{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":1,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":22,"n_cols":5,"rows_kept":22,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[5,2,5,3],[9,2,9,3],[10,2,10,3],[11,2,11,3],[12,2,12,3],[13,2,13,3],[16,2,16,3],[17,2,17,3],[19,2,19,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9911008449303321"]
[null,null,"Autore",null,"Fernández Esther <1975->"]
[null,null,"Titolo",null,"Drawing the Curtain : Cervantes's Theatrical Revelations"]
[null,null,"Pubbl/distr/stampa",null,"Toronto : , : University of Toronto Press, , 2022"]
[{"$nulls":4},"©2022"]
[null,null,"ISBN",null,"9781487538934"]
[{"$nulls":4},"1487538936"]
[{"$nulls":4},"9781487538927"]
[{"$nulls":4},"1487538928"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (387 pages)"]
[null,null,"Collana",null,"Toronto Iberic"]
[null,null,"Disciplina",null,"863/.3"]
[null,null,"Soggetti",null,"Theater in literature"]
[{"$nulls":4},"Revelation in literature"]
[{"$nulls":4},"Criticism, interpretation, etc."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Cover -- Half-Title Page -- Title Page -- Copyright Page -- Contents -- List of Illustrations -- Acknowledgments -- Introduction: The Poetics of the Imagined Stage -- Part One: Alternate Theatricalities in Cervantes's Drama -- 1 Cervantes and the Simple Stage -- 2 Queer cambalaches in El rufián dichoso -- 3 Of Players and Wagers: The Theatricality of Gambling for Salvation in El rufián dichoso -- 4 Writing to Rescue from Oblivion: The Phantasms of Captivity in El trato de Argel -- 5 Captivating Music, Memory, and Emotions in Los baños de Argel -- 6 In the Name of Love: Cervantes's Play on Captivity in La gran sultana -- 7 Revolving Sets: Spatial Revelations in the entremeses -- Part Two: Acts of Disclosure in Cervantes's Prose -- 8 Coups de théâtre in the Novelas ejemplares -- 9 Captive Audiences: Performing Captivity in Cervantes's Prose Narrative -- 10 Painting into Theatre: \"The Suicide of Lucretia\" as a tableau vivant in El curioso impertinente -- 11 \"Muchas y muy verdaderas señales\": The Theatrics of Truth and Sincerity of Fiction in La Galatea -- 12 Eavesdropping or Spying? Secret Places and Spaces in Don Quixote -- 13 Don Quixote and the Performance of Aging Masculinities in Early Modern Spain -- List of Contributors -- Index -- Series List."]
[null,null,null,"Sommario/riassunto","\"Miguel de Cervantes’s experimentation with theatricality is frequently "]
[{"$nulls":4},"tied to the notion of revelation and disclosure of hidden truths. Drawing the Curtain showcases the elements of theatricality that characterize Cervantes’s prose and analyses the ways in which he uses theatricality in his own literary production. Bringing together the works of well-known scholars who draw from a variety of disciplines and theoretical approaches, this collection demonstrates how Cervantes exploits revelation and disclosure to create dynamic dramatic moments that surprise and engage observers and readers. Hewing closely to Peter Brook’s notion of the bare or empty stage, Esther Fernández and Adrienne L. Martín argue that Cervantes’s omnipresent concern with theatricality manifests not only in his drama but also in the myriad metatheatrical instances dispersed throughout his prose works. In doing so, Drawing the Curtain sheds light on the ways in which Cervantes forces his readers to engage with themes that are central to his life and works, including love, freedom, truth, confinement, and otherness.\"--"]