LEADER 04531nam 2200637 a 450 001 9910827680603321 005 20240514061455.0 010 $a1-283-35862-X 010 $a9786613358622 010 $a90-272-7773-7 035 $a(CKB)2550000000072936 035 $a(EBL)805823 035 $a(OCoLC)769342223 035 $a(SSID)ssj0001101347 035 $a(PQKBManifestationID)11625236 035 $a(PQKBTitleCode)TC0001101347 035 $a(PQKBWorkID)11068312 035 $a(PQKB)11619908 035 $a(MiAaPQ)EBC805823 035 $a(Au-PeEL)EBL805823 035 $a(CaPaEBR)ebr10517106 035 $a(EXLCZ)992550000000072936 100 $a19911106d1991 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPoetry as play $eGongorismo and the Comedia /$fMaria Cristina Quintero 205 $a1st ed. 210 $aAmsterdam ;$aPhiladelphia $cJ. Benjamins Pub.$d1991 215 $a1 online resource (279 p.) 225 1 $aPurdue University monographs in Romance languages,$x0165-8743 ;$vv. 38 300 $aDescription based upon print version of record. 311 $a1-55619-304-1 311 $a90-272-1761-0 320 $aIncludes bibliographical references and index. 327 $aPOETRY AS PLAY; Editorial page; Title page; Copyright page; Dedication; Table of contents; Preface; Acknowledgments; 1. The Comedia Nueva and Poetic Practice in the Golden Age; I. INDETERMINACY OF GENRE IN THE COMEDIA NUEVA; II. POETIC RENOVATIO AND ITS IMPACT ON THE COMEDIA; A. THE ROMANCERO AND THE COMEDIA; B. PETRARCHISM AND AMATORY POETRY IN THE COMEDIA; C. THE COMEDIA AND GONGORISMO; 2. Theatricality and Dramatic Attitude in Renaissance and Baroque Poetry; I. GENERAL OBSERVATIONS ON BAROQUE THEATRICALITY; A. THE ORALITY AND PUBLIC NATURE OF POETRY; B. THE CERTA?MENES POE?TICOS 327 $aC. DRAMATIZING THE LYRIC VOICED. THE POETRY OF SELF-FASHIONING; E. BAROQUE METAPHOR; II. ANALOGIES BETWEEN POETIC DISCOURSE AND DRAMATIC CONVENTION; 3. Lope and Go?ngora Revisited; I. PERSONAL RIVALRY AND TEXTUAL REPERCUSSIONS; A. GO?NGORA'S PARODIES OF LOPE; B. LOPE'S AMBIGUOUS RESPONSE; II. SEVENTEENTH-CENTURY ATTITUDES TOWARD LOPE'S COMEDIA AND GO?NGORA'S POETRY; A. CONTROVERSIES OVER THE COMEDIA; B. CONTROVERSIES OVER GO?NGORA'S POETRY; C. DEFENSES OF COMEDIA AND GO?NGORA'S POETRY; 4. Go?ngora and the Comedia (Part I): Las firmezas de Isabela: Transforming the Model 327 $aI. CHARACTERIZATION AND ACTION IN LAS FIRMEZAS II. DIALOGUE, MONOLOGUE, AND ASIDE; III. DRAMATIZING POETRY; 5. Go?ngora and the Comedia (Part II): Parody as Performance in El doctor Carlino; 6. The Critique of Go?ngora and Culteranismo in Lope's Comedias; I. THE STORY OF ANGE?LICA; II. EL CAPELLA?N DE LA VIRGEN; III. LA DAMA BOBA; IV. LA DOROTEA AND LAS BIZARRI?AS DE BELISA: LOPE'S FINAL CRITIQUE AND EMBRACE OF GONGORISMO; 7. Gongorismo and Dramatic Practice after Lope; I. GONGORINE REPERCUSSIONS IN SEVENTEENTH-CENTURY PLAYS; II. ""COLORES Y RUIDOS"": GONGORISMO AND CALDERO?N'S THEATER 327 $aA. CALDERONIAN DRAMA AND THE NEW THEATRICAL AESTHETICB. THE COMEDIA AS SELF-CONSCIOUS GENRE; C. THE POETRY OF CALDERO?N'S PLAYS; D. THEATRICALITY AND GONGORISMO; III. CONCLUSIONS; Notes; Works Consulted; Index 330 $aDuring the Golden Age, poetry and drama entered into a dynamic intertextual and intergeneric exchange. The Comedia appropriated the different poetic currents prevalent during the Renaissance and also often enacted the controversies surrounding poetic language. Of particular interest is the influence of gongorismo on the comedia. Luis de Go?ngora himself experimented with dramatic form in his two little-known plays, Las firmezas de Isabela and El doctor Carlino. In his quest for effective dramatic language, Lope de Vega dramatized Gongorine language through both parody and respectful 410 0$aPurdue University monographs in Romance languages ;$vv. 38. 606 $aSpanish drama$yClassical period, 1500-1700$xHistory and criticism 606 $aSpanish poetry$yClassical period, 1500-1700$xHistory and criticism 615 0$aSpanish drama$xHistory and criticism. 615 0$aSpanish poetry$xHistory and criticism. 676 $a862/.3 700 $aQuintero$b Maria Cristina$0910316 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910827680603321 996 $aPoetry as play$94053944 997 $aUNINA