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catalog abstract ""Spanish drama provoked a serious and ongoing debate on the moral character and cultural value of such a popular form of entertainment among elites of the seventeenth and eighteenth centuries. At the heart of the polemic over theatrical licitness are repeated references to Christian theological tradition, which systematically exalted virginity and celibacy while attempting to justify matrimony and conjugal love. However, the presence of women on stage and in the audience served as a catalyst for a larger debate on the role women were to play in public and private discourse. This study reviews in detail the discursive history of the licitness issue and examines how specific dramatic texts both reflect and react to the many concerns raised."--Jacket.".
catalog contributor b11641650.
catalog created "c2000.".
catalog date "2000".
catalog date "c2000.".
catalog dateCopyrighted "c2000.".
catalog description ""Spanish drama provoked a serious and ongoing debate on the moral character and cultural value of such a popular form of entertainment among elites of the seventeenth and eighteenth centuries. At the heart of the polemic over theatrical licitness are repeated references to Christian theological tradition, which systematically exalted virginity and celibacy while attempting to justify matrimony and conjugal love. However, the presence of women on stage and in the audience served as a catalyst for a larger debate on the role women were to play in public and private discourse. This study reviews in detail the discursive history of the licitness issue and examines how specific dramatic texts both reflect and react to the many concerns raised."--Jacket.".
catalog description "Actresses as Public Prostitutes 110 -- 8. Women's Nature 112 -- F. Patristic Attitudes and Opinions on Theater 119 -- 1. Applicability of the Church Fathers' Opinions on Theater to the Spanish Comedia 119 -- 2. Women, Sexuality, Obscenity, and Perdition 123 -- 3. Question of Temporal Appropriateness 128 -- 4. Reason and the Church Fathers 130 -- G. Conflict of Traditions: Ancient and Modern; Secular and Religious 131 -- II. Two Poles of Human Happiness: Religion and Civil Government 143 -- A. Relationship of Civil to Ecclesiastical Authority 143 -- 1. Connection with Charity: The Spanish Comedia and Public Hospitals 149 -- 2. Exercise of Ecclesiastical Authority 150 -- 3. Sacraments as Weapons of Moral Enforcement 152 -- 4. What Constitutes Christian Dogma? 153 -- 5. Double-Edged Sword of Ecclesiastical Censorship 155 -- B. Lay Judgment and the Moral Maturity of Christians 156 -- C.".
catalog description "I. A.A. Parker's Approach to Love in Spanish Literature 1 -- II. Love, the Individual, and the Western Tradition 3 -- III. Individuals Versus Types 5 -- IV. Theatrical, Dramatic, and Cultural Codes: The Codes of Honor and Love in the Comedia 7 -- A. Foucault's Episteme and the Sense of Order in the Comedia 8 -- B. Dramatic Systematicities 9 -- C. Code of Honor 12 -- D. Code of Love 15 -- E. Religious and Secular Ethics 18 -- F. Dynamics of Social Action and Courtship 20 -- Part 1 Social Discourse on the Comedia -- Introduction: The Legitimacy of Public Theater in Spain 29 -- I. Spanish Comedia as an Historico-Theatrical Event 36 -- A. Context of Theatrical Performances 37 -- B. Dramatic Plots in the Comedia Nueva 42 -- 1. What Constitutes "cosas lascivas y amores deshonestos"? 44 -- 2. What Are "buenas costumbres"? 47 -- 3. Cape-and-Sword Plays and Their Amatory Material 49 -- 4.".
catalog description "Includes bibliographical references (p. [369]-384) and index.".
catalog description "Ir a vistas: The Proper Role of Gusto, Even in Affairs of State 267 -- E. History Revealed through Poetry 271 -- II. Meaning of Conformidad/Conformity: The Mythic Perspective (Salazar y Torres: Loa [Prelude] to El encanto es la hermosura/La segunda Celestina [Beauty Is Enchanting/The Second Celestina]; Sor Juana: Sarao de cuatro naciones [Dance of the Four Nations] from Los empenos de una casa [One House's Troubles] and Loa to Amor es mas laberinto [Love Is More Like a Labyrinth]; Calderon de la Barca: La estatua de Prometeo [Prometheus's Statue]) 283 -- III.".
