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Analysen ausgewählter Neubearbeitungen von Dantes Divina Commedia
Series: Lettre

. Perez, Janet: Prose in Franco Spain, in: Gies, David T. (Hg.): The Cam- bridge history of Spanish literature, Cambridge [u.a.] 2004, S. 628-642. Pirker, Bettina: Cultural-Studies-Theorien der Medien, in: Weber, Stefan (Hg.): Theorien der Medien von der Kulturkritik bis zum Konstrukti- vismus, 2. Aufl. Konstanz 2010, S. 145-169. Plett, Heinrich F.: Systematische Rhetorik, München 2000. Poulson, Stephen C.: Social movements in twentieth-century Iran: culture, ideology, and mobilizing frameworks, Lanham [u.a.] 2006. Rahnema, Ali: An Islamic utopian: a political

Genealogy, Gender, and Genre in Alonso de Castillo Solórzano’s La Garduña de Sevilla (1642) FRANK ESTELMANN By providing a new discourse, gender theories helped to create a better under- standing of the semantics and the historical context in which picaresque Spanish literature evolved. They notably casted a new light on post-tridentinian Spanish discussions and legislation on pauperism and welfare, charity, and honra, and to the converso ‘problem’ that favoured the emergence of the picaresque genre (Castro 1976; Maravall 1987; Bataillon 1969

such vile thoughts that I was afraid of my own rage. (Mi madre sentía una insistente satisfacción en tentarme los genios, en los que el mal iba creciendo como las moscas al olor de los muertos. La bilis que tragué me envenenó el co- razón y tan malos pensamientos llegaba por entonces a discurrir que llegué a estar asusta- do de mi mismo coraje) (2002: 172). After thinking that he will escape to the Spanish coast, he meticulously plans her death and waits until she falls asleep. Pascual’s grotesque matricide, one of the most disturbing episodes in Spanish

seit Antonio Rey Hazas: „Introducción a la novela del Siglo de Oro, I (Formas de narrativa idealista)“, in: Edad de Oro 1 (1982), S. 65-105. 4 Alan Deyermond („The Lost Genre of Medieval Spanish Literature“, in Hispanic Re- view 41 [1975], S. 231-259) identifiziert, in Anlehnung an Northrop Frye und mit Rückgriff auf die angelsächsische Terminologie, solche Typen als romance. In der spanischsprachigen Forschung hat sich diese Begrifflichkeit nicht durchsetzen kön- nen; immerhin wird in letzter Zeit vom missverständlichen Lexem novela für diese Genres Abstand

French chivalric romance (cf. Warning 1978), research that followed Erich Auerbach’s ground-breaking study of Divina Commedia (cf. Auerbach 1967). In Chrestien de Troyes’s Yvain, for instance, the eponymous hero suffers a loss of self in the first course but then regains it in the second course so that he is integrated into court society. In a study of Garcilaso’s second eclogue, Stephan Leopold has recently shown that figurative typology continues to be used in early modern Spanish literature (cf. Leopold 2012). In Guzmán de Alfarache, figurative typology is