Pub Date : 2023-04-03DOI: 10.1080/00397709.2023.2200096
Christopher D. Gascón
Abstract Diversity and inclusivity have guided many scholars of Hispanic Golden Age drama in their attempts to cover new ground and incorporate fresh insights in the first quarter of the twenty-first century on early modern theater written in Spanish. The six essays in this special issue provide a sampling of that spirit, exploring themes such as physical, ethnic, and political otherness, the dynamics of gender and caste in professional theater, and the ability of music to communicate transcendence and reconcile sacred and secular. Authors included are Glenda Nieto-Cuebas, Pablo García Piñar, Erin Cowling, Sharon Voros, Susan Paun de García, and J. Yuri Porras. They discuss the theatrical work of Lope de Vega, Calderón de la Barca, Sor Juana Inés de la Cruz, Juan Ruiz de Alarcón, Diego Sánchez de Badajoz, Ignacio Amestoy, Ainhoa Amestoy, Bernarda Ramírez, and Petronila Jibaja.
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Pub Date : 2023-04-03DOI: 10.1080/00397709.2023.2200104
J. Yuri Porras
Abstract Music in Iberian early modern theater presents the complex challenge of recovery and coherent contextualization, especially in PreLopean theater. Diego Sánchez de Bajadoz deserves more attention not merely because some of his works operate as proto-zarzuelas but also because his drama pertains to a declining cycle in the trajectory of Spanish sacred theater. This essay will focus on how Diego Sánchez utilized music to intensify and inspirit sacred scripture to reclaim its luster, particularly in Farsa del juego de las cañas, alternating villancicos, coplas, hymns, singing, and dancing that bridged Iberian primitive and early modern musical thought, dramatic structure, and performance practice.
摘要伊比利亚早期现代戏剧中的音乐呈现出恢复和连贯语境化的复杂挑战，尤其是在前洛潘戏剧中。Diego Sánchez de Bajadoz值得更多关注，不仅因为他的一些作品以原型zarzuelas的形式运作，还因为他的戏剧属于西班牙神圣戏剧轨迹中的一个衰退周期。这篇文章将聚焦于迭戈·桑切斯如何利用音乐来强化和激励神圣的经文，以恢复其光泽，特别是在《法尔萨》中，交替的维兰西科斯、科普拉、赞美诗、歌唱和舞蹈，将伊比利亚原始和早期现代音乐思想、戏剧结构和表演实践联系起来。
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Pub Date : 2023-04-03DOI: 10.1080/00397709.2023.2200097
Glenda Y. Nieto-Cuebas
Abstract This article examines how Lope de Vega is brought to center stage as a character in the recent theater production Lope y sus Doroteas o cuando Lope quiere, quiere (2021), written by Ignacio Amestoy and directed by Ainhoa Amestoy. The play explores Lope’s last years, his literary work, his relationship with his youngest and illegitimate daughter, Antonia Clara, and his personal struggles. This analysis delves into some theatrical choices used in this production to craft the narrative and highlight Lope’s own obsessions and self-absolution through his relationship with his younger daughter. More specifically, it explores how metatheatrical devices draw attention to Lope’s past, present, and future as he confronts his own mistakes, love affairs, his daughter’s intimate relationship with a womanizer, and his own impending death.
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Pub Date : 2023-04-03DOI: 10.1080/00397709.2023.2200095
E. Cowling
Abstract The debates surrounding Sor Juana Inés de la Cruz’s fictional work have frequently centered on her use of autobiographical details to inform her characterizations and plots. In Los empeños de una casa, Sor Juana incorporates not only her personal details but also her deep connections to Mexico as a colonized state, to an extent not yet fully explored by scholars. Thus, she breaks the rules of her peninsular counterparts, and subsequently critiques Spain as an imperial power under the guise of a simple comedia de capa y espada. Although the gracioso servant, Castaño, has always been obviously a colonial figure, there are arguments that two more of the protagonists have New World roots. As the play progresses, we find they can overcome the machinations of their peninsular foils at least in part due to their outsider status, ultimately demonstrating a kinder, gentler form of living and loving. Given the play’s original intended audience of religious and secular powers, this demonstrates not only Sor Juana’s subtle genius, but her ability to fly under the radar of her potential censors, ultimately foreshadowing the issues that would arise as Spain’s reach grew into an uncontrollably large empire, destined to fail.
