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Dissertations / Theses on the topic 'Spanish Golden Age'
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1
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.
3
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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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.
5
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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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.
8
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.
9
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
10
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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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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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).
14
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.
15
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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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.
17
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.
18
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.
19
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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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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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.
22
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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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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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.
25
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.
26
Piltz, Eric. "Yolanda Rodríguez Pérez: The Dutch Revolt through Spanish Eyes. Self and Other in historical and literary texts of Golden Age Spain (c. 1548-1673), Oxford u. a. 2008." Universität Potsdam, 2010. http://opus.kobv.de/ubp/volltexte/2011/5001/.
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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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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.
29
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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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
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Fernández, Rodríguez Daniel. "Las comedias bizantinas de Lope de Vega: caracterización genérica, tradición y trascendencia." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400700.
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En esta tesis doctoral se ofrece una propuesta de género teatral, las comedias bizantinas de Lope de Vega. Para llevar a cabo esta caracterización genérica, se han tenido en cuenta tanto sus rasgos temáticos y la técnica teatral como la tradición literaria y las fuentes de las que emanan, además de su gran trascendencia en el desarrollo histórico del género. Las comedias objeto de estudio basan su argumento en una serie de temas y motivos que se remontan a las novelas griegas de Heliodoro y Aquiles Tacio, máximos modelos y exponentes de la denominada ‘novela bizantina’, y que fueron renovándose a lo largo de los siglos hasta llegar a Lope por muy distintos cauces. De ahí la pertinencia de referirnos a estas obras en tanto que ‘comedias bizantinas’ (con los debidos límites y matices), sin perjuicio de otras posibles denominaciones o agrupaciones genéricas que engloben parte o la totalidad de las piezas estudiadas, las cuales se han discutido con detenimiento.
Por lo que atañe al plano argumental, estas obras teatralizan las peripecias de unos jóvenes enamorados que se ven forzados a separarse y superar una serie de obstáculos (raptos, cautiverios, naufragios, acechanzas amorosas) hasta poder reunirse de nuevo, pero que se mantienen fieles el uno al otro incluso en las circunstancias más adversas, esquema que presenta algunas variantes de no poco interés. En cuanto a la técnica teatral y la puesta en escena, las comedias bizantinas se acercan más bien al modelo de teatro pobre, de modo similar a las palatinas, urbanas y picarescas, pero destacan ante todo por el empleo de ropas y disfraces de cautivos y musulmanes, los amplios elencos y la abundancia de cuadros (poco marcados escénicamente).
La tradición bizantina, en la que se inscriben estas comedias y a cuya reconstrucción está dedicada la segunda parte, tiene sus orígenes remotos en las novelas griegas, pero abarca también exponentes más modernos como la novela bizantina del siglo XVI, las historias caballerescas breves, las novelle italianas o algunas piezas tempranas de la Comedia Nueva, a las que Lope sigue más de cerca y que incluso llega a imitar directamente.
Las comedias analizadas tuvieron una gran relevancia en la evolución histórica del género bizantino, tanto en el teatro como en la novela. Así lo sugieren los abundantes casos de reescritura que se han podido desentrañar, sobre todo en el terreno de la novela corta, pero que afectan también al teatro y a El peregrino en su patria. En esta tercera y última parte se propone además un primer panorama acerca del desarrollo del género bizantino en el teatro del Siglo de Oro.In this doctoral thesis I aim to explore the conception of a distinct theatrical genre: the “comedias bizantinas” by Lope de Vega (1562-1635). In order to undertake this exploration, I have analysed their thematic features and theatrical technique, as well as their literary tradition and sources, but also their importance in the historical development of this genre. The plots of these plays are based on a handful of themes and motifs that hark back to the Greek romances by Heliodorus and Achilles Tatius —supreme models of the so-called “novela bizantina”—, that were renewed over the centuries until they reached Lope via different paths. Therefore, in my opinion, it is appropriate to call them “comedias bizantinas” while being aware of the limitations of and grey areas within this name, and without detriment to other possible critical categories that could include a part or all of these “comedias”, which I have also discussed. Some otherwise interesting exceptions notwithstanding, these plays dramatise the unforeseen incidents suffered by a pair of young lovers who are forced to overcome numerous obstacles (abductions, slavery, shipwrecks...) until they manage to meet again, and who always remain loyal to each other, even under the most adverse circumstances. As for their theatrical technique and staging, these plays are very simple, similar to genres such as “comedias urbanas” or “palatinas”, but they stand out due to the use of captives’ and Muslims’ costume, extensive casts and a large number of scenes. The tradition to which these plays belong —which I have tried to detail in the second part of my thesis— has its origins in the Greek romances, but extends to modern works such as the “novela bizantina”, short chivalric tales, the Italian “novelle” and some early Spanish plays from the sixteenth century, which Lope follows closely and occasionally even directly imitates, as I have attempted to prove. These plays by Lope had a great influence on the historical evolution of their genre, as much in Golden Age drama as in romances. This can be deduced via several rewriting processes that I have explained, mainly concerning short stories, but also various other plays and “El peregrino en su patria”. In this third and last part of my thesis I have also attempted to sketch the development of the Byzantine genre in the Golden Age drama.
