broader literary and artistic culture in which these texts were produced, and that an understanding of contemporary cultural artefacts requires a complementary awareness of Egyptology. It demonstrates the wealth of generic and material exchange between Egyptological and literary texts, and reveals cultures of mythmaking in which Egyptologists embellished their accounts, while those who collected Egyptian objects invented supernaturally-charged fictions in a bid to establish their own authority. It establishes the inflation in Egyptian iconography not merely in textual form, but across material culture, claiming that the growing availability of texts addressing ancient Egypt encouraged linguistic experiment among writers of fiction, and the domestication of hieroglyphs. It argues that interests in Egyptology and psychology often went hand-in-hand, shifting the understanding of hieroglyphs as something ‘other’ to a product of the ‘self’. Finally, it charts the commercialisation of Egyptian iconography, increasingly connected to products that drew upon Egypt’s glamour (and the glamour of theatre and cinema), but also obverses a counterculture that harnessed ancient Egypt’s fascination and connected it to more meaningful spiritual experiences.
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Cruz, Nicole. "The influence of beliefs on people's perception of illness in the spanish golden age." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/540.
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Medicine is a field of science that is always changing and promoting new ideas and innovations. Throughout history, medicine has been an important factor in the lives of people around the world since the beginning of civilizations. This study focused on the literature of medicine as it relates to the Spanish Golden Age period. By looking at the history and critical studies in medicine during sixteenth and seventeenth century Spain as well as during the pre-colonial period in America, this thesis overviews the effects and influences in regards to health and illness in Spain and the Americas during the Spanish Golden Age era.B.A.
Bachelors
Arts and Humanities
Spanish
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Nani, Peter John. "Traces of dissent : Persius and the satire of Nero's Golden Age /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu148657216527765.
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McDonald, Bonny. "Buried Alive: Hard Science Fiction Since the Golden Age." TopSCHOLAR®, 2005. http://digitalcommons.wku.edu/theses/461.
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A substantial body of science fiction authors, critics and fans appreciate the literary attention the New Wave of the '60s and '70s brought to the genre of science fiction, but regret the seemingly lasting move away from the hard science classics of the '50s and before. They argue that "the hard stuff' is at the very heart of sf and that its future—still on the path set by the New Wave—is ostensibly a dead end. Many important critics along with hundreds of sf fan websites display this fatalistic concern, asking over and over "Is hard science fiction dead?" The answer is no. These reactionaries suffer from a serious case of the Good Old Days Syndrome (not to mention the Good Old Boys Syndrome). A close look at the state of the genre reveals that hard sf is not only alive and well but also that contemporary hard sf is more in line with its critics' definition of hard sf than the very stories they cite as exemplars of it. Contrary to the accusations of noted sf critics, it may well be that a new golden age of sf is dawning, one with an even truer scientific core as well as a commitment to literary quality. This thesis will expose the curious contradiction between the hard and soft / old and new sf. The introduction will examine the definition of hard sf and declarations of its unfortunate demise. Each of three chapters will compare two stories—one from sf s Golden Age and another after the supposed death of the genre. In each, I will show how classic examples of hard sf regularly fail to meet the objective, scientific criteria they purport to uphold and how contemporary stories—even while focusing (to varying degrees) on the political and personal—better espouse the principles of hard sf. Ultimately, it seems that those who descry hard sf s death miss not the technical aspects of hard sf that, even by their definition, distinguish it from softer sf, but the traditional Golden Age values of male dominance, imperialism, and anti-emotionalism. Newer stories' feminism and redefinitions of progress blind conventional readers to their truly hard-core, science-based foundations. The conclusion will consider what hard sf s paradigm shifts mean in terms of our evolving relationship to science. Specifically, in our technological age, science is not merely a field that studies how things work, but a field that can help us to illuminate and interpret our place in the universe. Ultimately, hard science fiction is not dead, it's just doing something different from what it used to.
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Pedraza, Rodríguez Amanda. "Entre la preceptiva áurea y la estética moderna: el concepto de autonomía poética y Luis de Góngora." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/286734.