catalog description "Leisure and the Use of Time 160 -- III. Christian Empire and the Ideal/"Christianized" Society 167 -- A. Two Distinct Classes of Christian 167 -- 1. Striving for or Imposing Perfection 169 -- 2. Backlash from the Mediocre 171 -- B. Profane versus Divine Love 172 -- C. "Conventualized" Model of Spanish Society 177 -- 1. "Monasticization of the Laity" 178 -- 2. Misogyny, Monasticism, and the Segregation of the Sexes 179 -- 3. Religious Zeal Versus Political Ambition and Human Reality 182 -- D. Clerics and the Religious in Theaters and Plays Staged in Convents and Monasteries 184 -- E. Public Theater and the Society of Jesus 188 -- 1. Jesuits Versus Augustinians 189 -- 2. Traditional Jesuit Discourse on Public Theater 192 -- 3. Guerra Affair or the Spirit of Partisanship: Jesuits Rally Round P. Hurtado de Mendoza 195 -- 4. Licitness Redux: The Gaspar Diaz Affair 201 -- 5.".
catalog description "Licitness Revisited: The Pinedo Affair 203 -- IV. Secularization Versus "Theocraticization": The Laicization of Spanish Society 209 -- A. Spain as the Refuge of Catholicism 210 -- B. Case for Moral Degeneration 211 -- C.9 Forum for Debate on Politico-Moral Issues 213 -- V. Perceptions of Human Nature and the "Natural" 217 -- Part 2 Discourse on Love in the Comedia -- Introduction: The Dramatic Representation of Subjectivity. The Validation, Correction, or Rejection of Individual Experience (Fuente Ovejuna [The Sheep Well], La dama boba [Lady Nitwit], El villano en su rincon [The Peasant Master of His Domain]) 225 -- I. Meaning of Conformidad/Conformity: A Tragicomic Depiction (El mejor mozo de Espana [The Best Bachelor in Spain]) 255 -- A. Dramatic Nature of El mejor mozo de Espana 257 -- B. Confluence of Poetry and History 259 -- C. "Mythologized" Matrix of the Plot 264 -- D.".
catalog description "Matrimony as Justification for Amatory Plays 52 -- C. Moral State of the Comedia 57 -- 1. Effect of the Comedia on the Public 66 -- 2. Responsibility of Fathers 71 -- 3. Effect of the Comedia on Marriage 73 -- 4. Innocence of Youth 75 -- 5. Cautionary Tales 77 -- D. Moral State of Actors 78 -- 1. Civil State of Actors and Acting 79 -- 2. May Actors Receive the Sacraments? 81 -- 3. Actors' Lifestyle 81 -- 4. Mixing of Men and Women in Theaters, Churches, and other Public Places 84 -- E. Question of Women on Stage 87 -- 1. Appropriateness of Women as Comicas, Representantas, and Comediantas 89 -- 2. Replacement of Boys by Women in Female Roles 95 -- 3. Women Dressed in Male Attire 96 -- 4. Mixing of Actors and Actresses in Dressing Rooms, in Rehearsals, and on Tour 100 -- 5. Only Married Women Permitted on Stage 102 -- 6. Actresses as Daughters of Eve and as Sirens 105 -- 7.".
catalog description "Meaning of Conformidad/Conformity: Comic Depictions (Miguel de Cervantes: Don Quijote; Ruiz de Alarcon: Las paredes oyen [The Walls Have Ears] and La verdad sospechosa [Suspect Truth]; Calderon de la Barca: La dama duende [The Phantom Lady] and No hay burlas con el amor [Love Is No Laughing Matter]; Salazar y Torres, Vera Tassis, and sor Juana Ines de la Cruz: El encanto es la hermosura/La segunda Celestina; sor Juana: Los empenos de una casa) 289 -- A. A Mythic and Cervantine Excursus on the Importance of Parthenoi 289 -- B. A Sampling of the Spanish Comedia's Comic Mode 295 -- C. Bowdlerization of the Comedia de capa y espada: The Case of No hay burlas con el amor 307 -- D. An Afterword on No hay burlas con el amor and Spanish Drama in the 1670s and Early 1680s 322 -- IV.".
catalog description "Meaning of Conformidad/Conformity: Tragic Depictions (Calderon de la Barca: A secreto agravio secreta venganza [Secret Vengeance for a Secret Injury], El medico de su honra [The Surgeon of His Honor], and El pintor de su deshonra [The Painter of His Dishonor]; La estrella de Sevilla [The Star of Seville]; Velez de Guevara: Reinar despues de morir [Reigning after Death]; Tirso de Molina: El burlador de Sevilla [The Mocker of Seville]) 343 -- A. Calderon de la Barca's Wife-Murder Plays 343 -- 1. Ideal of Conjugal Love 345 -- 2. Realization or Contradiction of That Ideal 350 -- 3. Does Love Owe a Debt to Honor? 352 -- 4. Consequences of Transgressing el codigo del honor 356 -- 5. Mysterious Role of Heaven(s) in Human Affairs 357 -- 6. Virgin-Whore Syndrome in the Wife-Murder Plays 358 -- B. Politics of Betrothal and Marriage 359 -- C. A Brief Afterword on El burlador de Sevilla 364.".
