La dama duende (Edición de la Biblioteca Virtual Miguel de Cervantes) (Spanish Edition)

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Patricia Boehne's The Renaissance Catalan Novel is a solid scholarly contribution to the study of early Renaissance literature.

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Chapters 1 and 2 describe accurately the main developments of Catalan literature during the late medieval and early Renaissance periods, as well as the development of fiction elsewhere, especially in France and Italy. The appearance of these two novels at the close of the Catalan Renaissance the end of the 15th century , seems to reflect and enhance the whole period.

It was a time of real-life chivalry heroes whose lives seem more fictitious than the fiction that imitates them. The two Catalan novels analyzed in Patricia Boehne's book reflect an authentic social reality recorded without exaggeration. Boehne underlines the difference between Catalan and Castilian literatures at the end of the Middle Ages.

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Castilian literature enters its Renaissance phase later, close to , in part because of political turmoil. Catalonia and Valencia had closer contacts with Italy, both through trade and because of the Catalan-Aragonese presence in Naples. Patricia Boehne's fine study accurately depicts the contribution of Catalan literature to modern fiction and gives a balanced overview of literary influences that should be useful to anyone interested in comparative literature and the birth of modern fiction.

Patterns of Conflict examines the theme of the individual in conflict with society in the Spanish medieval and Golden Age literature. In Part I Ackerlind underscores the importance of rigid social structure and problems of social ascent in Spain of that period. Although the social structure restricted individuals to their places in society, many aspired to a higher social class to improve their reputations as well as their economic condition.

Wealth and appearance, as pointed out in Part 3, often took precedence over virtue and truth. The wealthy frequently used their riches to buy titles of nobility,. The idea of freedom and self-realization often associated with the Beatus ille and the pastoral recurs in poetry, novels, and drama. Although Ackerlind offers no new insight on the theme, those interested in the subject of women in society will find the section useful since it emphasizes how the honor code mostly governed female membership in society.

The theme of the individual and society is fundamental since it concerns the human condition and forms the basis for many Spanish medieval and Golden Age works. Ackerlind provides generous plot summaries for the plays, novels, and short stories cited to support her thesis. While the specialist would yearn for a more analytical study, Patterns of Conflict remains valuable to those interested in Spanish social standards and attitudes during the Middle and Golden Ages and in how the individual in conflict with society served as the principal theme in numerous Spanish works.

These essays, contributed by fifteen of Elias River's students, are a fitting tribute to a teacher capable of awakening interests and inspiring careers. The collection summarizes Elias's interest as a scholar; since it focuses principally on Golden Age poetry, mysticism, the comedia , and Don Quijote. The first essay touches, appropriately enough, on Garcilaso and the poetic voice. After a sensitive exposition of various points, I. Chorpenning's essay on the concept of the heart i. Damiani's comparison of Sannazzaro's Arcadia and La Diana is well done and particularly suitable for students working on the pastoral tradition.

Dealing with semiotics, E. Friedman expounds on the method proposed by Michael Riffaterre's Semiotics of Poetry , and applies it to two Golden Age sonnets. The essay is skillfully composed, offering a sound exposition of this methodology. Sabat's sensitive interpretation of an intellectual amorous epistle written to Lope by a Peruvian lady reminds us that priority was given to hearing and that spiritual love came through the ears, not the eyes, the source of carnal lust.

Spanish Studies: Literature, 1490–1700

Johnson's work on sexuality in Don Quijote. Shipley considers use of proverbs, relating them to the work of Kenneth Burke. A different period is considered by E. As the introduction indicates, this volume presents readings of various Golden Age plays united by the exploration of the dialectical tension between art and history in the texts. The work, divided into ten chapters, begins with a reexamination of the polemic between Reichenberger and Bentley. He then proceeds to deconstruct the apparent opposition between the two currents, demonstrating their interdependence.


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In general, the discussions prove provocative and well-argued. The potential impact of this study extends beyond the field of comedia scholarship in particular to the consideration of dramatic art itself; however, I would note three limitations. First, assuming that the presence of English translations of Spanish passages indicates that the text is intended for non-specialists as well as comediantes , an uninitiated audience might benefit from some background information on the plays and the dramatists absent from many of the chapters , provided that this would not upset the delicate balance between art and history established in the work.

Second, the translations themselves occasionally fail to capture the flavor of the original and might impede rather than enrich the appreciation of the works. In this case, it seems especially important to maintain the active voice to convey Constanza's growing admiration for Domingo which is otherwise lost. Finally, one might question the reliance upon some outdated editions the Imprenta Nacional edition of No hay mal or modern school text editions MacCurdy's La adversa fortuna as primary sources when more reliable versions are available.

The minor reservations expressed above do not diminish the work's significance.

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To the best of my judgment, this text will prove an extremely valuable asset to specialists and non-specialists alike-not only for the astute readings of the plays considered, but also for the theoretical insights incorporated. In all fairness to the prospective reader one should begin by stating that the title given to this slim volume is misleading, suggesting as it does, perhaps, a possibility of new insights or an exploration of further implications hidden within those three inexhaustibly rich literary terms: archetypes, symbols and metatheater.

