Baroque Lorca: An Archaist Playwright for the New Stage defines Federico García Lorca's trajectory in the theater as a lifelong search for an audience. It studies a wide range of dramatic writings ...that Lorca created for the theater, in direct response to the conditions of his contemporary industry, and situates the theory and praxis of his theatrical reform in dialogue with other modernist renovators of the stage. This book makes special emphasis on how Lorca engaged with the tradition of Spanish Baroque, in particular with Cervantes and Calderón, to break away from the conventions of the illusionist stage. The five chapters of the book analyze Lorca's different attempts to change the dynamics of the Spanish stage from 1920 to his assassination in 1936: His initial incursions in the arenas of symbolist and historical drama (The Butterfly's Evil Spell, Mariana Pineda); his interest in puppetry (The Billy-Club Puppets and In the Frame of Don Cristóbal) and the two 'human' farces The Shoemaker's Prodigious Wife and The Love of Don Perlimplín and Belisa in the Garden; the central piece in his project of 'impossible' theater (The Public); his most explicitly political play, one that takes the violence to the spectators' seats (The Dream of Life); and his three plays adopting, an altering, the contemporary formula of 'rural drama' (Blood Wedding, Yerma and The House of Bernarda Alba).
La geografia literària és un encreuament interdisciplinari entre teoria de la literatura, geografia, cartografia digital i anàlisi espacial. En aquesta contribució analitzem les possibilitats i les ...limitacions de les tecnologies digitals per a la quantificació i la visualització de l’espai narratiu dels textos ficticis. L’anàlisi es basa en un corpus específic adscrit al gènere de la novel·la bizantina espanyola del Segle d’Or, el cronòtop de l’aventura del qual està marcat per viatges, travessies marítimes, exotisme, trobades transculturals, etc. A aquesta característica espacial singularitzadora s’hi afegeix la influència directa de la cartografia històrica en la creació artística. Ens hem servit de l’extracció automàtica de llocs (Stanford i Freeling), de la georeferenciació (Qgis), de la geolocalització (GeoNames, Pelagios), del tractament de dades (R) i de la visualització de mapes («leaflet maps» en R). Tot i que podríem dir que un acostament quantitatiu comporta limitacions que impedeixen explicar com funciona el gènere bizantí, una visualització associada amb la superposició de mapes històrics podria servir, en el nostre cas, per a afegir coneixement a l’anàlisi de l’espai literari.
Literary geography is an interdisciplinary crossroads of literary theory, geography, digital cartography and spatial analysis. This paper addresses the possibilities and limitations of digital technologies for quantifying and visualizing the narrative space in fictional texts. The analysis is based on a corpus of early modern Spanish Byzantine novels, in which the chronotope is characterized by sea travels, exotic places, shipwrecks, transcultural encounters, etc. A significant feature of the narrative strategies is the influence of early modern historical cartography, which is used to configure spatial and topographical references. We made use of the automatic extraction of places (Stanford and Freeling), georeferencing (Qgis), geolocation (GeoNames, Pelagios), data processing (R) and map visualization (Leaflet for R). Although it was concluded that our quantitative approach fell short of explaining how the Byzantine genre operates in terms of spatiality, visualization enriched by georeferenced historical maps can, in our case, add knowledge to the analysis of the literary space.
La geografía literaria es un cruce interdisciplinario entre teoría de la literatura, geografía, cartografía digital y análisis espacial. En esta contribución abordamos las posibilidades y limitaciones de las tecnologías digitales para la cuantificación y visualización del espacio narrativo de los textos ficcionales. El análisis se basa en un corpus específico adscrito al género de la novela bizantina española del Siglo de Oro, cuyo cronotopo de la aventura está marcado con viajes, travesías marítimas, exotismo, encuentros transculturales, etc. A esta característica espacial singularizadora se añade la influencia directa de la cartografía histórica en la creación artística. Nos hemos servido de la extracción automática de lugares (Stanford y Freeling), de la georreferenciación (Qgis), de la geolocalización (GeoNames, Pelagios), del tratamiento de datos (R) y de la visualización en mapas (leaflet maps en R). Aunque podremos concluir que un acercamiento cuantitativo representa limitaciones que impiden explicar cómo funciona el género bizantino espacialmente, una visualización asociada a la superposición de mapas históricos podría servir, en nuestro caso, para añadir conocimiento al análisis del espacio literario.
For many, the advent of globalization brought with it an end to the way that the world had been viewed previous to the fall of the Berlin Wall. Among the many endings the one that most concerns my ...book is the perceived foreclosure of any alternatives to the capitalistic ideology that structures globalization. Even criticisms of globalization are bounded by its limits since the critical models they use cannot conceive of a space outside its homogenizing discourse. Against the final limits that shape most interpretations of globalization, I show how writers on the periphery of the globalizing north, through the development and deployment of neo-baroque imaginings, offer a different possibility to monological globalism. I show that the baroque has been a way of resisting and reconfiguring the colonial gaze in Latin America since the time of the first encounter to the present.
The book series 'Frühe Neuzeit' - founded in 1987 by Jörg Jochen Berns, Gotthard Frühsorge, Klaus Garber, Wilhelm Kühlmann and Jan-Dirk Müller - publishes editions, monographs and collected volumes ...advancing fundamental research in the field. It does not seek to produce wide-ranging overviews, premature syntheses or pretentious constructions but takes the long route of detailed work and the exploration of submerged traditions.
Baroque Lorca: An Archaist Playwright for the New Stage defines Federico García Lorca’s trajectory in the theater as a lifelong search for an audience. It studies a wide range of dramatic writings ...that Lorca created for the theater, in direct response to the conditions of his contemporary industry, and situates the theory and praxis of his theatrical reform in dialogue with other modernist renovators of the stage. This book makes special emphasis on how Lorca engaged with the tradition of Spanish Baroque, in particular with Cervantes and Calderón, to break away from the conventions of the illusionist stage. The five chapters of the book analyze Lorca’s different attempts to change the dynamics of the Spanish stage from 1920 to his assassination in 1936: His initial incursions in the arenas of symbolist and historical drama (The Butterfly’s Evil Spell, Mariana Pineda); his interest in puppetry (The Billy-Club Puppets and In the Frame of Don Cristóbal) and the two ‘human’ farces The Shoemaker’s Prodigious Wife and The Love of Don Perlimplín and Belisa in the Garden; the central piece in his project of ‘impossible’ theater (The Public); his most explicitly political play, one that takes the violence to the spectators’ seats (The Dream of Life); and his three plays adopting, an altering, the contemporary formula of ‘rural drama’ (Blood Wedding, Yerma and The House of Bernarda Alba).
From the Old Testament through the Middle Ages to modern times colour perception loses its close link to the object and finally arrives at complete detachment. The first big shift takes place during ...the baroque era both in philosophical thought (Descartes, Locke, and Leibnitz) and in the literary use of colours (Hoffmannswaldau, Gerhardt, Gryphius, Opitz, and Eltester), provoking an aesthetic and epistemological shock.
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