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Esta tesis indaga cómo el tópico de la defensa de la poesía, tema fundamental de la teoría y la crítica literaria del Siglo de Oro español, puede implicar, además de una significativa toma de conciencia frente al fenómeno poético, una reflexión sobre la esencia de la poesía que representa un antecedente importante del concepto moderno de autonomía estética. Para la consecución de este objetivo se han reunido, examinado y relacionado los textos áureos de carácter teórico identificables con un principio de independencia poética. El análisis se ha desarrollado desde tres perspectivas diferentes: la de los preceptistas, por una parte; la de los escritores, por otra; y, finalmente, la derivada del debate de carácter estético que la publicación de las obras mayores de Luis de Góngora suscitaría. Se hacía imprescindible considerar, de otro lado, el referente moderno bajo el cual podían sustentarse tales supuestos. Por esta razón se ofrece, asimismo, una aproximación al concepto de autonomía estética subyacente en los principios básicos de la poética moderna, concretamente en los planteamientos formulados por la tradición simbolista y por el movimiento de la poesía pura.This dissertation explores how the defense of poetry, as a literary topos and as an important subject of literary theory and criticism during the Spanish “Golden Age”, involves a meaningful attempt to define the essence of poetry and represents a precedent for the modern notion of aesthetic autonomy. In the attainment of this goal, it was necessary to gather, examine and correlate texts of a theoretical nature, selected in terms of a common concern about the principle of poetic independence. The search has been accomplished from three different perspectives: first, the Spanish preceptists; second, the writers and poets of the age; third, the texts appeared as a result of the debates around Luis de Gongora’s major poems. Reflections about modern poetics were considered imperative as a point of comparative analysis, specifically in what relates to the symbolist tradition, the doctrine of pure poetry and the notion of aesthetic autonomy
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Jeffs, Kathleen. "Golden Age Page to Stratford Stage : Rehearsing and Performing the Royal Shakespeare Company's Spanish Season." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504042.
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Sanborn, Colin C. "Destierro and Desengaño: The Disabled Body in Golden Age Spanish Portraiture." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1556624266868137.
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Spring, Matthew George. "The lute in England and Scotland after the Golden Age 1620-1750." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329269.
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Ingram, Kevin. "Secret lives, public lies the conversos and socio-religious non-conformism in the Spanish Golden Age /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236820.
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Thesis (Ph. D.)--University of California, San Diego, 2006.Title from first page of PDF file (viewed December 7, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 307-318).
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Otis, Lise. "The Numan tradition and its uses in the literature Rome's 'Golden Age' /." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37909.
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This dissertation presents a critical analysis of literary texts that recount fully or briefly the life and legend of King Numa Pompilius. Focusing on the 'Golden Age', it comprises the Numan accounts of Cicero, Livy, Dionysius of Halicarnassus and Ovid. These authors lived at a time when Rome was trying to reconcile for herself and for her subjects the price of her military world domination with the belief in her foreordained supremacy. This reconciliation was to be achieved by a reacquaintance with the Roman ancestral values whose observance had merited Rome her dominion and whose neglect had driven the state to civil war. The question of Roman national identity is at the heart of the Numan accounts of the chosen prose-writers. In his portrayal of Numa, who combines the civilizing virtues of classical Athens with native Roman virtue, Cicero offers a rebuttal for Greek critics who questioned Rome's supremacy because of her lack of civilizing virtues. Livy investigates the leading causes of Rome's world domination and identifies the national values and institutions that many generations of leaders forged. Numa is one such leader, having established laws, religious rite and a peaceful way of life. Dionysius represents Numa as the Greek ideal of kingship in order to establish for the Greek world the excellence of the Roman national identity founded on Greek virtue. The Numan accounts of Livy and Dionysius, composed in Augustus' principate, do not draw direct parallels between Numa and Augustus, although the narration sometimes suggests a special relevance to Augustan rule. Finally, Ovid, the only poet, recounting traditional Numan tales, offers analogies and allegories of certain Augustan ideas and measures that may be seen to flatter the ruler.
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Kristainsen, Michael Phillip. "Gender and interpretation: An empirical study of reader response to Golden Age literature." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279847.
