|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
  HispaniaVolume 75, Number 2, May 1992
[Indicaciones de paginación en nota.1] The American Association of Teachers of
Spanish and Portuguese, Inc.
Elvira García (1992) University of Nebraska at Omaha Vice-President Donald W. Bleznick (1992) University of Cincinnati Executive Director James R. Chatham (1993) Mississippi State University Editor of Hispania Theodore A. Sackett (1992) University of Southern California Executive Council (The current President, Vice President, Executive Director, Editor, the retiring Editor, and the three most recent past Presidents [indicated by asterisks] are members ex officio).
Queens College, New York *Richard B. Klein (1992) University of Mississippi Nasario García (1994) New Mexico Highlands University Judith Park (1992) Niles Township H.S. Skokie, IL Dorothy L. Rudy (1994) St. Andrew's School, Boca Raton, FL Alexandrino E. Severino (1994) Vanderbilt University Edra Staffieri (1993) North Central H. S., Indianapolis, IN Mirtha Toledo Valparaiso University Ronald R. Young (1993) San Diego State University Hispania, the official journal of the American Association of Teachers of Spanish and Portuguese, Inc., is published in the months of March, May, September, and December. Known office of publication: AATSP, Mississippi State University, P.O. Box 6349, Mississippi State, MS 39762-6349. Second-class postage paid at Mississippi State, MS and at additional mailing offices. Publication number 246360. Postmaster: Send address changes to Hispania, AATSP, Mississippi State University, PO. Box 6349, Mississippi State, MS 39762-6349. Subscription to Hispania is part of the membership in the American Association of Teachers of Spanish and Portuguese, Inc., $30.00 a year for individuals and $15.00 for students for a maximum of three years. Membership is open to all persons interested in Spanish or Portuguese. Library and institutional subscriptions are $30.00 a year. All subscriptions are due and payable in advance. Requests for sample copies should be addressed to the Executive Director of the Association, Professor James R. Chatham, Mississippi State University, Lee Hall 218, P.O. Box 6349, Mississippi State, MS 39762-6349. Editorial communications and manuscripts for publication should be addressed to the Editor, Professor Theodore A. Sackett, Department of Spanish and Portuguese, University of Southern California, Los Angeles, CA 90089-0358. See the Editorial Board page for our editorial policies. Books for review should be addressed to the Book Review Editor, Professor Janet Pérez, Associate Dean, Graduate School, Texas Tech University, Lubbock, TX 79409. All communications regarding advertising are to be addressed to the Advertising Manager, Professor Ronald R. Young, Department of Spanish and Portuguese, San Diego State University, San Diego, CA 92182. Instructions for preparation of camera-ready art and advertising rates may be acquired by writing Prof. Young. The Executive Director should be notified promptly of all changes of address. Hispania
Theodore A. Sackett (1992) University of Southern California
Donald W. Bleznick Editor, 1975-83 University of Cincinnati Robert G. Mead Jr. Editor, 1957-62 University of Connecticut Seymour Menton Editor, 1963-65 University of Calif., Irvine Irving P. Rothberg Editor, 1966-74 University of Massachusetts
University of Southern California Samuel G. Armistead (1992) University of California, Davis Daniel Balderston (1993) Tulane University Douglas K. Benson (1993) Kansas State University Harold L. Boudreau (1993) University of Massachusetts Mary L. Daniel (1993) University of Wisconsin-Madison Ned J. Davison (1992) University of Utah Howard M. Fraser (1992) College of William and Mary David T. Gies (1993) University of Virginia Ronald M. Harmon (1993) California State University-Fullerton Lucille Kerr (1993) University of Southern California Catherine Larson (1992) Indiana University Mark D. Larsen (1992) Utah State University Gladys C. Lipton (1992) University of Maryland-Baltimore County Ivette López Jiménez (1994) Universidad de Puerto Rico Michael D. McGaha (1992) Pomana College Robert A. Quinn (1992) Millsaps College Gemma Roberts (1992) University of Miami Teresa Bolet Rodriguez (1993) Northern Colorado University Karen L. Smith (1992) University of Arizona Thomas J. Walsh (1994) Georgetown University Richard D. Woods (1994) Trinity University
Janet Pérez (1992) Texas Tech University Assistant to the Editor Margarita E. Galarza (1992) University of Southern California Advertising Manager Ronald R. Young (1992) San Diego State University Associate Editor for Electronic Publishing Joseph A. Feustle, Jr. (1993) University of Toledo Editorial Policy Hispania (ISSN 0018-2133) publishes critical studies and occasional annotated bibliographies on the literatures and languages of Spain, Portugal, and Latin America as well as papers concerned with the teaching of Spanish and Portuguese. Interdisciplinary and comparative papers will also be considered. Papers in literature and linguistics may employ a traditional approach or a more recent critical methodology. We do not publish such material as poetry, short stories, general essays, travel accounts and translations. Articles, notes for the several Departments and book reviews (solicited by the book review editor) may be written in English. Spanish or Portuguese and should be