围绕索尔·胡安娜·因萨梅斯·德拉克鲁兹小说作品的争论常常集中在她使用自传细节来塑造人物和情节上。在Los empeños de una casa中，索尔·胡安娜不仅融入了她的个人细节，还融入了她与墨西哥作为一个殖民国家的深刻联系，这种联系的程度尚未得到学者们的充分探讨。因此，她打破了半岛上同行的规则，随后批评西班牙是一个披着简单的“权力喜剧”外衣的皇权国家。虽然这位仁慈的仆人Castaño显然一直是一个殖民地人物，但也有观点认为，还有另外两位主角具有新世界的根源。随着剧情的发展，我们发现他们可以克服半岛挫败的阴谋，至少部分原因是他们的局外人身份，最终表现出一种更善良、更温柔的生活和爱。考虑到这部剧最初的目标观众是宗教和世俗势力，这不仅展示了索尔·胡安娜微妙的天才，还展示了她在潜在审查者的监视下潜行的能力，最终预示了随着西班牙扩张成为一个无法控制的大帝国，注定要失败的问题。
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Pub Date : 2023-04-03DOI: 10.1080/00397709.2023.2200101
Susan Paun de García
Abstract From earliest times, the life of actors or actresses was a sort of “escaparate” or showcase, always on display. Much like today’s gliteratti, they were both admired and looked down upon. If the acting profession was seen as morally reprehensible in general, the attitude toward women was no less critical. Given social norms that saw the female sex almost exclusively in terms of her body and the female actor in terms of her class, women ought to know their place and keep to it. That actresses were free to look, act, dress, and behave like their “betters” represented a threat to social and moral order, a threat as often condemned from the pulpit as confirmed in the news sources of the time. Nevertheless, then as now, a good scandal—one involving the highest levels of society and carried on abroad—could “make” one’s career. Two examples of “making it” abroad—a hundred years apart—are Bernarda Ramírez (1615?–1662) and Petronila Jibaja (1692–1763). Both were of humble origin, both were admired, favored, and kept by aristocrats abroad, and both returned to Spain with fame and fortune that they were able to maintain until their careers ended.
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Pub Date : 2023-04-03DOI: 10.1080/00397709.2023.2200098
Pablo García Piñar
Abstract Juan Ruiz de Alarcón’s Las paredes oyen is not an ordinary comedia. Its verses portray the embodied and social experience of disability in seventeenth-century Spain from the insider perspective of a disabled person. The play had a successful eighteen-year run in the Habsburg Court of Philip IV, but, paradoxically, it was never performed as Ruiz de Alarcón originally envisioned. Archival evidence shows that the play’s main character, a man with an undisclosed bodily deformity, was consistently portrayed as bodily normative. The present study delves into the logic behind such an intentional omission, ascribing these attitudes toward the staging of deviant corporealities in leading parts to both the principles of dramatic decorum and theater’s financial reliance on the audiences’ preferences. In addition to inviting playgoers to experience life as a person with a disability vicariously, Ruiz de Alarcón’s ultimate intention in Las paredes oyen is to challenge the way in which non-normative bodies were traditionally represented in Golden Age theater. To convey his message, Ruiz de Alarcón bent the rules of decorum in the characterization of the leading man, a departure from the playwriting conventions of the Arte nuevo that led to a bitter dispute with Lope de Vega.
摘要胡安·鲁伊斯·德·阿拉康的《Las paredes oyen》不是一部普通的喜剧。它的诗句从残疾人的内部视角描绘了17世纪西班牙残疾的具体化和社会体验。该剧在菲利普四世的哈布斯堡王朝成功上演了18年，但矛盾的是，它从未像鲁伊斯·德·阿拉康最初设想的那样上演。档案证据表明，该剧的主角，一个有着未公开的身体畸形的男人，一直被描绘成身体规范。本研究深入探讨了这种故意省略背后的逻辑，将这些对在主要部分上演越轨肉体的态度归因于戏剧礼仪原则和剧院对观众偏好的财政依赖。除了邀请观众以残疾人的身份体验生活外，Ruiz de Alarcón在Las paredes oyen的最终意图是挑战黄金时代剧院传统上非规范性机构的表现方式。为了传达他的信息，Ruiz de Alarcón在对男主角的刻画中违反了礼仪规则，这偏离了新艺术的剧本创作惯例，导致了与Lope de Vega的激烈争论。
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Pub Date : 2023-01-02DOI: 10.1080/00397709.2022.2164655
Rori Bloom
Abstract Although Casanova’s memoirs appear to tell the story of his erotic adventures, this article argues that Part 3 Chapter 13 of the Histoire de ma vie is organized around an interrogation of esthetics. Specifically, in the last chapter recounting his first stay in Paris, Casanova evokes different paintings and painters to develop his own ideas on representation. In explaining his relationship to portraits of Louise O’Murphy (a mistress of Louis XV) and the duchesse de Chartres as well as to the painters Sanson and Francesco Casanova (a brother of the author), the writer questions the painter’s goal of producing a realistic representation. Valuing paintings not only for their truth but also for their beauty, Casanova at the same time redefines the aims of writing, offering the reader a way to appreciate his autobiography less as an accurate relation of his life but as an artistic creation.