catalog extent "xv, 395 p. ;".
catalog identifier "0820444936".
catalog isPartOf "Ibérica (New York, N.Y.) ; vol. 31.".
catalog isPartOf "Ibérica ; vol. 31".
catalog issued "2000".
catalog issued "c2000.".
catalog language "eng".
catalog publisher "New York : P. Lang,".
catalog spatial "Spain.".
catalog subject "862/.3093543 21".
catalog subject "Literature and society Spain.".
catalog subject "Love in literature.".
catalog subject "PQ6106 .O36 2000".
catalog subject "Spanish drama 18th century History and criticism.".
catalog subject "Spanish drama Classical period, 1500-1700 History and criticism.".
catalog tableOfContents "Actresses as Public Prostitutes 110 -- 8. Women's Nature 112 -- F. Patristic Attitudes and Opinions on Theater 119 -- 1. Applicability of the Church Fathers' Opinions on Theater to the Spanish Comedia 119 -- 2. Women, Sexuality, Obscenity, and Perdition 123 -- 3. Question of Temporal Appropriateness 128 -- 4. Reason and the Church Fathers 130 -- G. Conflict of Traditions: Ancient and Modern; Secular and Religious 131 -- II. Two Poles of Human Happiness: Religion and Civil Government 143 -- A. Relationship of Civil to Ecclesiastical Authority 143 -- 1. Connection with Charity: The Spanish Comedia and Public Hospitals 149 -- 2. Exercise of Ecclesiastical Authority 150 -- 3. Sacraments as Weapons of Moral Enforcement 152 -- 4. What Constitutes Christian Dogma? 153 -- 5. Double-Edged Sword of Ecclesiastical Censorship 155 -- B. Lay Judgment and the Moral Maturity of Christians 156 -- C.".
catalog tableOfContents "I. A.A. Parker's Approach to Love in Spanish Literature 1 -- II. Love, the Individual, and the Western Tradition 3 -- III. Individuals Versus Types 5 -- IV. Theatrical, Dramatic, and Cultural Codes: The Codes of Honor and Love in the Comedia 7 -- A. Foucault's Episteme and the Sense of Order in the Comedia 8 -- B. Dramatic Systematicities 9 -- C. Code of Honor 12 -- D. Code of Love 15 -- E. Religious and Secular Ethics 18 -- F. Dynamics of Social Action and Courtship 20 -- Part 1 Social Discourse on the Comedia -- Introduction: The Legitimacy of Public Theater in Spain 29 -- I. Spanish Comedia as an Historico-Theatrical Event 36 -- A. Context of Theatrical Performances 37 -- B. Dramatic Plots in the Comedia Nueva 42 -- 1. What Constitutes "cosas lascivas y amores deshonestos"? 44 -- 2. What Are "buenas costumbres"? 47 -- 3. Cape-and-Sword Plays and Their Amatory Material 49 -- 4.".
catalog tableOfContents "Ir a vistas: The Proper Role of Gusto, Even in Affairs of State 267 -- E. History Revealed through Poetry 271 -- II. Meaning of Conformidad/Conformity: The Mythic Perspective (Salazar y Torres: Loa [Prelude] to El encanto es la hermosura/La segunda Celestina [Beauty Is Enchanting/The Second Celestina]; Sor Juana: Sarao de cuatro naciones [Dance of the Four Nations] from Los empenos de una casa [One House's Troubles] and Loa to Amor es mas laberinto [Love Is More Like a Labyrinth]; Calderon de la Barca: La estatua de Prometeo [Prometheus's Statue]) 283 -- III.".
catalog tableOfContents "Leisure and the Use of Time 160 -- III. Christian Empire and the Ideal/"Christianized" Society 167 -- A. Two Distinct Classes of Christian 167 -- 1. Striving for or Imposing Perfection 169 -- 2. Backlash from the Mediocre 171 -- B. Profane versus Divine Love 172 -- C. "Conventualized" Model of Spanish Society 177 -- 1. "Monasticization of the Laity" 178 -- 2. Misogyny, Monasticism, and the Segregation of the Sexes 179 -- 3. Religious Zeal Versus Political Ambition and Human Reality 182 -- D. Clerics and the Religious in Theaters and Plays Staged in Convents and Monasteries 184 -- E. Public Theater and the Society of Jesus 188 -- 1. Jesuits Versus Augustinians 189 -- 2. Traditional Jesuit Discourse on Public Theater 192 -- 3. Guerra Affair or the Spirit of Partisanship: Jesuits Rally Round P. Hurtado de Mendoza 195 -- 4. Licitness Redux: The Gaspar Diaz Affair 201 -- 5.".
