A Star-crossed Golden Age: Myth and the Spanish ComediaFrederick A. De Armas Bucknell University Press, 1998 - 247 páginas This collection of essays grew out of a National Endowment for the Humanities Institute directed by Frederick A. de Armas and contains essays by the director, some of the visiting faculty, and the participants. The book seeks to develop the link between mythology and the comedia through a number of approaches, including astrology, cartomancy, pre-Socratic elemental cosmology, iconography, hagiography, metamorphoses, Lacanian psychoanalysis, Jungian principles, the philosophy of Schopenhauer, Santayana's poetics, syncretism, gender studies, and Vedic theories. |
Índice
| 17 | |
| 30 | |
The Hermetic Tarot of the Numancia | 46 |
Spheres of Reality in Ruiz de Alarcons La verdad sosphechosa | 62 |
The Metamorphic Tradition | 73 |
The Mythological and Astrological Subtexts of La fundadora de la Santa Concepcion | 75 |
Myth and Metamorphosis in Tirsos Privar contra su gusto | 89 |
Gender Ambiguity and Destiny in Golden Age Drama | 112 |
Myth and the Honor Code in Lope de Vegas El perro del hortelano | 137 |
Astraea the Pax Christiana and Lope de Vegas Santa Casilda | 150 |
Gilas Role in Velez de Guevaras La serrana de la Vera | 162 |
The Gods of Calderon | 177 |
The Duality of Calderons La estatua de Prometeo | 179 |
Discovering Infinity in the Labyrinth of Reason | 197 |
Versions of Christian Truth in Calderons Orpheus Autos | 219 |
Works Cited | 229 |
Outras edições - Ver tudo
A Star-crossed Golden Age: Myth and the Spanish Comedia Frederick A. De Armas Visualização de excertos - 1998 |
A Star-Crossed Golden Age: Myth and the Spanish Comedia Frederick A. De Armas Pré-visualização indisponível - 1998 |
Palavras e frases frequentes
Abenámar Achilles action Agueda allegory amor ancient androgyny Apollo Aquiles Armas Astraea astrological Beatriz blanca burlador de Sevilla Calderón Casilda characters Christian classical Daphne death Deidamia Diana divine Don Juan Doña drama Edited Emblem Epimetheus estatua de Prometeo Fadrique Fadrique's father figure fire four elements García gender Gila Gila's goddess Greek honor code human Ícaro Isabel Isabela Jacinta Juan de Cardona Juan's Juno king labyrinth Leonora Lope de Vega Lucrecia Madrid mano Marquino marriage Metamorphoses metaphor Minerva monstruo mujer myth mythical mythology Numancia Numantines Orpheus Ovid Ovid's pagan paradox paso Perro play play's Privar Prometeo Prometheus pues reference Renaissance represents role Segismundo serrana mountain woman Siglo de Oro Spain Spanish Golden Age story symbol tarot teatro Teodoro theater tion Tirso de Molina Toruvio tradition transformation translation Tristán truth University Press Vedic Vélez Venus verdad sospechosa vida es sueño
Passagens conhecidas
Página 19 - The only way of expressing emotion in the form of art is by finding an " objective correlative " ; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion ; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
Página 88 - Now is come the last age of the song of Cumae; the great line of the centuries begins anew. Now the Virgin returns, the reign of Saturn returns; now a new generation descends from heaven on high. Only do thou, pure Lucina, smile on the birth of the child, under whom the iron brood shall first cease, and a golden race spring up throughout the world!
Página 34 - ... como en ventura sola, tirana me reservo de sus prisiones locas, aquí donde el sol pisa soñolientas las ondas, alegrando zafiros las que espantaba sombras.
Página 58 - The god of writing is thus at once his father, his son, and himself. He cannot be assigned a fixed spot in the play of differences. Sly, slippery, and masked, an intriguer and a card, like Hermes, he is neither king nor jack, but rather a sort of joker, a floating signifier, a wild card, one who puts play into play.
Página 228 - Orfeo, aquél que con la armonía de su lira atraía los montes, paraba los ríos, arrancaba los árboles, suspendía las fieras y todo lo atraía a sí. El verdadero Orfeo es aquel señor que, teniendo estirados sus sagrados miembros en la lira de la cruz, con aquellas clavijas de los duros clavos hizo tan dulce y suave armonía, que atrajo a sí todas las cosas: Si exaltatus fuero a térra omnia traham ad me ipsum.
Página 146 - Mil veces he advertido en la belleza, Gracia y entendimiento de Teodoro, Que a no ser desigual a mi decoro, Estimara su ingenio y gentileza.
Página 32 - ... (as fire is to air so is air to water, and as air is to water so is water to earth) ; and thus he bound and put together a visible and tangible heaven.
Página 42 - Aminta, escucha y sabrás, si quieres que te lo diga, la verdad, que las mujeres sois de verdades amigas. Yo soy noble caballero, cabeza de la familia de los Tenorios, antiguos ganadores de Sevilla.
Página 56 - Numancia de do el contrario pueda hacer ganancia. En medio de la plaza se haga un fuego, en cuya ardiente llama licenciosa nuestras riquezas todas se echen luego, desde la pobre a la más rica cosa...