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=008  230516s2020\\\\sp\\\\\\\\\\\\\\\\\\spa\\
=022  \\$a2328-1308
=041  \\$aspa
=100  \\$aLondero, Renata
=245  \\$aEl pasado a la luz del presente y del poder en las comedias históricas de José de Cañizares: algunas calas$cLondero, Renata
=260  \\$c2020
=520  3\$aUnder the Ciceronian motto historia magistra vitae and in the wake of  the Spanish comedia, a court dramatist who lived between two centuries, José de  Cañizares (1676-1750), in his history plays makes use of past events mingled with  fiction and invention in order to discuss them better and above all to link them to the  political situation of his own time, which was starting with the government of a new  dynasty (the Bourbons) during Philip V's reign. The corpus selected includes the  "privanza" comedy El picarillo en España, señor de la Gran Canaria (played for the  first time in Madrid's Teatro de la Cruz in 1716), focused on the conflicts between  king John II of Castile, Álvaro de Luna and the aristocracy of their tormented age,  and full of synchronisms and anachronisms; and El pastelero de Madrigal, rey don  Sebastián fingido, whose plot is set during the time of king Sebastian of Portugal,  after whose death in the battle of Alcazarquivir in 1578 harsh dynasty fights broke  out, ending in 1581, when the country fell under Spanish domain: the play was written  in 1706, while the War of the Spanish Succession was being fought far from  reaching any military and political solution. Other comedies by Cañizares analyzed  are La Poncella de Orleans, composed in cooperation with Antonio de Zamora and  explicitly pro-French: it was composed in 1706 as well, and it was represented for  the first time in Madrid in 1707, in order to celebrate the pregnancy of Maria Luisa  of Savoy, Philip V's first wife. Finally, La banda de Castilla, y duelo contra sí mismo,  is also considered: a manuscript witness of it, dating back to 1727, is kept in the  BNE (Ms. 16.594). In the present essay, the comedies by Cañizares quoted above  are studied in order to examine both their peculiar treatment of the past facing the  playwright's present and the author's mindset swaying between the Baroque and  the Enlightenment
=538  \\$aapplication/pdf
=540  \\$aLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI
=650  04$aCañizares
=650  04$aentresiglos
=650  04$ateatro histórico
=650  04$amonarquía
=650  04$apasado
=650  04$apresente
=650  04$aficción
=650  04$ahistoria
=650  04$aCañizares
=650  04$aage between two centuries
=650  04$ahistory plays
=650  04$amonarchy
=650  04$apast
=650  04$apresent
=650  04$afiction
=650  04$ahistory
=655  \4$atext (article)
=773  0\$tHipogrifo: Revista de Literatura y Cultura del Siglo de Oro$x2328-1308$gVol. 8,  Nº. 2,  2020,  pags. 303-319
=856  40$uhttps://dialnet.unirioja.es/servlet/oaiart?codigo=7666569
=995  \\$aBiblioteca Nacional de España