Don Quixote, Don Juan, and Related Subjects: Form and Tradition in Spanish Literature, 1330-1630Susquehanna University Press, 2004 - 282 páginas This is a study of major figures, texts, and periods in Spanish literature prior to 1700. It applies - and interrogates - modern critical theory. Contributing to its cohesiveness are the time span addressed (1330-1630) and the emphasis throughout on literary tradition and critical approaches. It is inspired partly by Ramiro de Maeztu's 1926 monograph, Don Quixote, Don Juan y la Celestina, devoted to the three characters Maeztu felt to be the most important in the Spanish literary canon. include Celestina. The volume is divided into three parts. The first of these deals with Don Quixote, the second centers around the Don Juan figure created by Tirso de Molina, while the third ventures farther back in time to treat the major texts of the fourteenth, fifteenth, and sixteenth centuries, along with the problematic period concepts Renaissance and Baroque. James A. Parr is Professor of Spanish at the University of California, Riverside. |
Índice
| 27 | |
Formal Features and Narrative Technique | 52 |
Framing Orality Origins | 73 |
Don Quixote and Le Roman bourgeois Comparative Anatomy | 97 |
Don Juan and Classical Spanish Drama | 117 |
Don Quixote and Don Juan The Body in Context | 119 |
El burlador de Sevilla Authorship and Authenticity | 138 |
Don Juan and His Kind Generic Irony | 164 |
Three Periods Three Classics | 197 |
The Libro de Buen Amor A Design for Desire | 199 |
La Celestina Ut Pictura Poesis | 214 |
Lazarillo de Tormes Rhetoric and Referentiality Fact and Fiction | 227 |
Periodization Prior to 1700 A Modest Proposal | 248 |
| 262 | |
| 277 | |
Two Characters from Seville The Canon and the Culture Wars | 176 |
Otras ediciones - Ver todo
Don Quixote, Don Juan, and Related Subjects: Form and Tradition in Spanish ... James A. Parr Vista de fragmentos - 2004 |
Términos y frases comunes
aesthetic beginning buen amor burlador de Sevilla caballero Calixto called Catalinón Celestina century Cervantes Cervantes's chapter Cide Hamete Claramonte Comedia convidado de piedra critical deconstruction Derrida diegesis diegetic dimension discourse disnarration Don Juan Don Quixote Doña Endrina drama edition editorial voice episode evidence fact Fernández fiction focus frame Furetière genre golden age Hamete's Harold Bloom historical inferred instance irony La Celestina largo Lazarillo Lazarillo de Tormes Libro literary literature Lope Lope de Vega Luis Vázquez main character means Melibea Melón metalepsis metonymy Miguel de Cervantes modern myth mythemes narratology narrator notion offers orality original perspective picaresque play postmodern present princeps prologue Quixote's Raffel reader reading realistic novel reality Renaissance rhetoric role romance Sancho satire seems select canon sense serve Spain Spanish speak story structure studies suggest supernarrator theory tion Tirso de Molina tradition tragedy tragicomedy translator words writing
Pasajes populares
Página 30 - Toda esta larga arenga -que se pudiera muy bien escusar- dijo nuestro caballero porque las bellotas que le dieron le trujeron a la memoria la edad dorada y antojósele hacer aquel inútil razonamiento a los cabreros, que, sin respondelle palabra, embobados y suspensos, le estuvieron escuchando.
Página 33 - Bien es verdad, que el segundo autor de esta obra no quiso creer que tan curiosa historia estuviese entregada a las leyes del olvido, ni que hubiesen sido tan poco curiosos los ingenios de la Mancha...
Página 32 - Dicen que en el propio original desta historia se lee que, llegando Cide Hamete a escribir este capítulo, no le tradujo su intérprete como él le había escrito, que fue un modo de queja que tuvo el moro de sí mismo, por haber tomado entre manos una historia tan seca y tan limitada como esta de don Quijote...