Golden Age / Early Modern Theater
Comedia Studies at the End of the Century
Bibliographic Data
| ID | 9861741 |
|---|---|
| Authors | Barbara Mujica (corresponding author) |
| Year | 1999 |
| Volume | 82 |
| Issue | 3 |
| Pages | 397 |
| Publication date | 1999-09-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Hispania (JOURNAL) |
| Journal identifiers | ISSN: 0018-2133 • E-ISSN: 2153-6414 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/346279 |
| OpenAlex | W2042352764 |
| Language | EN |
| References cited | 6 |
During the first half of the century, comedia criticism was dominated by Marcelino Menendez y Pelayo, who was a product of realism and saw Golden Age drama as an authentic representation of society. Preferring the works of Lope, which he saw as more realistic, he condemned Calder6n for his hyperbole and for advocating wife-murder in his honor plays. The New Critics of mid-century subjected comedias to meticu- lous textual analysis and argued that Calder6n actually condemned the practices he depicted. During the same period, theater historians such as J. E. Varey began investigating Golden Age theaters from a social and eco- nomic perspective. During the last decades of the century, postmodernism, stressing the pluralistic and popu- lar aspects of culture, spurred critics to adopt the multidisciplinary approach of Early Modern Studies. This led to a broadening of the canon to include new authors, including women, and to an exploration of the perfor- mative aspects of the comedia
Art · Literature · Early Modern Spanish Literature · History · Shakespeare, Adaptation, and Literary Criticism · Theater, Performance, and Music History
| Citation velocity | historical |
|---|---|
| Highly cited | No |