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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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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.
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King, Errol LeRoy. "Resurrecting Lope's Autos." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/815.
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By the turn of the seventeenth century, the auto sacramental quickly became the most elaborate dramatic genre in Spain. Shortly after the Council of Trent, professional playwrights replaced clerics who had previously written autos for the Corpus Christi celebrations held each year, but none were more influential than Lope de Vega in refining thematic, literary, and staging elements and techniques. At the middle of the nineteenth century, critics began to study the genre that a royal decree had banned almost a century earlier; however, few have dedicated much time to Lope's autos. As a result, most critics have misunderstood Lope's contributions to the genre. This study addresses some of the issues that scholars have particularly misunderstood or ignored, namely, Lope's treatment of the Eucharistic theme in his autos, the level of dramatic unity displayed in his Corpus Christi plays, and the contribution of spectacle to the overall performance. Using a textual analysis of three of Lope's autos, I conclude that Lope could and did write profound, unified liturgical plays designed to disseminate Catholic dogma in an effective and entertaining manner. Each of the three autos used in this study, Las aventuras del Hombre, El viaje del Alma, and Los dos ingenios y esclavos, presents a protagonist representing mankind, who must learn to disregard evil influences faced in mortality and turn to Christ and the Eucharist for salvation. These elaborate liturgical performances, whose budgets exceeded those of the popular comedias of the day, all took place in city plazas around the country. In order to understand the deserved popularity that Lope's autos clearly enjoyed in their original setting, scholars need to return to the texts themselves and not merely rely on criticism.
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Pitel, Anne-Hélène. "Prose et poésie dans l'oeuvre de fiction de Lope de Vega : de La Arcadia (1598) à La Dorotea (1632)." Paris 3, 2008. http://www.theses.fr/2008PA030138.
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L’alliance discursive de prose et de poésie au sein d’un même texte est appelée prosimètre. Lope de Vega n’a de cesse de recourir à cette forme mixte pour composer ses oeuvres de fiction, lesquelles répondent à différents genres : deux récits pastoraux, La Arcadia et Pastores de Belén, un récit byzantin, El peregrino en su patria, les Novelas a Marcia Leonarda, et l’inclassable acción en prosa, La Dorotea. Afin d’en proposer une nouvelle lecture, la présente étude considère cette combinaison en préservant la cohérence et l’intégrité de l’oeuvre. Si la matière versifiée est recensée et analysée d’un point de vue formel et thématique, l’accent est mis sur les transitions prose-poésie-prose, afin d’établir une typologie des modalités d’insertion. En dépit de l’hermétisme apparent qui isole les deux discours d’un point de vue typographique, ceux-ci dialoguent : d’une part au niveau de l’intrigue, par l’incidence de la poésie sur l’action, et d’autre part au niveau du récit. Le débat de la prose et de la poésie trouve une réponse dans l’instrumentalisation de leurs oppositions et de leurs affinités (idéologiques, esthétiques…), à des fins narratives. Ces mécanismes de l’hybridation discursive ainsi révélés, sont alors mis en perspective leurs diverses implications et la récurrence de ce choix esthétique chez l’auteur. L’adéquation de la forme et de sa personnalité créatrice souligne la façon dont le Fénix utilise le prosimètre à des fins personnelles, que ce soit pour servir le narcissisme de son écriture ou pour rédiger son testament littéraire, autour de la promotion du canto llano et du principe de la varietasThe discursive union of prose and poetry within a same text is called prosimetrum. Lope de Vega continually resorts to this hybrid form in order to write his works of fiction, which consist of different genres: two pastoral novels, La Arcadia and Pastores de Belén, one adventure story, El Peregrino en su Patria, the Novelas a Marcia Leonarda, and the unclassifiable works Acción en Prosa La Dorotea (1632). In order to shed a new light on these works, the present study considers this combination while preserving the coherence and the integrity of the work as a whole. Although we classify and analyse the versified