of interest and value to the readers of Hispania. The first page of each Department provides information on the kinds of materials included therein and the name and address of the person in charge. Only members of the Association may submit papers. In all cases, manuscripts must follow the MLA Style Manual (1985). Manuscripts submitted for consideration in the section on Language & Literature should be at least 12 pages long, excluding notes, and not more than 30 pages, including notes. Bibliographies must not exceed 80 double-spaced manuscript pages. Send the original together with a photocopy. Authors must include return postage in loose stamps or international reply coupon, in the case of papers sent from abroad, and provide a self-addressed return envelope. All submissions will be reviewed by the Editorial Board with names of authors removed from the manuscripts. Forthcoming in September 1992
Section 1
Sandra M. Boschetto Historiografia, discurso e contra-discurso na colônia: Gregório de Matos e Juan del Valle y Caviedes Lúcia Helena Costigan Surrealist Benjamin Péret and Brazilian Modernism M. Elizabeth Ginway The Lost Steps: Goodbye Rousseau and into the Funhouse! Lois Marie Jaeck Vicente Huidobro: The Poetics of the Invisible Texts José Quiroga Fulfillment and Loss: Lorca's View of Communication in the Twenties Dennis Perri Double Talk: Asturias's America in Cuculcán Vicky Unruh El renacimiento de Lázaro Domingo Ynduráin Section 3
Tamara Al-Kasey and Rosemary Weston Composition and Creativity: From Discrete Units to a Synthetic Whole Janis Dybdahl From the Classroom, to the Newsroom: A Course-Sheltered Project in Foreign Language Journalism Cecil L. de Ataide Melo Using Meditation in the Classroom Michael C. Moore Return Home: The Effects of Study in Mexico on Bilingual Teachers Judith Walker de Félix and Sylvia Cavazos Peña Specifications for Electronic Submissions
to
Hispania
Beginning with the March 1991 issue, all material to be published in Hispania must be submitted to the Editor in electronic form, according to the following instructions. Authors may submit essays for consideration either on diskette or in paper form, but once the material is accepted, the final version must be prepared on diskette. I. Authors of articles and section heads sending in material for publication should prepare submissions with one of the following word processing programs: 1.) PC programs and versions
1.2 Microsoft Word (5.0, 4.0) 1.3 XyWrite III Plus 1.4 Nota Bene (3.0) 2.) Macintosh programs and versions
2.2 Microsoft Word (3.0, 4.0) 2.3 Mac Write (1.0 through 5.0) Mac Write II 2.4 Write Now (1.0, 2.0) You may use either 5¼ or 3½ inch diskettes for PC and PC-compatible computers, and 3½ inch Macintosh diskettes. Please send them in a protected special mailing envelope to the Hispania Editorial Office at USC. II. Special Instructions 1.) When you send in your diskette in the special mailing envelope, be sure to put a label on the diskette with your complete name, the name of the file(s) which contain your essay, and the name of the word processing program and version used. 2.) For words in your text to appear in italics, use the underline function (as in conventional typescripts). For words in bold, use the actual bold function of your word processor. 3.) In the past, when you prepared a manuscript on a typewriter, you placed two spaces after periods and commas. Now, word processing and electronic publishing are largely based on proportionally spaced type and you should use only one space in your text after periods and other punctuation. 4.) For Nota Bene and other similar programs which hide the endnotes in a delta or behind a number, be sure to print out one copy before sending the material on diskette; this is necessary in order for the endnotes to appear electronically on the diskette you are submitting. Be sure to check to see that your endnotes and list of words cited actually appear on your diskette at the end of the essay. 5.) Do not put footnote numbers in parenthesis nor use periods after the footnote numbers. 6.) Do not use spaces with the spacebar to indent a paragraph. Instead, use TABS or the paragraph offset that is in all word processing programs. 7.) In creating columns, use TABS, do not use spaces with the spacebar. 8.) When you send us your article on diskette, please include a printed paper version of it as well, in case anything is lost in the electronic version. III. Those members of AATSP who do not use a computer may submit a typescript as the final version, which can be converted by us to electronic form by the process of optical scanning. The typescript, however, must be perfect, and totally clear in order to be scanned successfully. Submission of Articles to
Hispania
The Editorial Office is currently receiving articles for publication in 1993. Estelle Irizarry, who will be Editor for the 1993 issues, requests that authors who are presently submitting articles follow the guidelines below. Guide for Submission of
Articles
