Metaphors of conversion in seventeenth century Spanish drama by Leslie Levin

Cover of: Metaphors of conversion in seventeenth century Spanish drama | Leslie Levin

Published by Tamesis in Woodbridge, Suffolk, UK, Rochester, NY, USA .

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  • Molina, Tirso de, 1571?-1648 -- Language.,
  • Calderón de la Barca, Pedro, 1600-1681 -- Language.,
  • Spanish drama -- Classical period, 1500-1700 -- History and criticism.,
  • Symbolism in literature.,
  • Conversion in literature.,
  • Theater -- Religious aspects.,
  • Conversion in art.,
  • Art, Spanish -- 17th century.

Edition Notes

Includes bibliographical references (p. [127]-141) and index.

Book details

Other titlesMetaphors of conversion in 17th century Spanish drama
StatementLeslie Levin.
SeriesColección Támesis. Serie A, Monografías ;, 174
LC ClassificationsPQ6101 .L48 1999
The Physical Object
Pagination145 p. ;
Number of Pages145
ID Numbers
Open LibraryOL368440M
ISBN 101855660571
LC Control Number98029030

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Get this from a library. Metaphors of conversion in seventeenth century Spanish drama. [Leslie Levin] -- The conversion experience was a central theme in the poetry, painting and preaching of seventeenth-century Spain.

These three media shared the. Spanish Golden Age theatre refers to theatre in Spain roughly between and Spain emerged as a European power after it was unified by the marriage of Ferdinand II of Aragon and Isabella I of Castile in and then claimed for Christianity at the Siege of Granada in The sixteenth and seventeenth centuries saw a monumental increase in the production of live theatre as.

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Book description: The history of twentieth-century Spanish nationalism is a complex one, placing a set of famously distinctive regional identities against a backdrop of religious conflict, separatist tensions, and the autocratic rule of Francisco Franco.

And despite the undeniably political character of that story, Pages: This book describes and analyzes Spanish plays and drama. It reviews the Spanish plays from the s to the death of Pedro Calderon de la Barca in This text also discusses the controversy to which direction the Spanish theater would take: whether it is for entertainment or a representation of the intellect and emotions.

Assistant Professor of Marketing at Marymount Manhattan College and author of Metaphors of Conversion in 17th‐Century Spanish Drama (Tamesis, ).

Search for more papers by this author First published: 10 September This book examines the many and varied uses of apocalyptic and anti-Catholic language in seventeenth-century English drama. Adrian Streete argues that this rhetoric is not simply an expression of religious bigotry, nor is it only deployed at moments of political crisis.

Although this may not be completely translatable to our project, the article is an interesting read and offers two potential sources: Henry Kamen's The Spanish Inquisition (New York: New American Library, ) and Leslie Levin's Metaphors of Conversion in Seventeenth-Century Spanish Drama.

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A defender of. ALTHOUGH THE Spanish verse drama—thecomedia—came into existence toward the end of the sixteenth century, its origin as a great art form can be traced not only to the first part of that century, when the Spanish Renaissance influenced the direction of drama, but even to the beginning of dramatic activity on the peninsula.A number of factors and dramatists played important roles in.

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The type was anticipated by the plays of Bartolomé de Torres. Staging Islam in England is a well-written book that combines historically-informed close readings of key texts with original research.

However, the prism of Anglo-Ottoman relations through which Birchwood reads mid seventeenth-century drama is sometimes overbearing and, at worst, one-sided when considering the wider ramifications of Islamic geopolitical forces for English national politics. Kathryn Anne Everly posted an update in the group LLC 16th- and 17th-Century Spanish and Iberian Drama on MLA Commons 2 years, 10 months ago Dakin Matthews: AHCT Symposium Donald T.

Dietz Plenary Speaker, Saturday, Ap Get this from a library. Writing on the Renaissance stage: written words, printed pages, metaphoric books. [Frederick Kiefer] -- This study of the written and printed word on the stage of Shakespeare and his contemporaries begins by considering the significance of.

Pierre Corneille () French dramatist and poet, one of the dominant figures in the evolution of seventeenth-century neoclassical drama. Jean Baptiste Poquelin Molière () French actor-manager and dramatist, one of the theatre's greatest comic artists.

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Early Modern Iberia, Interdisciplinary Approaches to Culture and Society, LLC 16th- and 17th-Century Spanish and Iberian Drama Subject(s): 17th-century Spanish theater, Cervantes, Lope de Vega, Spanish empire, Jacques Derrida, Islam Item Type: Book chapter Tag(s): Captivity plays, Spain.

Ines G. Zupanov's first book, Disputed Mission: Jesuit Experiments and Brahmanical Knowledge in Seventeenth-century India () centered on Roberto Nobili and his strategy for achieving conversion through accommodatio in the seventeenth century.

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of the Theatric Mundi Metaphor in Seventeenth-Century England.” A Workshop at Ludwig-Maximilians-Universität, Munich, Germany. November“Shakespeare in Theory: Law, Theology, Sovereignty.” Symposium sponsored by the Program in Early Modern Studies.

Rutgers University. Novem A term originating in the Spanish Golden Age to describe the predominant form of secular drama in the 16th and 17th centuries: a three-act play combining serious and comic elements, in complex plots involving love, intrigue, and honor.

The study of the poetic features of text, especially their rhythmic structure when forming verses, pertains to the different traditions, whose scholars established the rules that might govern poetry. Within this context, the POSTDATA Project formalized a network of ontologies able to express any poetic expression and its analysis at the European level, enabling scholars all over Europe to.

Federico Garcia Lorca is considered the best Spanish poet of the 20th century. His poetry captivated his contemporaries and has continued to influence later generations. His early and unjust death was a tragedy to the Spanish literature, but it also created a myth around the man that continues to grow with anyone that discovers his works.

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He is a moster semioticians his use of symbols harkening to 20th century experimental theatre. One must think of his Miracle Plays as more of a theatre of the abstract than a mere repetition of the Medieval genre.

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Centuries ago, long before the Christian era, it was used by the Brahmans of India to illustrate phases of the doctrine of the transmigration of souls, and after wandering far and wide, it now subserves the purposes of Christian teaching in a Spanish drama of the 17th century.

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"The author takes on nearly all of the theoretical establishment and most of the twentieth-century critics of Donne, Herbert, Cranshaw, and Vaughan. I think this may be the most important book about the way seventeenth-century English verse works since Rosemond Tuve's "Elizabethan and Metaphysical Imagery"."--Joseph H.

SummersAuthor: Harold Skulsky. In this essay, I discuss three Hebrew translations made by Sephardic Jews writing in from a position of a double diaspora (from ‘Zion’ and from Sepharad, or Spain): Joseph Tsarfati’s Celestina by Fernando de Rojas, Jacob Algaba’s Amadís de Gaula by Garci Rodríguez de Montalvo, and Joseph Hakohen’s Historia general de las Indias by Francisco López de Gómara.Spain's Golden Age, the seventeenth century, left the world one great legacy, the flower of its dramatic genius -- the comedia.

The work of the Golden Age playwrights represents the largest combined body of dramatic literature from a single historical period, comparable in magnitude to classical tragedy and comedy, to Elizabethan drama, and to French neoclassical theater.Part 1: The Uses of the Spanish Imperial Past in the Early American Classroom.

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