Lope de Vega y la casa de Moncada

Trambaioli, Marcella

doi:10.4000/criticon.13144

Cited by 3 publications

(1 citation statement)

References 13 publications

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“…Since Lope wrote no less than 13 plays involving a Moncada, either as a protagonist or secondary character, even in the absence of historical evidence, as Trombaioli remarks, it is very likely that Lope must have entertained a particular relationship with one or more of the members of the family from the beginning of the seventeenth century until 1629. 1286 This suggests that the Moncada must have been pleased with Lope's fictional treatment of their imaginary ancestors in El ejemplo de casadas.…”

Section: Part Ii: the Socio-political Implications Of Social Exogamymentioning

confidence: 99%

Conclusion

2019

The Patient Griselda Myth

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Griselda and her myth have constantly bewildered me ever since I first came across her story as an undergrad student attending Dr Katrin Rupp's seminar on medieval tales of love at Neuchâtel University. My thoughts on the matter later grew thanks to Prof. Lukas Erne and Prof. Elisabeth Dutton, who have both helped me deepen my knowledge of the different English versions.The present comparative study, however, would not have been possible without the deeply appreciated help and support of my supervisor, Prof. Joachim Küpper, who believed that my investigation into the Patient Griselda myth in European literature should be part of his own research group: "DramaNet". I am grateful for his time, patient guidance, and useful critique of my work.I would also like to extend my thanks to the European Research Council, which has funded the studies undertaken by the various DramaNet members, including my own.

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Section: Part Ii: the Socio-political Implications Of Social Exogamymentioning

confidence: 99%

Conclusion

2019

The Patient Griselda Myth

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Lope de Vega au Parnasse : "Honras de Lope de Vega en el Parnaso", comedia de Gabriel de Moncada (1636)

Tropé

2012

Cuadernos de Investigación Filológica

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El jardinero fingido en la comedia lopeveguesca

Trambaioli

2012

Rev. filol. esp.

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RESUMEN: la máscara de jardinero fingido, determinación específica del tipo del noble disfrazado de villano, es frecuente sobre todo en el repertorio de la comedia lopesca de ambientación urbana; si en la acción principal el hortelano de amor corteja de incógnito a la dama, en la trama cómica el tipo dramático queda rebajado por su trato con labradores reales; alrededor de 1615 el Fénix, ya Belardo en el Romancero, llega a utilizar esta figura incluso como portavoz metateatral de sus instancias autopropagandísticas.Palabras clave: Lope de Vega, jardinero fingido, disfraz, hortelano de amor, másca-ra rústica, autofiguración poética ABSTRACT: the dramatic mask of the false gardener, one of the many types of noble disguised as a peasant, is specially frequent in Lope de Vega's urban comedy; if in the main plot the love gardener courts his lover taking profit of the disguise, in the comic plot the dramatic type is parodied thanks to his links with real peasants; about 1615, Lope, already masked as Belardo in the Romancero, makes use of this dramatic type as a spokesman of his personal courtly ambitions.

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Lope de Vega y la casa de Moncada

Cited by 3 publications

References 13 publications

Conclusion

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Lope de Vega au Parnasse : "Honras de Lope de Vega en el Parnaso", comedia de Gabriel de Moncada (1636)

El jardinero fingido en la comedia lopeveguesca

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