Hispania publishes articles on literature, language, linguistics, and teaching written in Spanish, Portuguese or English. Only members of AATSP may send manuscripts. We strongly encourage authors to submit articles written in Spanish and Portuguese. Lead Articles The first section includes scholarly articles on Hispanic and Luso-Brazilian literature and language that are judged to be of interest to specialists in the fields as well as to a diverse readership of teachers of Spanish and Portuguese. Further considerations in the evaluation of manuscripts are their contribution to the advancement of knowledge, originality of method or focus, depth of content, organization, and clarity of expression, free from jargon. Lead articles should conform to MLA format, with length between 3,500 and 7,500 words, including endnotes and works cited. Bibliographical submissions may reach 20,000 words. We urge authors to have a colleague read their articles before submitting them to Hispania, a practice that is the norm in scientific literature and that can benefit humanists as well. After November 1, 1992, articles should be submitted only on disk or, preferably, by electronic mail -with no paper copy- to accelerate processing. Further instructions will be forthcoming. General Format for Articles in All Sections Please do not include your name in evident self-reference within the text of the article or as a page heading. Your name, institutional affiliation, telephone (or fax) number(s), the title of the article, and Bitnet or Internet address (if you have these) should appear on a separate title sheet. This information will be removed for the review process. On the line following the title, preface the text of the article with an abstract of no more than 150 words. On another line below, list no more than ten key terms separated by commas for a subject index (for example: «nineteenth century, Spain, women's writing, narrative»). The abstract and keywords should be in the same language as the essay. The format should be strictly in accord with the latest MLA Style Manual, with parenthetical documentation, endnotes, and list of works cited. The author/date system as described in the MLA Style Manual is acceptable for linguistics and pedagogy. Please follow the MLA recommendation to avoid essaylike «content notes» that detract from the primary text.
Jane W. Albrecht
Wake Forest University The linguists Dan Sperber and Deirdre Wilson distinguish between two basic types of utterance, ironic and non-ironic utterances2. Irony involves the mention of or comment on a proposition and not primarily a proposition's use, to make assertions or ask questions. In other words, irony conveys a proposition and comments on it. The statement «What great weather!» uttered when a rainstorm has just ruined a picnic is not primarily a comment on the weather. Rather, it is a comment on its own context as ludicrous given the circumstances. Ironical utterances refer back to themselves, they are echoic of an opinion and the speaker's attitude toward the opinion echoed is one of rejection or disapproval (Relevance 240). All examples of irony are echoic mentions: «some are immediate echoes, and others delayed; some have their source in actual utterances, others in thoughts or opinions; some have a real source, others an imagined one; some are traceable back to a particular individual, others have a vaguer origin» («Irony...» 309-10). In the statement «when all was over and the rival kings were celebrating their victories with Te Deums in respective camps...» Voltaire is «echoing claims made by rival kings, at least one of which is false» (Relevance 241). As Sperber and Wilson say, «by leaving the echo implicit he manages to suggest that he shares a whole cynical vision with the reader» 242). Sperber and Wilson's definition of irony as comment is a rejection of the traditional definition of irony, «saying the opposite of what one means»; irony is a comment on a proposition but not necessarily a denial of the truthfulness of that proposition. Plays naturally express irony3. The actor is both himself and not himself: he must become the character, but cannot cease being himself, and therefore a personal comment on the character. The stage situation presents simultaneous diversities: the set can only suggest (comment on) reality, never reproduce it. The audience both associates itself with and disassociates itself from the play on stage: whatever success the play has in engaging the attention and sympathy of the audience, the audience is still not on stage, not acting. And the theatrical context is often commented on in the play itself. Tirso de Molina incorporates irony in four of his plays by emphasizing certain dramatic techniques. In El Aquiles, El vergonzoso en palacio, Don Gil de las calzas verdes and La celosa de sí misma, irony is created by the inclusion of plays-within-plays, overt references to theatricality and the doubling and inversion of the role-play convention common to the comedia4. His characters speak ironic language when they comment on their and others' roles, in scenes which echo other scenes from the same play, in plays-within-plays, in scenes which echo conventional comedia scenes or when they make reference to playwrighting. Tirso incorporates the theatrical context in utterances about
the conventions of the disguise-plot play. As has often been pointed out, the
gracioso and other characters speak
directly to the audience in asides; they mock their roles and the roles of
other characters and even the play itself5. Plays-within-plays heighten irony by both drawing the audience
in, since the audience identifies with those characters who are watching the
«play», and separating the audience from the action, since the
«play» is another layer of illusion, all in a play, all unreal.