material both formally and thematically, we shall emphasise the prose-poetry-prose transitions in order to establish a typology of the ways the author inserts the verses. Despite the apparent hermetism which isolates the two genres as far as typography is concerned, the two discourses interact. They do so on two levels: on the one hand, at the level of the plot thanks to the effect of poetry on prose, and on the other hand at the level of the story. The debate about prose and poetry finds an answer in the exploitation of their oppositions and their similarities for narrative purposes. The mechanisms of discursive hybridisation thus revealed, their diverse implications and the recurrence of this esthetic choice by the author are then put into perspective. The balance between the form and his creative personality emphasises the way the Fénix uses the prosimetrum for personal reasons, either to serve the narcissism of his writing or to compose his literary legacy, around the promotion of the canto llano and the principle of the varietas
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Djondo, Amélie. "Femmes de pouvoir et pouvoir des femmes dans le théâtre du Siècle d’Or : le personnage de la reine transgressive et criminelle." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100116/document.
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Cette thèse a pour objet d’étudier le personnage de la reine transgressive sur la scèneespagnole du Siècle d’Or à partir d’un corpus de huit comedias publiées entre 1609 et 1653 pardes dramaturges célèbres (Virués, Tirso de Molina, Guillén Rojas Zorrilla, Lope de Vega,Calderón de la Barca). L’introduction permet d’asseoir les bases d’une réflexion qui entendfaire émerger des types de reines particulières, des figures héritées d’une traditionmythologique, biblique ou historique. Un double critère a contribué à sélectionner le corpus età établir un plan : le rapport du personnage féminin au pouvoir et son lien avec une violencequi conduit nécessairement à un ou plusieurs crimes. Les chapitres de la première partie del’étude prennent en compte le cadre historique, social et idéologique de la figure de la reinedans la lignée des gender studies et analysent des exemples de souveraines qui à la foisdérangent, troublent mais fascinent. Notre référence-clé est celle de la reine-roi, un personnageexcessif qui subvertit les normes du genre et de l’autorité jusqu’à devenir un rôle d’exceptionpour les actrices de l’époque. La deuxième partie s’intéresse aux accès au pouvoir de la reineroi,à son exercice et à ses dérives tyranniques. L’analyse porte essentiellement sur les outilspropres à la scénographie, le travestissement mais aussi à la rhétorique. Dans une dernière partie sont abordées les perspectives psychologiques, criminologiques et judiciaires des violencescommises par les reines. Nous postulons des déviances parfois proches de folies ou depathologies irréversibles qui trouvent un dénouement exceptionnel sur la scène, à la hauteur de ces femmes hors normesThe object of this thesis is to examine the character of the transgressive queen on theSpanish stage of the Golden Age, from a corpus of eight comedias published between 1609 and1653 by well-known dramatists (Virués, Tirso de Molina, Guillén de Castro, Rojas Zorrilla,Lope de Vega, Calderón de la Barca). The introduction helps to lay the foundations of a thoughtprocess which aims to bring out specific types of queens, inherited figures from a mythological,biblical or historical tradition. Two criteria contributed to selecting the corpus and shaping aplan - the female character’s relationship with power and her ties to violence which inevitablylead her to commit one or more crimes. The chapters in the first part of the study take intoaccount the historical, social and ideological representations of the Queen in line with thegender studies, and analyse examples of sovereigns that are both disturbing and unsettling andyet fascinating. Our key reference is the Queen-King – an excessive character subverting thegender and authority standards and whose role will be exceptional for actresses at the time. Thesecond part looks into the Queen-King access to power, her reign and her tyrannical outbursts.The analysis mainly pertains to the tools of scenography, of distortion but also of rhetoric. Thelast part deals with the psychological, criminal and judicial perspectives of violence, committedby the queens. We claim that some of the deviances occasionally border on madness orirreversible pathologies which find an exceptional outcome on stage, worthy of theseoutstanding women
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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.