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The objective of this study is to test empirically for affective differences postulated to vary by reader gender in response to literary texts. Eighty participants, composed of equal numbers of male and female English- and Spanish-speakers, were randomly distributed into three experimental groups. Participants in two groups read emotionally-provocative text stimuli, and participants in a control group read an affectively-neutral text stimulus. The provocative text stimuli are excerpts from Cervantes's Persiles y Sigismunda, and the affectively-neutral text stimulus is from Quevedo's Buscon . Participants completed the Ambivalent Sexism Inventory (ASI) and Positive and Negative Affect Schedules (PANAS). A first PANAS measured current moods, and a second one measured moods in general. On completing the second PANAS, participants read the text stimuli. After reading the text stimuli, participants completed a third PANAS to measure their current moods relative to the texts they had just read. The results of this experiment reveal no significant differences between male and female readers, and thus do not support the hypothesis that affective reader-response to literature varies by gender. Implications for reader response-based literary theories are discussed, along with suggestions on how such theories may be refined or modified.
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Hoffman, Megan. "Women writing women : gender and representation in British 'Golden Age' crime fiction." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/11910.
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In this thesis, I examine representations of women and gender in British ‘Golden Age' crime fiction by writers including Margery Allingham, Christianna Brand, Agatha Christie, Ngaio Marsh, Dorothy L. Sayers, Josephine Tey and Patricia Wentworth. I argue that portrayals of women in these narratives are ambivalent, both advocating a modern, active model of femininity, while also displaying with their resolutions an emphasis on domesticity and on maintaining a heteronormative order, and that this ambivalence provides a means to deal with anxieties about women's place in society. This thesis is divided thematically, beginning with a chapter on historical context which provides an overview of the period's key social tensions. Chapter II explores depictions of women who do not conform to the heteronormative order, such as spinsters, lesbians and ‘fallen' women. Chapter III looks at the ways in which the courtships and marriages of detective couples attempt to negotiate the ideal of companionate marriage and the pressures of a ‘cult of domesticity'. Chapter IV considers the ways in which depictions of women in schools, universities and the workplace are used to explore the tensions between an expanding role in the public sphere and the demand to inhabit traditionally domestic roles. The thesis concludes with a discussion of the image of female victims' and female killers' bodies and the ways in which such depictions can be seen to expose issues of gender, class and identity. Through its examination of a wide variety of texts and writers in the period 1920 to the late 1940s, this thesis investigates the ambivalent nature of modes of femininity depicted in Golden Age crime fiction written by women, and argues that seemingly conservative resolutions are often attempts to provide a ‘modern-yet-safe' solution to the conflicts raised in the texts.
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Yancey, Jason Edward. "Dark Laughter: Liminal Sins in Quevedo's Entremeses." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195236.
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This dissertation investigates two areas rarely treated in Early Modern studies. First, it explores the origins, functions and importance of the entremes as a performance genre historically relegated to what Victor Turner has called the "liminal" spaces of social and scholarly discourse. These marginalized places of ambiguity in between one space and another provide the artist with a less restrictive creative setting in which to explore the otherwise difficult and even unmentionable social themes. Literally placed in between acts of the comedia performance experience, as well as chronologically placed in between the medieval pageant theater and the emerging early modern theater houses, the entremes serves as an entertaining breed of performance monster, building upon a thematic foundation "betwixt and between" acceptable and objectionable forms of theater.Second, the dissertation examines in detail the 12 lesser-known entremeses of Francisco de Quevedo as examples of liminality in the development of early modern theater practices. Specifically, the study analyzes these theater pieces as they subscribe to three categories of cardinal sin: desires of the ego (pride, wrath and sloth); desires of ownership (greed and envy); and desires of the body (lust and gluttony).As a result, this work hopes to demonstrate the aesthetic value of the interlude and the ways in which Quevedo's various manifestations of this liminal genre, based heavily on the construct of sin, both complement and contradict the model of the entremes as established by his predecessors.
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Janechek, Miriam Teresa. "“Six impossible things before breakfast”: becoming an adult in five Golden Age children’s novels." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6963.