Ironically creating and breaking illusions, the play-within-a-play is an
example of the kind of irony inherent in the theater throughout its history.
Tirso is known for emphasizing role-play and, especially, disguise in his
comedies. Role-change includes the woman dressed as man convention (El Aquiles, Don Gil), the cloaked woman (La
celosa)
By underscoring irony Tirso systematically enhances the artificiality of his comedies. Real life is distorted in a series of skewed, theatrical representations of social fictions. The playwright's machinations are often included in the comedies, mirrored by the machinations of the characters. The artificiality of the comedies does not detract from their authenticity for the audience: «Spectators... recognize language, gestures and behavior belonging to familiar social milieux, familiar either from their own world of social reality, or from their assumed knowledge of history, literature, and previous theatrical occasions» (Burns 108). The artifice of the play makes them authentically plays, but not authentically real life, although they are full of comments on real life. In the four plays under analysis, disguise, plays-within-plays and, certainly overt references to the theater refer «to theatrical practice and not to life activity [social reality]», (Beckerman 26) and are a means of enriching the dramatic appeal of Tirso's works. The first five scenes of El Aquiles are an ironic enactment of the rest of the play. One of the most popular figures of the Greek satyr plays was the comic, mad Ulysses (Bakhtin 50); it is this Ulysses whom Tirso chooses to introduce his play. The use of stock characters from other times and places is always ironic, as such characters can only be commented on, never reproduced, in alien cultures. Ulises cannot decide whether to go to war. He is moved to stay home by love and a desire to protect his wife and son, and to go off to war by his sense of honor. Ulises feigns insanity, but his fellow warriors are suspicious of him:
Palamedes then plays along with Ulises's madness, acting his role to the point of threatening Ulises's son with death. At this point, Ulises snaps back to sanity. These first scenes are the ironic underpinning of the play, for it is Ulises who will bring Aquiles, the main character, out of his fiction and take him off to war. Here, Ulises enacts Aquiles's role; Ulises's appearance on stage primes the audience for that of Aquiles. In El Aquiles, role-play for the protagonist does fulfill its ritual function in the play: disguising himself as a woman to avoid going to war leads Aquiles to a better understanding of his true identity and to his reintegration in society as a hero. Aquiles is forced to come to grips with his identity by standing in for himself. However, at the same time, Tirso comments ironically on the role-play convention. The play contains numerous comic remarks on Aquiles's disguise; Aquiles balances precariously on cork soled shoes, for example, and he himself makes many comic asides to the audience:
Aquiles's statements, given the fact that he is not playing his role as a woman very well, are ludicrous. His beloved, Deidamia, also makes comments which inform the audience that Aquiles's behavior as a woman is less than convincing. She observes that he curses, talks about weapons, and does not sit properly. Garbón, the gracioso, appears throughout the play to mock Aquiles. First, he imitates Deidamia and flirts with Aquiles, an obvious burlesque of their love scenes. Garbón comments that «y vuelta una dama grave, / no vi más bella figura» (1822a). Garbón, himself in a «cute» costume, calls his and Aquiles's situation -«que a una dama masculina / sirva una dueña barbona» -«invención pelegrina» (1822a), thus revealing and commenting ironically on the structure of the play itself. In
El Aquiles Tirso both captures and lampoons
his generation's conventions. Authors who are in thrall to a predecessor or who
are overshadowed by a predecessor often «shrewdly employ
self-consciousness and burlesque to achieve some degree of
auto-emancipation» (Kellam 175). This was clearly Tirso's situation with
regard to Lope de Vega and explains in part Tirso's choices in his comedies.