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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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Giblin, John. "The seven deadly sins in La vida de Lazarillo de Tormes y de sus fortunas y adversidades." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/381.
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To the modern critic, La vida de Lazarillo de Tormes y de sus aventuras y adversidades poses many problems. One cannot arrive at the book's precise meaning because the author remains unknown. If critics were to know who wrote the book, they would identify similarities between the book and the author's life to approximate the book's moral, or its lack of one. Additionally, some commentators view the book as incomplete or unfinished; although the author developed the first three tratados, the final four tratados seem short and incomplete. Does this diminish the book's purpose? Can the readers still fruitfully discover the book's meaning in an "incomplete" story? Modern critics have utilized the book's artistic elements, such as its linguistic structure, themes and temporal structure, to arrive at an interpretation of it. Others have compared the book with classical European folklore and other period literary works. This thesis proposes a synthesis of the latter two approaches. This thesis will analyze, using irony and foreshadowing, how the seven tratados correlate or fail to correlate with the seven deadly sins.B.A.
Bachelors
Arts and Humanities
Spanish
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Capique, Luc. "Etude et édition critique annotée de Carlos V en Francia de Lope de Vega." Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1009.
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La production théâtrale du Siècle d’Or espagnol com-prend de nombreuses pièces traitant de sujets historiques con-temporains. L’intérêt pour cette matière historique s’observe particulièrement chez un dramaturge emblématique de cette période : Lope de Vega. Bien que la finalité de cet emploi puisse être variée, elle possède souvent un intérêt extra dra-matique. Le choix des événements mis en scène par Lope de Vega est souvent en lien avec des événements correspondant au moment de l’écriture de la pièce. La comedia Carlos V en Francia, écrite en 1604, fait partie de ces pièces historiques où l’on constate une altération des événements en lien avec l’actualité politique de l’époque. Le travail de thèse ici présenté propose une édition critique annotée de Carlos V en Francia de Lope de Vega, précédée d’une étude introductive centrée, premièrement, sur son aspect historique et son intérêt extra dramatique, puis sur les spécificités des mécanismes drama-tiques mis en œuvre dans cette pièce par le dramaturge no-tamment en ce qui concerne dans le système des person-nages, la versification et la structureThe theatrical production of the Spanish Golden Age pro-poses numerous plays dealing with contemporary historical subjects. The interest for this historical material can be particu-larly observed in a symbolic playwright of this period: Lope de Vega. Although the purpose of this material can vary, it often possesses an extradramatic interest. The choice of events staged by Lope de Vega is often connected to corresponding events at the time of writing. The play Carlos V en Francia, written in 1604, is a part of these historical plays where we notice an alteration of events in connection with the political current events of Lope de Vega’s time. The work of the thesis presented here proposes a critical edition with notes of Carlos V en Francia by Lope de Vega, preceded by an introductory study which focuses foremost on its historic aspect and its extradramatic interest; and on the dramatic mechanisms de-veloped by the playwright in the system of the characters, the versification and the structure
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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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Medina, Diego. "Trabajos del vicio, afanes del amor vicioso par Simón de Castelblanco : édition critique et étude." Thesis, Rennes 2, 2021. http://www.theses.fr/2021REN20048.
