Habilidades dialécticas y poéticas de los personajes femeninos en el teatro calderoniano: el caso de las glosas de romances
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...
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| Formato: | Artículo |
| Lenguaje: | español |
| Publicado: |
2021
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| Materias: | |
| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=7942738 |
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| Sumario: | 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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