Tirso chooses to create a comic Aquiles -an actress dressed as a man dressed as
a woman- as the hero of his play. It is clear that
In El vergonzoso en palacio Mireno, raised as a shepherd, is actually a nobleman's son. He begins to imagine himself as a nobleman. While projecting himself into this new identity, he assumes another identity, changin g clothes with a wanted man. Mireno is captured and taken to Court where he calls himself Don Dionís. He falls in love with the Duke's daughter, Magdalena, for whom he works as secretary. Paralleling Mireno's trip to Court and identity changes, another nobleman, Don Antonio, has come to see the beauty of the Duke's two daughters. He falls in love with the second daughter, Serafina, and works as secretary to the Duke to stay near her. El vergonzoso conta ins num erous identity changes and also three plays-within-pl ys.8 In keeping with the prevailing spirit of carnival, Serafina decides to create a play containing a play, and to act all of the parts in both. Serafina, dressed as a man, contrasts ironically with Mireno. In her role as the jealous prince in the play she stages, she is the aggressor in matters of love, as opposed to Mireno's vergonzoso. Serafina caricatures Mireno's impulse to imagine and become. Her on-stage «Prince» is an enactment of an exaggerated version of a nobleman. Serafina and Mireno's parallel speeches invite the audience to compare and associate the two:
Mireno, who might have been expected to be the typical jealous suitor of the comedia, has reversed roles with Serafina. Tirso mocks this type -the jealous suitor- in his play-within-a-play at the same time that he mocks Mireno's inability to act. Magdalena, dramatizing her feelings for Mireno, creates a second play-within-a-play. Her play-acting is an echo of the typical comedia love scene for, while pretending to be talking in her sleep, she enacts both male and female roles. Finally, Don Antonio, who has fallen in love with Serafina, is already playing one role as the Duke's secretary. He then invents a second Don Dionís to Mireno's Don Dionís. He creates his own play when he simulates a dialogue between himself and his invented Don Dionís. The play-acting is part of the play's overall ironic conception, which is to create levels of irony on the stage. Role-play and play-within-a-play are examples of the kind of irony inherent in the theater throughout its history: «the bringing into the play itself its immediate theatrical context (script, production, impersonation and audience» (Muecke Irony 92) to show theater as the art of imitation that reveals imitation or enactment of enactment (Wilshire ix). Here, characters theatricalize themselves on stage, revealing themselves in the process of becoming and, thus, revealing the basis of the make-believe. In Don Gil de las calzas verdes Tirso emphasizes the irreality of the play by commenting on his play and including this commentary in his work. Dressed as Gil, Juana sets up a series of new fictional worlds for the other characters. She makes Martín believe first that she is pregnant and in a convent and later that she has died and is haunting him. To keep Inés from accepting Martín, Juana invents Elvira, a skewed enactment of Juana's own experience with Martín. Caramanchel, the gracioso, never quite falls for Juana's disguise: «... ¿Quién ha visto paje / con lacayo?» (I, 1608b) refers to her youth and androgyny; he also says, «Ninguno ha habido / de los amos que he tenido / ni poeta ni capón» (1608b); «Capón sois hasta en el nombre» (1609a); «Aquí dijo mi amo hermafrodita / que me esperaba...» (1612b)9. In these statements Tirso is not solely communicating an attitude toward pages, capons or hermaphrodites, but toward the utterances themselves. The utterances mock the girl-disguised-as-boy convention as unbelievable. Moreover, Caramanchel says that he has had more masters than
Lazarillo de Tormes, an ironic allusion to one fictive text inside another.
