Teatro del siglo XVI: La teoria de la anagnorisis y su aplicacion al drama espanol del Renacimiento. Edicion critica de la Comedia de amphytrion, por Francisco Lopez de Villalobos.
Garrido Camacho, Patricia
1995
Abstract
Anagnorisis, or recognition, is a fundamental concept in Aristotle's Poetics. It is the element that has to be contained by the best type of fable, the complex one. This dissertation attempts to establish if the practice of sixteenth century Spanish drama shows acquaintance with this Aristotelian concept. In the first chapter, I survey criticism on Spanish sixteenth century drama to conclude that Aristotelian theory had not been applied to the study of this theater. In the second chapter, the theory of anagnorisis in the Poetics and in the commentaries that were read in Renaissance Spain is presented. In these Renaissance treatises, anagnorisis was reformulated so that it could be applied to genres not discussed in the Poetics. These theorists preferred a type which, with verisimilitude, generated a maximum of wonder. In the third chapter, I apply the Aristotelian theory to the dramas produced during the first half of the century, between 1498 (date of Georgio Valla's Latin translation of the Poetics) and 1548 (the year of publication of Robortello's commentary). I found that there are not recognition scenes in a great number of them (namely eclogues and dialogues). Secondly, those dramas with anagnorisis belong to the genre of humanist theater. In them, the type of recognition is the one considered the best in Aristotelian theory: that conjoined with peripetia, in which surprise arises from verisimilitude, and produced through a extended process of reasoning, without the need to use material proofs. With regards to the dramatic production written between 1548 and 1587 (the start of the Comedia with Lope de Vega's first plays), examined in the fourth chapter, an influx of Aristotelian theory could be expected in the light of the greater diffusion of the Poetics and the number of commentaries available. However, this influx is not revealed by the application of the theory to most of the dramas with recognition scenes. This phenomenon could be explained if it is considered that the majority of the plays examined do not belong the genre of humanistic theater, but are written for the entertainment of the masses. As an appendix, I present the critical edition of the Comedia de Amphytrion by Francisco Lopez de Villalobos, a translation of Plautus' Amphitryo, the first rendering in Spanish of classical drama.* *Originally published in <italic>DAI</italic> Vol. 56, No. 8. Reprinted here with corrected author name.Subjects
Al Amphytrion Anagnorisis Aplicacion Comedia Critica Del Drama Edicion Espanol La Lopez De Villalobos, Francisco Por Renacimiento Renaissance Siglo Sixteenth Century Spain Spanish Text Su Teatro Teoria Villa Xvi
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