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In this study, I consider five of the most eminent children’s novels of the Golden Age period, 1860-1920, The Water-Babies by Rev. Charles Kingsley, Alice’s Adventures in Wonderland and Through the Looking-Glass by Lewis Carroll, The Secret Garden by Frances Hodgson Burnett, and Peter and Wendy by J. M. Barrie, to illustrate that the central concern of all of these novels is what it means to be a child self engaged with the world and growing up. It is my contention that, if we are to embrace what Marah Gubar terms a “kinship model” of children’s literature scholarship that sees the child and adult as in relationship to one another, a new vocabulary is necessary to discuss child and adult selfhood. In this project, I propose using Charles Taylor’s postsecular theory as a foundation for this new language, thus offering the terms porous and buffered as a new way of understanding the relationship between a child and the adult she becomes.
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Walton, Samantha. "Guilty but insane : psychology, law and selfhood in golden age crime fiction." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7793.
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Writers of golden age crime fiction (1920 to 1945), and in particular female writers, have been seen by many critics as socially and politically detached. Their texts have been read as morality tales, theoretically rich mise en scenès, or psychic fantasies, by necessity emerging from an historical epoch with unique cultural and social concerns, but only obliquely engaging with these concerns by toying with unstable identities, or through playful, but doomed, private transgressions. The thesis overturns assumptions about the crime novel as a negation of the present moment, detached and escapist, by demonstrating how crime narratives responded to public debates which highlighted some of the most pressing legal and philosophical concerns of their time. Grounded in meticulous historical research, the thesis draws attention to contemporary debates between antagonistic psychological schools – giving equal space to debates within psychoanalysis and adaptive neuroscience – and charts how these debates were reflected in crime writing. Chapter two explores the contestation of the M’Naghten laws on criminal responsibility in light of Ronald True’s case (1922), followed by readings of crime narratives in which perpetrators have ambiguous and controversial legal status in regard to criminal responsibility. At the intersection of psychiatric discourse and the popular literary imagination, a critical and ethical perspective developed which not only conveyed a version of psychological discourse to a wider public, but profoundly reworked the foundations of the genre as the ritual unveiling of deviancy and the restoration of the rational institutions of society. In similar vein, chapter three explores the status of the ‘Born Criminal’ in law and medicine, and looks at crime writer Gladys Mitchell’s efforts to expose both the pitfalls of categorisation, and competing discourses’ limitations in adequately accounting for crime. Chapter four, whilst maintaining close medical-legal focus, opens up the study to consider how understandings of deviant selfhood in modernist writing inflected crime writers’ representations of unconscious and epileptic killers. Finally, chapter five continues this intertextual approach by asserting that certain crime novels express an exhaustion with the genre’s classic rational and scientific heroes, and turn instead to the affective epistemologies and notions of subconscious synthesis concomitantly being celebrated in modernist writing. Altering the position of the authoritative detective in ways that profoundly alter the politics of the form, the chapter and the thesis in total propose a reading of golden age crime fiction more responsive to cultural, psychological and legal debates of the era, leading to a reassessment of the form as neither escapist nor purely affirmative of the status quo.
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Trainin, Sarah Jean. "The rise of mass culture theory and its effect on golden age detective fiction." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.
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Ayivor, Moses Geoffrey Kwame. "Africa's golden age debunked: a study of the sources of select black African historical novels." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002275.
