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Full-Text Articles in Modern Languages
Glittery Poetics: Joteando En San Antonio, Tejas, Rita Urquijo-Ruiz
Glittery Poetics: Joteando En San Antonio, Tejas, Rita Urquijo-Ruiz
Modern Languages and Literatures Faculty Research
No abstract provided.
Gender And The Gaze: Sor Juana, Lacan, And Spanish Baroque Poetry, Matthew D. Stroud
Gender And The Gaze: Sor Juana, Lacan, And Spanish Baroque Poetry, Matthew D. Stroud
Modern Languages and Literatures Faculty Research
There are few motifs more ubiquitous in Renaissance and Baroque poetry than those that link falling in love to the eyes. Based at least in part on Theophrastus, as Halstead has pointed out (113-20), this notion of love describes a process by which one is captivated by looking at the object of desire, prompting an exchange of humors or spirits. If the love is returned, both lovers feel complete and satisfied, but if the object of desire does not reciprocate, one feels empty because one has given one’s soul to another while receiving nothing in return.
The Comedia As Potboiler: Juan De Cabeza’S Matar Por Zelos Su Dama, Matthew D. Stroud
The Comedia As Potboiler: Juan De Cabeza’S Matar Por Zelos Su Dama, Matthew D. Stroud
Modern Languages and Literatures Faculty Research
Of the hundreds of existing comedias, only a very small percentage has actually received critical attention. Those few that have been studied in greatest depth, such as La vida es sueño, El burlador de Sevilla, Fuenteovejuna, and the like, might be said to represent the most interesting, if not the best, plays in the entire body of comedias.1 Nevertheless, for every famous comedia, there are literally scores of lesser known and never read plays. Perhaps their lack of attention is mute testimony to their mediocrity, but they are nonetheless comedias and are of critical interest …
Stylistic Considerations Of Calderón’S Opera Librettos, Matthew D. Stroud
Stylistic Considerations Of Calderón’S Opera Librettos, Matthew D. Stroud
Modern Languages and Literatures Faculty Research
The two plays of Calderón that were set to music in their entirety have a number of common characteristics beyond those associated with the mythological plays as a whole. Both of the plays were performed in 1660, La púrpura de la rosa on January 17 to celebrate the marriage of the Infanta María Teresa to Louis XIV of France, and Celos aun del aire matan on December 5 to celebrate the third birthday of the Infante Felipe Próspero. Presented in the Palacio del Buen Retiro, set to music by Juan Hidalgo, staged with the appropriate elaborate machinery, and performed by …