Habilidades dialécticas y poéticas de los personajes femeninos en el teatro calderoniano: el caso de las glosas de romances
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- Statement of Responsibility:
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Antonucci, Fausta
- Main Author:
- Format:
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Journal article
- Language:
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Spanish; Castilian
- Form / Genre:
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text (article)
- Published:
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2021
- In:
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Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro ISSN 2328-1308 Vol. 9, Nº. 1, 2021, pags. 1061-1075
- Subjects:
- Annotation:
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One of the most fascinating aspects of female protagonism in Calderonian theatre is the dialectical capacity exhibited by the damas, their mastery of argumentation and the expressive subtleties of language in the dialogical exchanges they have with male characters. An interesting aspect to study is the relationship between the discursive situation of these exchanges and the stanza used. This article specifically analyzes the case of the romance glosses, recited in dialogue between a dama and a gallant, in El acaso y el error; No hay burlas con el amor; Antes que todo es mi dama; Las manos blancas no ofenden; El pintor de su deshonra; Darlo todo y no dar nada; La púrpura de la rosa. Their placement in the dramatic action, their characteristics and structure depend largely on the genre to which the work in which they are framed can be assigned. In all of them, however, the essential role of the female interlocutor is appreciated, and her ingenious ability to adapt the cited text to the discursive intentions and the arguments with which she substantiates her replies
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520 | 3 | \ | |a One of the most fascinating aspects of female protagonism in Calderonian theatre is the dialectical capacity exhibited by the damas, their mastery of argumentation and the expressive subtleties of language in the dialogical exchanges they have with male characters. An interesting aspect to study is the relationship between the discursive situation of these exchanges and the stanza used. This article specifically analyzes the case of the romance glosses, recited in dialogue between a dama and a gallant, in El acaso y el error; No hay burlas con el amor; Antes que todo es mi dama; Las manos blancas no ofenden; El pintor de su deshonra; Darlo todo y no dar nada; La púrpura de la rosa. Their placement in the dramatic action, their characteristics and structure depend largely on the genre to which the work in which they are framed can be assigned. In all of them, however, the essential role of the female interlocutor is appreciated, and her ingenious ability to adapt the cited text to the discursive intentions and the arguments with which she substantiates her replies |
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