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The main thesis of this dissertation is that even a casual analysis of African writing reveals that contemporary African literature has and is still undergoing a distinctive metamorphosis. This change, which amounts to a significant departure from the early fifties, derives its creative impulse from demonic anger and cynical iconoclasm and is triggered by the mind-shattering disillusion that followed independence. The proclivity towards tyranny and the exploitation of the ruled in modern Africa is traced by radical African creative writers to an ancient source: the legendary and god-like rulers of precolonial Africa. Ouologuem's Bound to Violence and Armah's Two Thousand Seasons and The Healers hypothesize that past sins begot present sins. The legendary warrior heroes of the past, whose glory and splendour were once exalted in African writing, are now ruthlessly disentombed and paraded as miscreants and despots, who not only brutalized and sold their people into slavery but also ideologically fabricated their own legends and myths in order to maximize their tyrannical power. The preoccupation of these works is, therefore, to divest the ancient heroes of their false glory. contemporary critics tend to perceive this anti-traditional posture purely as a modern trend in African literature. The truth of the matter, however, is that the literary foundations of this anti-nativist/anti-Afrocentric literary tradition were laid by Thomas Mofolo and Sol Plaatje, whose Chaka (1925) and Mhudi (1930) are the precursors. The five primary works in this study parody and veer away from the generally accepted traditional African epic heroism and recorded history towards a communal heroic ideal which celebrates the larger community instead of the single epic heroes normally romanticized in African legendary tradition. These novelists, while dismantling the European and African myths about Africa's Golden Age, also disfigure the often glorified ancient historical landmarks and the fabled heroes of Africa's oral and recorded history. The rationale behind this investigation is the fact that though these works have innovated, assimilated, and parodied the African oral arts, particularly traditional African epic heroism, no detailed study has been made to explore the literary transformation these texts have undergone as written works. Treating African texts only as appendages of Western literature may undermine the ability of the critical evaluations which go into the heart of these texts and unravel their deeper meanings. The outcome of this kind of approach is that pertinent issues of style and theme originating from negro-African metaphysics, oral traditions, and iconography could thereby be left unexplored. Besides, the bulk of the current body of criticism on African literature, particularly on colonial Africa, tends to concentrate on colonialist Christian values and Western literary production models. One of the overriding concerns of this research, therefore, is to veer away from merely rehashing Eurocentric pronouncements on European influences and literary modes parodied by these works, by taking a fresh. look at the texts from the perspective of Afrocentrism and in particular from the point of view of the traditional African oral bards. To this end, therefore, the dissertation is divided into six main chapters and a short concluding chapter: Chapter 1, A Survey of Black Representations of Pre-colonial Africa, functions as an introduction, sketches the European image versus the Black counter-discourse, and locates the study within the current debate on the concept of pre-colonial Africa's Golden Age. Chapter 2, Thomas Mofolo's "Inverted Epic Hero", the nucleus of the study I analyzes the anti-epic and ironic modes manipulated by the text and also maps out the epic generic framework which structures the whole dissertation. Chapter 3, Traditional African Epic Heroism Revised, discusses Plaatje's Mhudi, paying special attention to the text's deployment of the African epic genre as well as the caricaturist and the anti-heroic modes. In Chapter 4, Yambo Ouologuem's Bound to Violence is examined under the title A World Trapped in an Orgy of Violence, Barbarism and Servitude. African oral art is used as the hermeneutic key in unlocking the complexities of Ouologuem's novel. Chapter 5, The African Anti-Legendary Creative Mythology, scrutinizes Armah's Two Thousand Seasons, highlighting, among other topics, Armah's daring innovative stylistic experimentation. Chapter 6, entitled The Akan Iconic Forest of Symbols, deals with Armah' s The Healers, concentrating on the Akan iconographic backdrop which shapes and informs this work. And finally, The Metamorphosis of Traditional African Epic Heroism, the title of the concluding chapter, sums up this dissertation.
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Coma, Diaz Marina. "La Perpetuacion de los Discursos Sexuales en el Teatro Hispano a Traves de la Figura de Don Juan." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1461593107.
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Alexander, Steven Ralph. "Painting and the Comedia in the Spanish Golden Age with particular reference to the portrait in the theatre of Lope De Vega and other contemporary dramatists." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/painting-and-the-comedia-in-the-spanish-golden-age-with-particular-reference-to-the-portrait-in-the-theatre-of-lope-de-vega-and-other-contemporary-dramatists(14181cda-ee96-42ec-b333-186387d8370e).html.
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Machit, Melissa Renee. "Bad Habits: Gender Made and Remade in Guillén de Castro's La fuerza de la costumbre." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11147.
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Guillén de Castro's play La fuerza de la costumbre (1625) depicts the process of re-teaching gender to Hipólita and Félix, a sister and brother who have grown up performing the gender opposite to their physical sex. This dissertation provides the first edition of the play since 1927, and the first ever critical edition, which contains notes, critical apparatus and essays, and compiles information from all extant sources, including the manuscripts (not used in the 1927 edition). The 1625 print edition serves as the base text, with variants from the four manuscript witnesses compiled in an index. The critical apparatus includes a biography of the author, textual history, editorial methodology, metrical analysis, bibliography and notes on the text.Romance Languages and Literatures
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García, Blizzard Mónica del Carmen. "The Indigenismos of Mexican Cinema before and through the Golden Age: Ethnographic Spectacle, “Whiteness,” and Spiritual Otherness." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468943537.
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