Later he says that the kind of master he would prefer
Tirso «ironizes» his own characters in comments which draw attention to themselves as absurd and mock the disguise-plot play. Inés comments on «Don Gilito». First, she disdains him, sight unseen, for his name: «¿Don Gil?/ ¿Marido de villancico?/ ¡Gil! ¡Jesús! No me lo nombres:/ ponle un cayado y pellico» (1612a). Then after she falls in love with «him», she abhors the «real» Don Gil (Martín) because he is the opposite of her Don Gil: «¿Don Gil tan lleno de barbas? /Es el Don Gil que yo adoro / un Gilito de esmeraldas», (1617a) who speaks «a lo caponil» (1646b). Tirso mocks the characters he created in Don Gil and the conventions of the disguise-plot play. The last play under consideration, La celosa de sí misma, not only derides concepts previously introduced by the author, but the comedia genre itself. Furthermore, La celosa makes use of parody, the echoic mention of linguistic expression (Sperber and Wilson «Irony...» 311) in its imitation of the poetic language of Tirso's contemporary, Luis de Góngora. Don Melchor has come to Madrid with his servant, Ventura, to meet his future wife. Stopping in church, Don Melchor sees the gloved hand of a woman in a cloak and falls in love with the hand. He waits outside for it -not her- to appear:
In his evocation of the swan and the dawn and his use of syntax shifts, Don Melchor clearly parodies gongoresque language. The parody is driven home by Ventura's mocking of Don Melchor:
The hand Don Melchor has fallen in love with belongs, of course, lo his intended wife. Ventura mocks Don Melchor throughout for falling in love without seeing the whole woman and further mocks him for not recognizing his future wife as the tapada when he does meet Magdalena. Tirso presents the disguise-plot play ironically here. As in El Aquiles and Don Gil, it is clear to the audience that the disguise was a trick, to be believed by some of the characters, but not by the audience. The audience is included in the joke which the gracioso shares with them, for Ventura and the audience see that the tapada's hand and Magdalena's hand are one and the same, but Don Melchor, the personification of a literary type, does not. Don Melchor is in love with a conventional literary metaphor; he disdains the real hand for the imaginary one. The joke is carried further when Magdalena reveals an eye to tantalize him. Magdalena creates a new identity for herself, the Countess of Chirinola10, which threatens her true self: she actually becomes her own rival, losing control of her false personality. She plays the role of the cloaked countess to entice Don Melchor; but the Countess achieves a degree of autonomy and simultaneously is and is not Magdalena, as the hand is and is not Magdalena's. Magdalena realizes that «de mí misma estoy celosa» (1470b). Tirso introduces a second drama to echo the first: Angela, Magdalena's neighbor, also falls in love with Don Melchor. Angela usurps Magdalena's false personality; she is a copy of a fake. Don Melchor, predictably, cannot distinguish between the two condesas. When he asks Angela-countess to reveal one eye, «¿Cuándo ha de romper el alba / los crepúsculos oscuros / dese sol nubes avaras?» (1480b), Ventura easily recognizes Angela's eye as «not the eye from yesterday» [«...no es ese ojo el de ayer»] (1481a) but Don Melchor does not. Ventura, the
gracioso, refers to his own role in
the play when he comments that «mi parte tengo en
el coro; canta y cantemos» (1480b). He recognizes taking
part in a preposterous
comedia when he says:
«¡Oh, qué comedia tan brava/ hiciera,
a ser yo poeta,/ si escribiera aquesta traza!» (1484).
Ventura's is a controlling point of view within the play, showing Don Melchor's
absurd position and the absurdity of the
comedia itself. With
La celosa it is clear that Tirso conceived
