Documents published in Scipedia

• Style and metaphorical language in «Los cigarrales de Toledo»

  L. Dolfi

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  This paper analyses the metaphorical language of Cigarrales de Toledo, emphasizing its variety and the presence of saturated semantic fields (economic, legal, medical, funeral, etc.) in unexpected contexts and often associated to the same characters. It evidences an intentional descriptive attention and a frequent use of enumeration, which —adding to metaphors, bisemie, paronomasie, and other various rhetorical figures— enriches the text of details and nuances. Another important element is the repeated habit of quantify all that is told, that is a lure to concreteness and an intentional compensation to the world of images.

  Abstract
  This paper analyses the metaphorical language of Cigarrales de Toledo, emphasizing its variety and the presence of saturated semantic fields (economic, legal, medical, funeral, [...]

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• Secrets and Tricks in a Lope de Vega’s Comedy: «El gran duque de Moscovia»

  L. Feijoo

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  This comedia by Lope de Vega has received few criticism until now. Most of the studies about this play deal with its date: 1613 is commonly accepted as the year of composition. This article tackles this problem and defends the year 1608 by establishing the connection between the comedia and its sources. This article also explains the segmentation and structure of this comedia

  Abstract
  This comedia by Lope de Vega has received few criticism until now. Most of the studies about this play deal with its date: 1613 is commonly accepted as the year of composition. [...]

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• Francisco Galeas’s Unpublished Dramatic Works (Hispanic Society of America, Ms. HC380/611)

  M. Peña

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  As indicated at the beginning of this paper, it deals with a small number of unpublished plays by a late 16th - early 17th century writer. Apart from incorporating his production to the history of drama, I try to lay emphasis on the fact that he, being an amateur playwright, was responsible for the performance of his own plays, at an age when theatre was rapidly becoming commercial and professional. The way his personal circumstances influenced his own creative work is also taken into account. This author has certainly to be viewed within his own time and personal and literary history.

  Abstract
  As indicated at the beginning of this paper, it deals with a small number of unpublished plays by a late 16th - early 17th century writer. Apart from incorporating his production [...]

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• «Deconstructing» Calderón: Criticism Dramaturgy of Francisco Ruiz Ramón

  E. Cuadros

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  The study examines the critical point of view and research methodology that was applied by Francisco Ruiz Ramon (1930-2015) to analyze Spanish Theater, from its excellent Historia del teatro español (1967) to his latest research focused on Pedro Calderón de la Barca (1600-1681) and, especially, in its review as a contemporary classic in the history of European theater. To do it, the study pays particular attention to Ruiz Ramón’s biographical and academic circumstances and the critical currents that inspired its «Calderón reading» model, which contributed decisively in the renewal of Golden Age Theather historiography

  Abstract
  The study examines the critical point of view and research methodology that was applied by Francisco Ruiz Ramon (1930-2015) to analyze Spanish Theater, from its excellent [...]

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• «Los pajes golosos», an Unknown and Unpublished Novohispanic Entremés from the 18th Century

  A. Durán

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  This work consists of the edition of a novohispanic entremés from the 18th century entitled Los pajes golosos [the gluttonous pages]. This is an unknown and unpublished interlude which inscribes itself in the orbit of the famous entremés-specialist Luis Quiñones de Benavente. The play is here related to better-known interludes (one with the same title but written by León Merchante and another one, anonymous, entitled Perico y Marina). Its linguistic and literary characteristics will also be analysed.

  Abstract
  This work consists of the edition of a novohispanic entremés from the 18th century entitled Los pajes golosos [the gluttonous pages]. This is an unknown and unpublished interlude [...]

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• Notes for a Sacramental Bestiary in Calderón: the Eagle

  J. Baztán

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  This paper analyzes a specific motif, the eagle, as one of the sacramental items best known of the calderonian bestiary. Their study is done through several layers: the compositional, the morphological, the biblical, the political-symbolic and the scenic, showing the complexity of the subject and its peculiar insertion in the sacramental plays of the golden age spanish playwright.

  Abstract
  This paper analyzes a specific motif, the eagle, as one of the sacramental items best known of the calderonian bestiary. Their study is done through several layers: the compositional, [...]

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• The Rocky Road to Sainthood: Saint Teresa of Avila (1515-1582) in the Collective Imagination of her Times

  R. Rice

  Revista Test Hipogrifo (2016). Vol. 4, (2), 1

  
  

  Abstract

  Saint Teresa of Jesus is the most important modern model for feminine religiosity. Nevertheless, in her times, her actions and her persona were under the ecclesiastical hierarchy’s skeptical scrutiny. By means of an analysis of La vida de Santa Teresa de Jesus (1590) by Francisco de Ribera and of one of the many comedies composed for her beatification in 1614, La bienaventurada madre Santa Teresa de Jesús, an apocryphal work by Luis Velez de Guevara, I propose to confi­gure a portrait of the Saint from the point of view of the epoch’s collective imagination. Her configuration in the collective imagination was not always positive.

  Abstract
  Saint Teresa of Jesus is the most important modern model for feminine religiosity. Nevertheless, in her times, her actions and her persona were under the ecclesiastical hierarchy’s [...]

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• The Starry Sky in Sacramental Cosmology by Calderón

  A. Miramón

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  The starry sky, from the Greeks, has had a wide impact on the neo-Platonic world, but from El sueño de Escipión by Ficino and Leon Hebrew, it acquires a decisive importance for the subsequent literature by the possibility of so many relationships and correspondences and it is, moreover, favoured by the science of the time . Calderon used all known sources in mystery plays to expose a cosmology and show the dramatic and lyrical possibilities of this motif

  Abstract
  The starry sky, from the Greeks, has had a wide impact on the neo-Platonic world, but from El sueño de Escipión by Ficino and Leon Hebrew, it acquires a decisive importance [...]

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• Perspectivism and Symbolic Spaces in «La vida es sueño»

  E. Rull

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  In this paper we try to investigate the value of cosmic calderonian perspectives in La vida es sueño, showing how from the beginning of this work and through to completion of the whole of it, it is conceived as a dialectic of verticality, establishing the paradigm «down-up» as a dramatic technique in which both the symbolic dimensions of the scenery and its reflection in the moral world play a fundamental role

  Abstract
  In this paper we try to investigate the value of cosmic calderonian perspectives in La vida es sueño, showing how from the beginning of this work and through to completion [...]

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• Political Readings of Calderon’s Comedies: the Case of «Amor, honor y poder»

  J. Rubiera

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  This paper challenges Don Cruickshank’s interpretation of Amor, honor y poder who speculates on the parallels between some play’s characters (Rey Eduardo, Flérida, Teobaldo) and historical personnages in 1623, when the play was performed in Madrid (Philip IV, María Anna of Spain, Prince of Wales). The author shows the flaws in Cruickshank’s arguments and at the end provides some methodological reflections on the analysis and interpretation of dramatic texts.

  Abstract
  This paper challenges Don Cruickshank’s interpretation of Amor, honor y poder who speculates on the parallels between some play’s characters (Rey Eduardo, Flérida, Teobaldo) [...]

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