catalog tableOfContents "Licitness Revisited: The Pinedo Affair 203 -- IV. Secularization Versus "Theocraticization": The Laicization of Spanish Society 209 -- A. Spain as the Refuge of Catholicism 210 -- B. Case for Moral Degeneration 211 -- C.9 Forum for Debate on Politico-Moral Issues 213 -- V. Perceptions of Human Nature and the "Natural" 217 -- Part 2 Discourse on Love in the Comedia -- Introduction: The Dramatic Representation of Subjectivity. The Validation, Correction, or Rejection of Individual Experience (Fuente Ovejuna [The Sheep Well], La dama boba [Lady Nitwit], El villano en su rincon [The Peasant Master of His Domain]) 225 -- I. Meaning of Conformidad/Conformity: A Tragicomic Depiction (El mejor mozo de Espana [The Best Bachelor in Spain]) 255 -- A. Dramatic Nature of El mejor mozo de Espana 257 -- B. Confluence of Poetry and History 259 -- C. "Mythologized" Matrix of the Plot 264 -- D.".
catalog tableOfContents "Matrimony as Justification for Amatory Plays 52 -- C. Moral State of the Comedia 57 -- 1. Effect of the Comedia on the Public 66 -- 2. Responsibility of Fathers 71 -- 3. Effect of the Comedia on Marriage 73 -- 4. Innocence of Youth 75 -- 5. Cautionary Tales 77 -- D. Moral State of Actors 78 -- 1. Civil State of Actors and Acting 79 -- 2. May Actors Receive the Sacraments? 81 -- 3. Actors' Lifestyle 81 -- 4. Mixing of Men and Women in Theaters, Churches, and other Public Places 84 -- E. Question of Women on Stage 87 -- 1. Appropriateness of Women as Comicas, Representantas, and Comediantas 89 -- 2. Replacement of Boys by Women in Female Roles 95 -- 3. Women Dressed in Male Attire 96 -- 4. Mixing of Actors and Actresses in Dressing Rooms, in Rehearsals, and on Tour 100 -- 5. Only Married Women Permitted on Stage 102 -- 6. Actresses as Daughters of Eve and as Sirens 105 -- 7.".
catalog tableOfContents "Meaning of Conformidad/Conformity: Comic Depictions (Miguel de Cervantes: Don Quijote; Ruiz de Alarcon: Las paredes oyen [The Walls Have Ears] and La verdad sospechosa [Suspect Truth]; Calderon de la Barca: La dama duende [The Phantom Lady] and No hay burlas con el amor [Love Is No Laughing Matter]; Salazar y Torres, Vera Tassis, and sor Juana Ines de la Cruz: El encanto es la hermosura/La segunda Celestina; sor Juana: Los empenos de una casa) 289 -- A. A Mythic and Cervantine Excursus on the Importance of Parthenoi 289 -- B. A Sampling of the Spanish Comedia's Comic Mode 295 -- C. Bowdlerization of the Comedia de capa y espada: The Case of No hay burlas con el amor 307 -- D. An Afterword on No hay burlas con el amor and Spanish Drama in the 1670s and Early 1680s 322 -- IV.".
catalog tableOfContents "Meaning of Conformidad/Conformity: Tragic Depictions (Calderon de la Barca: A secreto agravio secreta venganza [Secret Vengeance for a Secret Injury], El medico de su honra [The Surgeon of His Honor], and El pintor de su deshonra [The Painter of His Dishonor]; La estrella de Sevilla [The Star of Seville]; Velez de Guevara: Reinar despues de morir [Reigning after Death]; Tirso de Molina: El burlador de Sevilla [The Mocker of Seville]) 343 -- A. Calderon de la Barca's Wife-Murder Plays 343 -- 1. Ideal of Conjugal Love 345 -- 2. Realization or Contradiction of That Ideal 350 -- 3. Does Love Owe a Debt to Honor? 352 -- 4. Consequences of Transgressing el codigo del honor 356 -- 5. Mysterious Role of Heaven(s) in Human Affairs 357 -- 6. Virgin-Whore Syndrome in the Wife-Murder Plays 358 -- B. Politics of Betrothal and Marriage 359 -- C. A Brief Afterword on El burlador de Sevilla 364.".
catalog title "Love in the "corral" : conjugal spirituality and anti-theatrical polemic in early modern Spain / Thomas Austin O'Connor.".
catalog type "Criticism, interpretation, etc. fast".
catalog type "text".