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=008  230516s2020\\\\sp\\\\\\\\\\\\\\\\\\spa\\
=022  \\$a2328-1308
=041  \\$aspa
=100  \\$aLamari, Naïma
=245  \\$aLa poetización de la ciudad en Desde Toledo a Madrid de Tirso de Molina$cLamari, Naïma
=260  \\$c2020
=520  3\$aWhile in El burlador de Sevilla, Tirso compares the mythic and ideal  Lisbon to the corrupt Sevilla, in this play he constructs the imperial and eternal  Toledo and compares it with Madrid -the main nucleus of Spain. Desde Toledo a  Madrid is not the only work in which Tirso connects these two geographical spaces,  underscoring their rivalry. In his novel Los tres maridos burlados, for example,  he uses the filial metaphor and the image of the genealogical tree to mention this  relationship of interdependence and debt.  As an offspring of sovereign Toledo, Madrid is the emancipated daughter and  the heir of the capital status, becoming the center of political and economic power.  In this way, Madrid does not treat its «mother» well because its growing power contributes  to the depopulation of Toledo. Whereas the beginning of Cigarrales de Toledo  starts with praise for Toledo, referred to as the empress of Europe, the second  Rome and the heart of Spain, Los tres maridos burlados starts with a very poetic  celebration of the Tagus river, which is really Toledo. This city stands out because of  its natural and spiritual dynamics, as well as its freshness and stillness. Tirso uses  the medieval topic of the locus amoenus, as well as the topical metaphor of crystals  with regard to the waters. Tirso's intention is to praise and to sublimate the city of  Toledo like Luis de Góngora did in the sonnet dedicated to Tamayo de Vargas, or  like Garcilaso did in his Egloga III, or even more, like Cervantes in his prologue to  Don Quijote. In this essay I intend to demonstrate that, beyond the idealized and  traditional representation of Toledo, the poetization of the city and the geographical  component in Desde Madrid a Toledo participates in the construction and the dramatic  writing of the play, at the same time that it underlines the originality of Tirso's  dramatic universe
=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$aTirso de Molina
=650  04$aDesde Toledo a Madrid
=650  04$apoética
=650  04$aciudad
=650  04$aToledo
=650  04$aMadrid
=650  04$aTirso de Molina
=650  04$aDesde Toledo a Madrid
=650  04$apoetic city
=650  04$aToledo
=650  04$aMadrid
=655  \4$atext (article)
=773  0\$tHipogrifo: Revista de Literatura y Cultura del Siglo de Oro$x2328-1308$gVol. 8,  Nº. 2,  2020,  pags. 155-166
=856  40$uhttps://dialnet.unirioja.es/servlet/oaiart?codigo=7666560
=995  \\$aBiblioteca Nacional de España