The fact is that the study is a very narrowly-focused one. After setting forth quite specific and orthodox definitions of the three concepts, the author systematically traces their presence in a number of Golden Age plays. The analysis of each play follows a uniform plan throughout.

This is followed, in many cases, by a short plot-summary preceding the analytical commentary identifying the archetypes and symbols with their variations, upon which the play relies for communicating with its audience. Having demonstrated the frequency with which the tapada the veiled lady recurs as a constant archetype in these plays, the author finds a natural link to the more generalized concept of el papel fingido or dissimulation by the character under some guise or other, and thus to the idea of role playing as a dramatic device.

This last theme is examined as it occurs in two plays by each of the three playwrights, again including La dama duende and Don Gil de las calzas verdes , and forms the second section of the study. Incidentally, no attempt is made to translate the formula, borrowed from Northrop Frye, into Spanish for this publication, presumably designed to reach a Spanish-reading public.

This book performs a useful service in introducing some lesser-known Golden Age plays to its readers and in drawing our attention to the frequency with which dissimulation in the forms of veiling, disguise or social pretense of one kind or another lies at the heart of the Spanish baroque theater. Among the author's conclusions are brief statements comparing the techniques of the three great playwrights with one another, some observations about the characterization of female personages and an affirmation about the verisimilitude of this type of theater.

Such a sentence might well serve as a good starting point for a whole new discussion of the subject in the fight of the sheer artifice and escapism evident and amply demonstrated in the plots so carefully detailed in this study. This book, which is directed primarily to non-Hispanists, offers a fine scholarly view of the personal, social, historical, and literary circumstances of Cervantes's world. It also demonstrates how Don Quijote , with the narrative innovations found in Part I, becomes the prototype of the novel.

The general reader will benefit from the lucid explanations of the masterpiece's narrative structure, its interpolations and interruptions. The specialist will appreciate the perceptive interpretations of specific episodes and sophisticated views on the novel as a genre. In his chapter on Definition, Gilman explores what novels do to readers and how they do it, skillfully incorporating Castro and Ortega's lucid readings of the Quijote , examples from Huckleberry Finn , and ideas of various novelists and theorists.

He illustrates how, in the course of the first two sallies, Cervantes transforms the Quijote from romance to novel by infusing adventures with human experiences. He also elucidates how don Quijote and Sancho, temporalized caricatures, feel them selves existing, and how they communicate this feeling to the reader.

The chapter on Birth studies the interruptive and anti-interruptive elements in the structure of the Quijote and analyzes how the configuration of the story and the techniques of narration are received in the process of reading.


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Gilman's enlightening study of the episode of the Fulling Mills, one of the strong points in the book, explains how the unprecedented episode adventure is infiltrated by experience, and how the senses, postures, and situation bring together the lives of author, reader, and protagonists. Not only do don Quijote and Sancho become aware of their lives and roles as emergent from a past peculiar to both of them, they communicate how it felt to exist during that adventurous dark night.

In the chapter on Invention, Gilman illustrates how Cervantes's sense of his inventiveness is tied to his generally acerbic estimation of contemporary literature. Cervantes juxtaposes, weaves, and re combines motifs from the chivalresque, pastoral, and picaresque genres. The chapter on Discovery discusses the unprecedented contribution of literary criticism to the creation of the Quijote as well as the symbiosis of literature and life found in the work.

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In the Scrutiny of the Books, Cervantes combines aesthetic judgment of literary works and veiled satire of the Inquisition. Gilman's especially insightful analysis of what occurs in the Sierra Morena, another excellent part of the book, shows how Cervantes fuses lyric, tragic, and comic elements. The comedia embodied the same irrationality and heroic exaltation of the chivalric romance, the same lack of verisimilitude, and it had the same toxic effect on society.

In answer to those who criticize the Quijote for its interpolations Nabokov, Virginia Woolf , Gilman analyzes the tales of Cardenio and Dorotea, types of social fables that portray class stratification and Cervantes's sceptical view of the convention of honor. Cardenio's story, which ends happily, depicts a failed caballero and a caricaturesque case of honor.

Dorotea, who lives between two social categories, fabricates her identity, arranges her story, and proceeds to live it. While her peasant honor, besmirched by Fernando, would have resulted in murder or execution in a comedic, here the matter is resolved peacefully. In sum, this book, which will appeal to a broad audience, succeeds in explicating Cervantes's world, his duplicitous use of irony, and his contributions to the novel as a genre.

All of this is accomplished without unnecessary pedantry or jargon. Only a superfluous appendix, that includes readings from Camus and Sartre, detracts slightly from the work. With this outstanding book the late Stephen Gilman reaffirmed that the combination of solid scholarship, clear thinking, and cogent English is still a powerful tool of literary criticism. Huelga decir, desde luego, que no me refiero precisamente a semejante multiplicidad sino a lo desigual y a lo dispar del enfoque y la calidad hallados.

Su versatilidad en lecturas e investigaciones no deja lugar a dudas. University of Colorado , Boulder.