Full textAbstract:
Le présent travail propose la première édition critique, annotée et commentée, de Trabajos del vicio (Madrid, 1680) écrite, comme il est démontré, par le prédicateur et frère augustin Simón de Castelblanco. Par une approche ecdotique — en lien avec les deux disciplines complémentaires que sont la bibliographie documentaire et la critique textuelle —, il a été possible de clarifier l'histoire du texte et d‘identifier son véritable auteur. La phase de la recensio révèle qu'il existe une édition de l‘œuvre de 1680 et une « émission » de 1684 qui présente deux états d‘édition. Ces émissions sont le produit de la stratégie commerciale orchestrée par l'éditeur Lorenzo García et le libraire Juan Fernández pour remédier à l'échec financier qu'a dû représenter la commercialisation de l'œuvre. Le texte critique, accompagné d'un important appareil de notes, a été rigoureusement établi à partir de l'exemplaire numérisé du BDH (R-8617) de l’editio princeps. Compte tenu de la rareté des ouvrages philologiques sur l'auteur et l'œuvre, l'étude préliminaire a mobilisé différentes sources documentaires telles que des catalogues biobibliographiques ou des recueils sur les frères augustins pour traiter en profondeur les aspects liés à la biographie et à l'œuvre de Simón de Castelblanco. En outre, par l‘étude de la réception de l‘œuvre et l‘analyse comparative avec d‘autres romans baroques, Trabajos del vicio s‘inscrit dans le corpus du « long roman » du dernier quart du XVIIe siècle, caractérisé par une littérature représentative d‘une morale ascétique forteThis work proposes the first critical edition, with annotations and introductory study, of Trabajos del vicio, afanes del amor vicioso (Madrid, 1680), written, as well demonstrated, by the Augustinian friar and preacher Simon de Castelblanco. Following ecdotic procedures - in connection with two complementary disciplines such as material bibliography and textual criticism - it has been possible to clarify the history of the text and prove its true author. The phase of the recensio reveals the existence of an edition of 1680, and an issue of 1684, which presents two states of edition. The issue is the product of the commercial strategy orchestrated by the printer-publisher Lorenzo García and the bookseller Juan Fernández with the intention of overcoming the lucrative failure that the commercialization of the novel must have entailed. The critical text, accompanied by an extensive annotation apparatus, has been rigorously fixed from the digitized copy of the BDH (R-8617), after verifying the equality of the rest of the copies. Given the scarcity of philological studies on the author and the novel, the preliminary study has used different documentary sources such as bio-bibliographic sourcebooks and compendia on Augustinian friars, dealing in depth with aspects related to the biography and work of Simon de Castelblanco. Likewise, through the perspective of the reception studies and the comparative analysis with other contemporary novels, Trabajos del vicio is framed within the corpus of the ―long novelǁ of the last quarter of the 17th century, characterized by an exemplary literature of strong ascetic morality
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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/.
Full textAbstract:
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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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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Ansquer, Marine. "Récit morisque et expérimentation fictionnelle ou comment penser et dire différemment l'insoutenable altérité." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2077.
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Le genre du « récit morisque » naît dans l’Espagne des XVIe et XVIIe siècles. Il est composé de quatre oeuvres principales –l’anonyme Historia del Abencerraje y la hermosa Jarifa, les deux parties des Guerras civiles de Granada de Ginés Pérez de Hita, l’« Historia de los dos enamorados Ozmín y Daraja » de Mateo Alemán, et les épisodes de Ruy Pérez, Zoraida, Ricote et Ana Félix dans le Quichotte de Miguel de Cervantès. Ces textes, qui mettent en scène des relations apaisées voire amicales entre Maures ou morisques et Chrétiens, ne manquent pas de susciter de nombreuses interrogations : quel est le sens de cette représentation idéalisée (aseptisée, peut-être ?) des relations entre membres de différentes communautés religieuses, à une époque où les discriminations envers la minorité morisque ne cessent de s’intensifier, et ne tarderont pas à mener à la décision drastique de l’expulsion en 1609 ? Nous proposons d’étudier la façon dont l’Autre musulman ou morisque est représenté dans ces oeuvres : les auteurs remobilisent et problématisent les discours et les images qui circulaient alors autour de la communauté morisque, inscrivant leurs textes fictionnels dans la polémique contemporaine. Par-là, ils sont conduits à questionner et revisiter toutes les conventions littéraires, en particulier celle de l’intercalation, se mettant ainsi sur la voie d’une indéniable modernité littéraireThe so-called “Moorish novel” was born in 16th and 17th-centuries Spain. It includes four main works: the anonymous Historia del Abencerraje y la Hermosa Jarifa, the two parts of Guerras Civiles de Granada by Ginés Pérez de Hita, the “Historia de los dos enamorados Ozmín y Daraja” by Mateo Alemán, and the episodes involving Ruy Pérez, Zoraida, Ricote and Ana Félix in Don Quixote by Miguel de Cervantes. These texts stage peaceful relationships between Moors or moriscos and Christians, which arouse a lot of interrogations: what is the meaning of this idealized (asepticised, maybe?) representation of relationships between members of different religious communities at a time when discriminations towards the morisca community are increasing, and will soon lead tothe drastic decision of the expulsion in 1609? We intend to study the representation of the morisco Other in these works: the authors reutilise and question discourses and images linked with the morisca community. Thus they include their texts in the contemporary polemic. By doing so, they have to question every literary convention, especially the intercalation or narrative embedding. These poetic considerations allow them to embody an incontestable modernity in literature
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Gallégo, Josée. "Le mythe des Argonautes dans le théâtre du Siècle d'or espagnol." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA041.
