Showing papers in "Hispanic Review in 1990"

Calderón y el Barroco

Abstract: Amadei-Pulice examines the conflict between Lope's dramatic formula (comedia) and the new polytechnic formula that in the hands of Calderon merged dramatic poetry with visual and auditory effects (comedia de teatro). The author places the Spanish baroque theater within the wider context of a revolution in the theory of representation, signs, and meanings that took place at the beginning of the seventeenth century and marked the appearance of a new dramatic style: the stile rappresentativo. Special attention is given to the techniques and applications of perspectival scenery, stagecraft, optics, and the creation of visual and sound effects contributed by the Florentine melodramma. The highlighting of Italian dramatic theory and practice reveals that Calderon was an innovator and creator of a new concept in theater.

Unamuno and the Religion of Uncertainty

Abstract: f. HERE has rarely been a writer who was more preoccupied with religion than Miguel de Unamuno, since almost everything he wrote can ul* timately be related to his efforts to resolve the . problem of the existence of God and the immorWr) tality of the soul. It is often taken for granted Sthat, in spite of his preoccupation with religious matters, most critics think that Unamuno did not believe, or as Vicente Marrero Suarez puts it: "Cada vez se ponen mas de acuerdo los estudiosos sobre que Unamuno, en el fondo, no creia" (251). Nevertheless, I have found that this opinion is not completely accurate. Although many critics do regard him as a nonbeliever, they are by no means a majority, since there is a large group of writers who see him as a believer, and still another group feels that his attitude was somewhere in between the two extremes of belief and unbelief. One of the first to express a positive opinion with regard to Unamuno's religious faith was his friend and fellow-poet, Antonio Machado, when in the concluding lines of his poem, "A Miguel de Unamuno," he wrote:

Realismo y naturalismo en España en la segunda mitad del siglo XIX

Abstract: Actas del Congreso Internacional celebrado en la Universidad de Toulouse-le Mirail del 3 al 5 de noviembre de 1987

Doubles in Hell: "El burlador de Sevilla y convidado de piedra"

Abstract: U IRSO de Molina's El burlador de Sevilla y convidado de piedra (c. 1630) is a play with a deceptively simple happy ending. After sinning against society and against God throughout the four adventures that compose the dramatic action, Don Juan finally meets with his just fate in the flames of hell. In the closing scene, the King heralds the return to social order by ordaining the marriage of Don Juan's victims; the source of the community's problems, he proclaims, has been dealt his just punishment from Heaven:

Hacia una poética del relato didáctico: ocho estudios sobre El Conde Lucanor

Abstract: Through close readings of eight tales from the Conde Lucanor, Anibal A. Biglieri offers the foundation for a Poetics of short didactic narratives. Biglieri's point of entry into this canonical work is his analysis of the text's unique relation with reality. This book also offers insights about the significance of the frame story, the ethics of social position, and the relationship between the author and his text. Hacia una poetica del relato didictico reaffirms the foundational role that El Conde Lucanor plays in the development of narrative structures, and celebrates the complexity of this quintessential landmark of Hispanic literature.