Locked Doors and Dark Rooms in Calderonian Tragedies (with Some Excursion in the Comedies)
In many Calderón’s tragic plays, a room or a hall can turn into a space of violence, if locked or opened against the will of the character (mostly a woman) who lives in it. That is what we can observe in La gran Cenobia, El médico de su honra, El pintor de su deshonra, El mayor monstruo del mundo, L...
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| Language: | English |
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Instituto de Estudios Auriseculares (IDEA)
2017-05-01
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| Series: | Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro |
| Online Access: | http://revistahipogrifo.com/index.php/hipogrifo/article/view/171 |
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doaj-a66fcc572da047cca5b56edaee20f9ef2020-11-24T22:25:22ZengInstituto de Estudios Auriseculares (IDEA)Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro2328-13082017-05-0151455510.13035/H.2017.05.01.05173Locked Doors and Dark Rooms in Calderonian Tragedies (with Some Excursion in the Comedies)Fausta Antonucci0Università degli Studi Roma TreIn many Calderón’s tragic plays, a room or a hall can turn into a space of violence, if locked or opened against the will of the character (mostly a woman) who lives in it. That is what we can observe in La gran Cenobia, El médico de su honra, El pintor de su deshonra, El mayor monstruo del mundo, La vida es sueño. In comic plays, on the contrary, dramatic situations like these use to turn out well, thanks to ingenious solutions or favorable chance: it is what happens in Amor, honor y poder and La dama duende; whereas the case of No hay cosa como callar confirms the generic ambiguity of this play.http://revistahipogrifo.com/index.php/hipogrifo/article/view/171 |
| collection |
DOAJ |
| language |
English |
| format |
Article |
| sources |
DOAJ |
| author |
Fausta Antonucci |
| spellingShingle |
Fausta Antonucci Locked Doors and Dark Rooms in Calderonian Tragedies (with Some Excursion in the Comedies) Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro |
| author_facet |
Fausta Antonucci |
| author_sort |
Fausta Antonucci |
| title |
Locked Doors and Dark Rooms in Calderonian Tragedies (with Some Excursion in the Comedies) |
| title_short |
Locked Doors and Dark Rooms in Calderonian Tragedies (with Some Excursion in the Comedies) |
| title_full |
Locked Doors and Dark Rooms in Calderonian Tragedies (with Some Excursion in the Comedies) |
| title_fullStr |
Locked Doors and Dark Rooms in Calderonian Tragedies (with Some Excursion in the Comedies) |
| title_full_unstemmed |
Locked Doors and Dark Rooms in Calderonian Tragedies (with Some Excursion in the Comedies) |
| title_sort |
locked doors and dark rooms in calderonian tragedies (with some excursion in the comedies) |
| publisher |
Instituto de Estudios Auriseculares (IDEA) |
| series |
Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro |
| issn |
2328-1308 |
| publishDate |
2017-05-01 |
| description |
In many Calderón’s tragic plays, a room or a hall can turn into a space of violence, if locked or opened against the will of the character (mostly a woman) who lives in it. That is what we can observe in La gran Cenobia, El médico de su honra, El pintor de su deshonra, El mayor monstruo del mundo, La vida es sueño. In comic plays, on the contrary, dramatic situations like these use to turn out well, thanks to ingenious solutions or favorable chance: it is what happens in Amor, honor y poder and La dama duende; whereas the case of No hay cosa como callar confirms the generic ambiguity of this play. |
| url |
http://revistahipogrifo.com/index.php/hipogrifo/article/view/171 |
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AT faustaantonucci lockeddoorsanddarkroomsincalderoniantragedieswithsomeexcursioninthecomedies |
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