scholarly journals El trotaconventos

Letras (Lima) ◽  
1943 ◽  
Vol 9 (26) ◽  
pp. 408-414
Author(s):  
Alejandro Miró Quesada Garland
Keyword(s):  
Don Juan ◽  

La literatura española ha sido generosa en la creación de personajes arquetipos, tan arraigados en la mentalidad ibérica, tan ricamente construidos y tan espléndidamente modelados, que al adquirir vida, por el mágico soplo de quienes los crearan, cobran valor de eternidad, reflejando un eco que aún persiste en la manera de las gentes españolas. Don Quijote y Sancho viven hoy en España con su perfil físico y su gran corazón. Y alientan también en la Península el Don Juan, que trazara Tirso de Molina y repitiera al modo romántico orrilla y la picara Trotaconventos, recreada magistralmente por Rojas, en su inmortal Celestina.

1945 ◽  
Vol 1 (3) ◽  
pp. 263-288
Author(s):  
David Rubio

Few Americans had any insight into the critical part that Spain had played and still continues to play in the development of the modern world, through the fact that Spain endeavored to transpose the dying medieval culture into a modern key; witness Loyola’s Society of Jesus.Spain gave to her colonies in the New World her language, religion, civic institutions, her system of education, her social customs, her chivalric sense of honor and her mystic fervor. Spain gave her body and soul to the New World.It is, therefore, in my humble opinion, of paramount importance to know the soul of Spain in order to comprehend and understand the Spanish American people. To that purpose—to better understand the spiritual and cultural background of Spanish America by studying the “Soul” of Spain—this work is dedicated.—THE AUTHOR.At the close of the eighteenth century Nicholas Masson de Morvilliers raised a hubbub in Europe by asking these two questions in the Encyclopédie Méthodique: “Mais que doit-on a I’Espagne? Et depuis deux siecles, depuis quatre, depuis six, qu’a-t-elle fait pour l’Europe?”At the end of a century of positivistic philosophy and at the beginning of the industrial era this was a very logical question. It is true that Spain did not invent the locomotive, the telegraph, the telephone nor the modern frigidaire; but in the realm of human and eternal values could a more idiotic question have been asked? The metaphysics of Suarez, the international law of Victoria, the great theologians of the Council of Trent, Cano and Soto, had no value whatsoever for this Positivistic century; nor did the fact that Spain had produced one of the most human and original theatres with Lope de Vega, Calderón, Tirso de Molina and Alarcón; the greatest novel in the modern sense of the word, Don Quijote;the most profound satirist of all Europe, Quevedo; the outstanding moralist of the seventeenth century, Lorenzo Gracian; and above all these a school of mystics in Saint Teresa of Avila, Saint John of the Cross, Fray Luis de León and Juan de los Angeles, which has never been equaled. Even if Mr. Masson de Morvilliers could not see the importance of these contributions it is difficult to comprehend how he could ignore the transcendental fact that Spain had broken the columns of Hercules and had spread Mediterranean culture through the countries lying on the other side of the Atlantic and on the remotest shores of the Pacific.


1970 ◽  
Vol 26 ◽  
pp. 31-52
Author(s):  
María del Rosario Aguilar Perdomo

Resumen: Este artículo aborda el motivo del caballero seductor y mujeriego, antecedente del Don Juan de Tirso de Molina, que corresponde en el catálogo de Stith Thompson al motivo T10.4 (G), “Man continually falling in love”. Se hace una revisión de los herederos de Gauvain artúrico en los libros de caballerías castellanos, con especial atención a Galaor en el Amadís de Gaula, Rogel de Grecia del Florisel de Niquea y Floriano del Desierto del Palmerín de Inglaterra para descubrir los rasgos que los hermanan y que los hacen transgresores del ideal de amor cortés de fidelidad y servicio a una sola dama.Palabras clave: Libros de caballerías. Seducción. Caballero mujeriego. Amadís de Gaula. Florisel de Niquea. Palmerín de Inglaterra. Abstract: This article approaches the motive of the seductive and womanizer knight, antecedent of Tirso’s de Molina Don Juan, which corresponds to the motive T10. 4 (G) on Stith Thompson’s Index, “Man continually falling in love”. It makes a revision of arturic Gauvain’s heirs on the castilian romances of chivalry, with special attention to Galaor on the Amadis de Gaula, Rogel de Grecia from Florisel of Niquea and Floriano del Desierto from Palmerín de Inglaterra, in order to discover the twinning features among them, that also make them transgressors of the ideal of courtly love and service to one lady.Keywords: Chivalric romances. Seduction. Womanizer knight. Amadís de Gaula. Palmerín de Inglaterra. Florisel de Niquea.


1998 ◽  
Vol 10 (1) ◽  
pp. 45-66 ◽  
Author(s):  
Rachel Cowgill

When Luigi Bassi entered the stage of the Prague National Theatre in 1787 to create the title role of Mozart and Da Ponte's Don Giovanni, he could have drawn inspiration from a rich tradition of theatrical, pantomimic and marionette representations of the legendary Don Juan, to which this new opera was the latest contribution. Previous incarnations had been shaped by the likes of Tirso de Molina, Molière, Shadwell, Purcell and Gluck; yet it is Mozart and Da Ponte's version that has for us become the definitive: the Don as paradox; an uncomfortable blend of the despicable and the admirable, hero and anti-hero. Lecher, rapist, liar, cheat, murderer, he is the brutal epitome of macho striving for power and domination, yet clothed with a seductive panache, conviction and bravado — the reckless-heroic libertine phallocrat who would rather face the fires of eternal damnation than curb his appetites.


2016 ◽  
Vol 41 (1) ◽  
pp. 85-111
Author(s):  
Rachel Schmidt
Keyword(s):  
Don Juan ◽  

Este artículo intenta explicar el proceso por el que las figuras literarias deCelestina, Don Quijote y Don Juan se han transformado en “mitos” que seconsideran reflejos de la identidad española. Se examinan seis etapascomunes en la recepción de cada personaje: 1) su refundición en mediospictóricos, teatrales y musicales; 2) la simplificación visual de los rasgosfísicos y psicológicos que definen a estos tres personajes; 3) su gran acogidainternacional; 4) su recepción fuera de España como representaciones del“carácter español”; 5) la apropiación de la figura en ideologías políticas,teorías psicológicas, historias nacionales u otros sistemas explicativos de lasociedad española; 6) y la comercialización de las figuras con fineseconómicos. La temprana diseminación y transformación de las figurasliterarias en la cultura visual fue crucial para que estas entrasen en elproceso de mitificación. Por su esencial aspecto visual, se entiende que lacultura visual incluye la ilustración gráfica de libros además de las artesperformativas.


Sign in / Sign up

Export Citation Format

Share Document