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Pub Date : 2023-01-02DOI: 10.1080/00397709.2022.2164661
A. Kaempfer
Santiago Acosta is the PRODiG Fellow at the State University of New York (SUNY) in Old Westbury, with a dual appointment in the Department of Modern Languages and the History and Philosophy Department. He holds a PhD in Latin American and Iberian Cultures from Columbia University. His academic research centers on modern and contemporary Latin American cultural production, which he analyzes through the lenses of critical theory, political economy, and environmental history.
{"title":"The Desertmakers: Travel, War, and the State in Latin America","authors":"A. Kaempfer","doi":"10.1080/00397709.2022.2164661","DOIUrl":"https://doi.org/10.1080/00397709.2022.2164661","url":null,"abstract":"Santiago Acosta is the PRODiG Fellow at the State University of New York (SUNY) in Old Westbury, with a dual appointment in the Department of Modern Languages and the History and Philosophy Department. He holds a PhD in Latin American and Iberian Cultures from Columbia University. His academic research centers on modern and contemporary Latin American cultural production, which he analyzes through the lenses of critical theory, political economy, and environmental history.","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":"77 1","pages":"49 - 51"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49311361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/00397709.2022.2164658
Carlos Gustavo Halaburda
Abstract Sexual practices disassociated from the intimate family milieu and its reproductive futures were considered a betrayal against collective national wealth in fin-de-siècle Mexican Naturalism. One of the best-known scenes of the punishment for delitos de incontinencia (sexual incontinency) appears in Santa (1903), a representative urban novel by Federico Gamboa. Santa was perhaps the most widely read fiction about prostitution in early twentieth-century Latin America. At the same time, it had a moralistic agenda that combined medico-legal and religious discourse to stigmatize premarital sex. The novel was not only a literary rendition of sex trafficking in modern Mexico City, it was also a portrayal of the defamation endured by plebeian pregnant women, whose loss of virginity outside marriage left them exposed to sexual exploitation. With an emphasis on the scene of Santa’s miscarriage, this article analyzes the interruption of gestation as a punishment of a sovereign male narrator against the young woman’s premarital sex with her lover, the soldier Marcelino Beltrán. Likewise, I contextualize the novelist’s fixation with virginity and the hymen through a dialogue with a series of texts on obstetrics and legal medicine, which includes the medical treatise El hímen en México (1885) [The Hymen in Mexico] by the pharmacist Francisco A. Flores and the novel El hijo del Estado (1884) [The Son of the State] by Hilarión Frías y Soto.
摘要与亲密家庭环境及其生殖未来脱节的性行为被认为是对墨西哥自然主义中集体国家财富的背叛。费德里科·甘博阿的代表性都市小说《圣诞老人》（1903）中出现了对性失禁的惩罚的最著名场景之一。《圣诞老人》可能是二十世纪初拉丁美洲最受欢迎的关于卖淫的小说。与此同时，它有一个道德议程，将医学、法律和宗教话语结合起来，污蔑婚前性行为。这部小说不仅是对现代墨西哥城性交易的文学再现，也是对平民孕妇所遭受诽谤的刻画，她们在婚外失去童贞，从而遭受性剥削。本文以圣诞老人流产的场景为重点，分析了妊娠中断作为一个主权男性叙述者对这位年轻女子与她的情人、士兵Marcelino Beltrán婚前性行为的惩罚。同样，我通过与一系列关于产科和法律医学的文本的对话，将小说家对童贞和处女膜的执着置于背景中，其中包括药剂师弗朗西斯科·弗洛雷斯的医学论文《墨西哥的海门》（El hímen en México，1885）和希拉里·弗里亚斯·索托的小说《国家之子》（El hijo del Estado，1884）。
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Pub Date : 2023-01-02DOI: 10.1080/00397709.2022.2164663
Luz Ainaí Morales-Pino
text, da Cunha’s “essay of national interpretation seeking to offer a historical or social explanation of the specific features that characterize the country’s dynamics” is paradigmatic (214). Uriarte remarks on da Cunha’s references “to the figure of the traveler, the walker, or the observer who roams the region of the sertão,” which in the second part of da Cunha’s book will characterize the Conselheiro himself as a nomadic figure (215). In each case, this traveler’s agency is defined by the challenge of making sense of places conceived as ravaging landscapes, hosting an even more brutal war between the government and local resistances. Uriarte goes back to works he previously analyzed in this study to underline a fluid, mobile, and totalizing reality that needed to be subjected, “organized,” by the state once it is cleaned up from the disruptions caused by the process of transformation and consolidation of the same state (222). The final stage of that organization, however, as Uriarte previously demonstrated with regard to Burton, Hudson, and Moreno—created over the void assured by the war or articulated over a war-like background—becomes the ruins, or the ruined expression of the progress that would come with the war. The initial forces and programs culminating in a long colonial and national construction process would face challenges, both expected and unexpected, over the course of the following century. Uriarte’s book is a great contribution to specialized and non-specialized readers of the XIX Century Latin American literature, history, and political process as well as interdisciplinary approaches to war and national construction processes.
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