109 research outputs found
Peter Cocozzella 'Text, Translation and Critical Interpretation of Joan Roís de Corella's 'Tragèdia de Caldesa'' [Ressenya]
No full textRessenya del llibre de Peter Cocozzella 'Text, Translation and Critical Interpretation of Joan Roís de Corella's 'Tragèdia de Caldesa'
Aspectes de la persona tràgica en Salvador Espriu
No full textPartly inspired by Miguel de Unamuno and partly by Ramón del Valle-Inclán, Salvador Espriu (1913-1985), the most important poet of the Catalan Civil War generation, developed his own version of the tragic mode. Throughout Espriu\u27s entire literary work, this mode emerges in the multiple development of the "I/You symbiosis". The "I" represents the author\u27s highest level of consciousness, transformed into the essential epiphany of Espriu\u27s persona; the "You" is the complementary other, linked to the "I" in an indissoluble existential duality. Espriu shows that the "I/You" duality is often of contradicting nature: It explains itself as a dialectic with metaphysical depths and far-reaching ethical and theological implications. Ultimately, Espriu proves that literature in general and theater in particular are a direct projection of what Unamuno would call the "tragic meaning of life." Tragedy – in the various aspects examined by this study – is Espriu\u27s original representation of existence itself
Fra Francesc Moner's bilingual poetics of love and reason the "wisdom text" by a Catalan writer of the early Renaissance
No full textof the Fifteenth Century: An Icon of Ambivalence in the Misogynistic Background of Celestina, Act I
No full textSummary: A short one-stanza poem, identified by the rubric «Cobla sparsa de lahor he deslaor,» is emblematic of the ambivalence that informs the «Maldezir de mugeres,» signature piece of Pere Torroella, renowned Catalan writer of the fifteenth century. The present essay is an attempt to demonstrate how the alternation of laor (‘praise’) and deslaor (‘unpraise’) plays a paramount role within the wide context of the debate about women in both Castilian and Catalan literature of the 1400s. For a background of that debate, I adduce evidence in the poetry of the troubadours and in the cants of the nonpareil Valencian bard, Ausiàs March. Ultimately, the paradoxical laor/deslaor conflation reflects a two-pronged phenomenology: 1) the tradition of dysfunctional rhetoric that comes to a head in the fractious dialogue illustrated in Act I of the Tragicomedia de Calisto y Melibea, better known as Celestina; 2) the definition of Torroella’s self-fashioning in terms of the process of coming to grips with the authenticity of a lover’s experience. [Keywords: «Gender debate»; irony; maldit; misogyny; repetitio; «textual community»
El dramatismo de la misa de amores: parodia y rito desacralizado en la gestación del teatro sacro español del Renacimiento temprano
No full textThe paramount role of the mass in the birth of Spanish theater of the late Middle Ages or early Renaissance has been duly recognized by authoritative critics and historians. These scholars, however, have paid little or no attention to the centrality of the Eucharist in the gestation phase of that theater. The present essay is focused on the process of adapting the rite of transubstantiation to a dramatic plot on the way to an eventual transmutation into a full-fledged theatrical representation. At issue here are the only four extant specimens of the so-called misa de amores of the fifteenth century. These daring parodies of the Mass include Francesc Moner’s most ingenious rendition of the genre. On the basis of Linda Hutcheon’s innovative theory, one may envisage a parodic mode that conditions the distinctive traits of a “desacralized” ritual, the very matrix of the transmutation in question.El papel destacado de la misa en el nacimiento del teatro español en la tardía Edad Media o principios del Renacimiento ha sido reconocido debidamente por críticos e historiadores de gran prestigio. Aun así, tales estudiosos no han prestado la debida atención a la centralidad del Sacramento Eucarístico con relación a ese teatro en ciernes. En el presente ensayo, el objeto de estudio es el proceso de adaptación del rito de la transubstanciación a una trama que eventualmente se transmuta en una representación teatral en plena madurez. Se imponen a nuestra consideración los únicos cuatro ejemplares que se conservan de la llamada misa de amores del siglo quince. Entre estas atrevidas parodias de la misa se incluye la de Francesc Moner, la versión más ingeniosa del género. A la luz de la teoría innovadora de Linda Hutcheon, se vislumbra la existencia de una modalidad paródica que condiciona las trazas distintivas de un rito “desacralizado”, verdadera matriz de la transmutación en cuestión
La «Passió» catalana del segle XIV: estudi preliminar d'un poema inèdit
No full textThe Passion of Jesus constitutes a highly productive subject for medieval literature and is developed in different formats, some more narrative in character, others dramatic and still some in the form of dialogues. This article presents a Catalan Passió from the 14th century comprising 666 verses and contained in a manuscript held by the Bibliothèque Nationale in Paris. After giving an overview of this hitherto neglected poem and its material features, the article presents a detailed analysis of the text and its various thematic sections; at the same time, the text is compared to another Catalan Passiófrom the same period and transmitted through a codex from the Segarra region, which had been transcribed and (fragmentarily) published in the early 20th century. In comparison to this text, the Parisian Passió turns out to be rather short and concise, void of digressions and particularly suited for dramatic performance
Esbós d 'una alteritat conplementària: Joan Maragall i Miguel de Unamuno
No full textThe epistolario between Miguel de Unamuno (1864-1936), one of the most representative Spanish writers of the fin de siècle, and Joan Maragall (1860-1911), in many ways Unamuno's counterpart from Catalonia. unfolds a rapport of alterity, which reverberates in the ideologies and literary endeavors of both. As a function of reciprocal complementation, the alterity in question comes to bear on cardinal issues, inherent in the individual and comunal dimensions of human existence. Both Unamuno and Maragall dramatize as the heroic agonistes, embodying el sentimiento trágico de la vida. In these captivating phrases, each author perceives, however, a distinctive, commanding perspectivism. Distinctiveness here rests on a paradox, as it does not precludeindeed, it strengthens-the symbiosis of frienship between the two
An Unconventional Spectacle at Plaça del Rei (Barcelona, ca. 1490): Moner’s “Momería,” Conceived in Catalan and “Textualized” in the Language of Castile
No full textFor about five years before he joined the Franciscan order at the age of twenty-eight, the Catalan writer, Fra Francesc Moner (1462/3-ca. 1495), garnered the reputation as a leading exponent of the bilingual (Catalan-Castilian) culture that flourished in the realms of Barcelona and Valencia during the reign of Fernando and Isabel. In his short piece entitled “Momería,” Moner documents the actual performance of a rare, stage-worthy specimen of a genre hitherto unduly neglected and marginalized. I submit that the specimen in question is a vestige of a latent tradition of unconventional theatricality stemming from the dramatic monologue. In the final analysis, “Momería” proves to embody the distinctive characteristics of a viable alternative (illustrated especially by Moner’s major compositions) that vies on its own merit with the splendid production, duly acclaimed, of such a renowned dramatist as Juan del Encina (1468-ca. 1530), Moner’s contemporary
Ekphrasis and the mirrored image: the allegory of despair in La noche by Francesc Moner, a Catalan writer of the late fifteenth century
No full text- …