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Le mythe de la Toison d'or est le récit d'une aventure maritime jusqu'au bout du monde pour y rapporter un emblème de royauté. Chassé par un oncle usurpateur, Jason triomphe des épreuves qui lui sont imposées grâce à l'amour de la magicienne Médée. Tamis des orpailleurs, trésor caché, parchemin sacré, constellation ou Saint-Graal, le bélier volant qui sauva Hellé et Phryxos de la noyade a été l’objet de nombreuses interprétations.En 1430, le duc de Bourgogne, Philippe le Bon, fonde l'ordre de la Toison d'or pour fédérer les princes de la chrétienté. À l'issue de la cérémonie d'intronisation, un collier est remis au nouveau chevalier. Pourtant, l'évêque de Chalon se récrie face au choix de ce héros parjure, et l'on décide de lui adjoindre Gédéon, dont les brebis s'étaient couvertes de rosée mariale, en signe de la victoire prochaine sur les mécréants.Par le jeu des alliances matrimoniales, le titre de Souverain de l'ordre échoit à Charles Quint qui ajoute à ses armoiries le « Plus Oultre ». Lors de la bataille de Lépante, en 1571, la Galera Real Argo proclame, à coups de décorations, fresques, statues et devises, le projet de la monarchie catholique de terrasser le dragon qui s'est emparé des territoires chrétiens, assimilés au mouton doré du mythe.Quand la saga des Argonautes arrive sur les planches du théâtre auriséculaire, elle jouit d'un immense avantage. Le héros est connu dans son aspect le plus lumineux et le traitement bourguignon alimente la résistance face aux hérétiques de toutes sortes.Si le mythe se prête aux innovations les plus spectaculaires et relaie les valeurs de la monarchie, il entretient une singulière relation avec la politique menée par ses princes, tandis que les guerres laissent attendre l'âge d'or tant espéré, que la dette se creuse, que la cour mène un train de vie dispendieux et que la corruption gagne progressivement toute la société.Avec l'Art Nouveau de faire des comédies, Lope de Vega ouvre une brèche qui permet de voir derrière les ors et les fastes de la cour la lente désagrégation de la monarchieThe story of Jason is a most ancient myth and survives in various forms. A more widespread interpretation relates the myth of the fleece to a method of washing gold from streams. More often, the Golden Fleece represents royal power, the spring-hero or a book on alchemy. According to Apollonius of Rhodes, a flying golden ram rescued Phrixus and Helle as their stepmother wantedto kill them. Phrixus safely reached Colchis where he sacrificed the ram and gave its skin to Aetes. Meanwhile, Pelias had usurped the throne of Eson and as his son reclaimed it, sent him to fetch the Golden Fleece. Jason assembled a remarkable group of heroes on board the Argo. At Colchis, the witch Medea helped Jason to complete the mortal tasks. Upon returning, she plotted the death of Jason's uncle, so both took refuge with their children in Corinth. There, the hero betrayed her as he fell in love with Creusa. The witch got rid of this rival, burnt the palace and slaughtered their chidren.In 1430, the Duke of Burgundy founded the Order of the Golden Fleece. As a shield, a sheepskin was suspended from a jeweled collar of firesteel linked by flints. But the choice of Jason caused controversy, so Bishop of Chalon linked it to the fleece of Gideon. As part of the Burgundian inheritance, the Order was a welcomed instrument to the ambitious Habsburgs to strengthen the bonds and Charles V added as a motto « Plus Oultre ».Performances of the Spanish Golden Age Theater were used to develop the ideology of the Catholic Monarchy. When Lope de Vega published el “Arte nuevo”, he introduced the tradition of the « Mirror for Prince » giving opportunity to express one's point of view, despite the censure
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Gagnon, Martine. "Golden Age Spain Wearing English Clothes: James Mabbe, Renaissance Translator of Spanish Prose Literature." Thesis, 2010. http://spectrum.library.concordia.ca/7521/1/Gagnon_MA_S2011.pdf.