The comic in these four plays is based on theatricality, on the doubling and inversion of the role-play convention, and on the inclusion of the audience. Tirso treats the themes of these plays -honor, love and jealousy- ironically, which does not mean that he treats them in an illusory way. Irony is an indirect way of talking about a proposition, as comedy is an alternate way of treating these themes. Tirso was a great playwright in part because he knew how to create characters with inherent dramatic interest that is characters who, ironically, theatricalize themselves on stage and reveal themselves in the process of becoming (their true selves, other identities, other characters). It seems to be the case that Tirso incorporated more irony in tragedy after he mastered the use of irony in comedy. The comedies analyzed are dated as follows, according to Blanca de los Ríos: El Aquiles, 1611; El vergonzoso, 1611-12; Don Gil, 1615; La celosa, 1621-22. By comparing these early plays to La venganza de Tamar (1621) or El burlador de Sevilla (1619-20), it is clear that Tamar and El burlador both rely, as do the comedies, heavily, and overtly, on role-play and its ironic effect on the audience. Don Juan conflates real life roles and acting and behaves as if his acting were proscribed. Tamar confronts the audience in that, through the use of role change, guilt is dispersed with no reconciliation at the end. Tirso's use of irony in comedy apparently led him to make greater use of irony in tragedy.11 WORKS CITED
Abel, Lionel. Metatheatre: A New View of Dramatic Form. New York: Hill and Wang, 1963. Avalle Arce, Juan Bautista, ed. Novelas ejemplares, by Miguel de Cervantes. Vol. 3. Madrid: Castalia, 1982. 3 vols. Ayala, Francisco, «Erotismo y juego teatral en Tirso». Insula no. 214 (1964): 1 +. _____. «Introducción biográfica y crítica». El vergonzoso en palacio, by Tirso de Molina. Madrid: Castalia, 1971. 7-35. Bakhtin, Mikhail. The Dialogic Imagination: Four-Essays. Trans. Michael Holquist and Caryl Emerson. Ed. Michael Holquist. Austin: U of Texas P, 1981. Beckerman, Bernard. Dynamics of Drama: Theory and Method of Analysis. New York: Knopf, 1970. Burns, Elizabeth. Theatricality: A Study of Convention in the Theatre and in Social Life. New York: Harper and Row, 1972. Doménech, Ricardo. «Prólogo». Don Gil de las calzas verdes, by Tirso de Molina. Madrid: Taurus, 1969. 5-37. Forbes, F. William. «The gracioso: Toward a Functional Re-evaluation». Hispania 61.1 (1978): 78-83. Halkhoree, P. R. K. «La experimentación dramática de Tirso de Molina». Actas del Sexto Congreso Internacional de Hispanistas, celebrado en Toronto del 22 al 26 de agosto de 1977. Ed. Alan M. Gordon and Evelyn Rugg. Toronto: U of Toronto Dept. of Spanish and Portuguese, 1980. 368-71. _____. «Social and Literary Satire in the Comedies of Tirso de Molina». Diss. U of Edinburgh, 1967. _____.
Social and Literary Satire in the Comedies of
Kellam, Steven G. «Philip Roth's Ghostwriter». Comparative Literature Studies 2 (Summer 1984): 175-85. McCrary, William C. «The Theatricality of Male Orientation in the comedia». Studies in Honor of William C. McCrary. Ed. Robert Fiore, et al. Lincoln, NE: Society of Spanish and Spanish-American Studies, 1986. 27-33. Muecke, D.C. The Compass of Irony. London: Methuen, 1969. _____. Irony and the Ironic. The Critical Idiom #13. New York: Methuen, 1982. O'Connor, T. A. «Sexual Aberration and Comedy in Monroy y Silva's El caballero dama». Hispanófila 80 (1984): 17-39. Ruggerio, Michael J. «Dramatic Conventions and Their Relationship to Structure in the Spanish Golden Age comedia». Revista Hispánica Moderna 37 (1972-73): 137-54. Sedgewick, G. G. Of Irony: Especially in Drama. Toronto: U of Toronto P, 1935. Sharpe, Robert B. Irony in the Drama. Chapel Hill: U of North Carolina P, 1959. Sperber, Dan and Deirdre Wilson. «Irony and the Use-Mention Distinction». Radical Pragmatics. Ed. Peter Cole. New York: Academic, 1981. 295-318. _____. Relevance: Communication and Cognition. Cambridge, MA: Harvard UP, 1986. States, Bert O. Great Reckonings in Little Rooms: On the Phenomenology of Theater. Berkeley and Los Angeles: U of California P, 1985. _____. Irony and Drama: A Poetics. Ithaca and London: Cornell UP, 1971. Tirso de Molina (Fray Gabriel Téllez). Obras dramáticas completas. Vols. 1 and 2. Ed. Blanca de los Ríos Lampérez. Madrid: Aguilar, 1946, 1962. 3 vols. Trueblood, Alan S. «Rôle-playing and the Sense of Illusion in Lope de Vega». Hispanic Review 32 (1964): 305-18. Turner, Victor. From Ritual to Theater: The Human Seriousness of Play. New York: Performing Arts Journal, 1982. Valbuena Prat, Ángel. «Ironía y reflexión sobre los propios recursos escénicos». Calderón: Su personalidad, su arte dramático, su estilo y sus obras. Vol. 1. Barcelona: Juventud, 1941. 153-62. 2 vols. Wilshire, Bruce. Role Playing and Identity: The Limits of Theatre as Metaphor. Bloomington: Indiana UP, 1982. Prologue ix-xvii.
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
