Raza, identidad y rebelión en los confines del Imperio hispánico: los cimarrones de Santiago del Príncipe y La Dragontea (1598) de Lope de Vega

Jiménez, Antonio Sánchez

doi:10.1353/hir.2007.0012

hir

2007

DOI: 10.1353/hir.2007.0012

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Raza, identidad y rebelión en los confines del Imperio hispánico: los cimarrones de Santiago del Príncipe y La Dragontea (1598) de Lope de Vega

Antonio Sánchez Jiménez¹

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Cited by 2 publications

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Los negros como figura de negación y diferencia en el teatro barroco

Molinero

2014

Hipogrifo

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Resumen. La modernidad europea y americana niega e invisibiliza a los negros. En el teatro español del Renacimiento y el Barroco la figura del negro se presenta de tres maneras: como negación de la humanidad, como protagonista de un intento de borrar su color negro a nivel físico y metafísico y con ello su presencia en la sociedad como diferencia y como ser en la historia y, finalmente, y esta es la excepción, como individuo que se enfrenta a esa negación y reclama la libertad ante una sociedad que solo lo ve como esclavo. Este es el caso de la comedia Juan Latino (c. 1625) de Diego Ximénez de Enciso, cuyo protagonista afirma su presencia y su memoria en la historia.Palabras clave. Negro, raza, esclavitud, libertad, religión, diferencia, memoria histórica, Juan Latino.Abstract. Modernity in Europe and America has negated the existence of Blacks, making them invisible. Spanish Renaissance and Baroque theater represents the Black figure in three ways. Some Black characters embody the negation of humanity; other Blacks attempt to erase their skin color at the physical and metaphysical level, and thus their presence in society as difference and as beings in history; lastly, and this is the exception, some are individuals who confront this negation and demand their freedom against a society that sees them only as slaves. This is the case of the play Juan Latino (c. 1625) by Diego Ximénez de Enciso. Its protagonist affirms his presence in historical memory.

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Los negros como figura de negación y diferencia en el teatro barroco

Molinero

2014

Hipogrifo

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Race and the Critical Trajectory of <i>Espejo de paciencia</i> (1608, 1838) in the Nineteenth Century

Lamas¹

2012

Latin American Research Review

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Raza, identidad y rebelión en los confines del Imperio hispánico: los cimarrones de Santiago del Príncipe y La Dragontea (1598) de Lope de Vega

Cited by 2 publications

References 15 publications

Los negros como figura de negación y diferencia en el teatro barroco

Los negros como figura de negación y diferencia en el teatro barroco

Race and the Critical Trajectory of <i>Espejo de paciencia</i> (1608, 1838) in the Nineteenth Century

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