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James Mabbe (1572-1642?) was an English translator of works by Mateo Alemán, Fernando de Rojas, Miguel de Cervantes Saavedra, Fray Cristóbal de Fonseca and Fray Juan de Santa María. He worked during a time of religious, economic, and political rivalries between Spain and England, and produced a body of work that is significant in the field of Translation Studies because his technique and methods lie somewhere between “foreignizing” and “domestication”. Mabbe’s dual quality allows contemporary academia to understand the elements of Spanish prose and culture that were of interest to a seventeenth-century English readership and also to introduce another artist of literary merit from the same period as Shakespeare, Ben Jonson, and other great Jacobean dramatists. By examining the context of English literacy and translation during the period 1500 to 1640, Mabbe emerges as one of the first serious critics and translators of Spanish prose work in the English-speaking world.
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García-Martín, Elena Richmond-Garza Elizabeth M. Holloway Vance R. "Negotiating Golden Age tradition since the Spanish Second Republic performing national, political and social identities /." 2004. http://repositories.lib.utexas.edu/bitstream/handle/2152/2555/garciamartine042.pdf.
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García-Martín, Elena. "Negotiating Golden Age tradition since the Spanish Second Republic: performing national, political and social identities." Thesis, 2004. http://hdl.handle.net/2152/2555.
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Hoess, Lucia. "The concept of the garden in selected Spanish works of the Medieval and Golden Age." Thesis, 1994. http://hdl.handle.net/2429/7085.
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The vision of a beautiful garden has been a constant in
man's imagination. Within the Judeo-Christian tradition, that
vision was manifest as a longing for a return to the primeval
paradise. Throughout the ages, this longing has found expression
in art and literature and very often, the image of the garden has
become associated, and even synonymous, with Heaven itself.
In the Spanish literature of the late Middle Ages, the
Renaissance, and the Baroque, the image of the garden as "hortus
conclusus" enjoyed wide popularity. During the Middle Ages, that
topos was mostly used in an allegorical context with a moralizing
intent. In the Renaissance, the popularity of the topos decreased
in favour of the concept and landscape of Arcadia, except in
mystical literature, where it continued to flourish. The Spanish
Counter-Reformation brought about a revival of religious
intensity, often not without medieval undertones, and during this
time. Arcadian Renaissance elements were carried over into the
new epoch, albeit set into a new context, as the aesthetic appeal
to the senses was now put in the service of God's praise.
A parallel study of the treatment of gardens in literature
in contrast with gardens in real life shows whether, in each
epoch, real life gardens exerted an influence on imaginary
gardens, or whether literary gardens were used as models for the
creation of the real ones. From such a study it is possible to
hypothesize that both, real and literary gardens can reflect the
cultural climate of their times, and that any changes in their presentation can be indicative of changes in contemporary beliefs
and concerns. The garden, concealed as a literary or philosophic
topic, or as a commentary on social issues, can thus represent a
place of learning and meditation, a plaisance for love and
secrecy, a mere background for dramatic presentations, or an
encomium in praise of God's creation.
The five Spanish authors selected to test that hypothesis
wrote at different periods and with different purposes. Their
individual conception of the garden as a literary or ontological
place has been studied and contrasted via a string of focal
points: the type of garden conveyed, their view of the garden as
a sacred place, the contrasting concepts of solitude and
isolation related to different gardens; activities inside the
garden; the possible changes a garden undergoes through mood
perception and temporal variations; the garden residents'
relationship to the divinity; and their hope for a return to
paradise.
Since the function implied by the authors of these five
literary gardens reveals the audience they had in mind, it can
be said that the garden has also the function of an exemplary
text, and can thus be used as 1. a seductive didactic lesson;
2. as an admonitory moral "exemplvim"; 3. as a religious manual;
4. as a reflection on, and praise of, divine harmony; and 5. as a
gallery of erudition. A garden is therefore able to disclose the
attitudes and values projected onto it by its author and its
time, allowing the reader a glimpse into its "Zeitgeist".