In my dissertation I explore the religious Spanish Drama of Golden Age from the perspective of The Art of Memory. However the Council of Trent developed the production of dramas according to mnemonics to spread the dogma, these works demonstrate the entropic nature of the Baroque language as a consequence of the shifting in the paradigm. Through the analysis of these religious plays I propose here a connection between Spanish Golden Age and Modern Peninsula through the use of images that clearly help us to understand the idiosyncratic nature of the Hispanic character. To do so, I use the correlational paradigm, a critical approach developed by Gonzalo Navajas, taking other cultural artifacts from different times and spaces in order to fruitfully cross meanings.
Chapter One explains the critical approach of the thesis as well as the basics about the Art of Memory. Chapter Two examines the intertwining of eroticism and memory in plays written by Hernando de Ávila, Vélez de Guevara, Calderón de la Barca and Matos Fragoso. I also provide examples from two anonymous and unpublished manuscripts from late 16th century. Chapter Three proposes a new interpretation on El gran teatro del mundo as a Theater of Memory as well as a magic architectural structure. Chapter Four is focused in some philological issues found in El mártir del Sacramento: San Hermenegildo. Also, the analysis of this auto in connection with its loa shows a more subversive and personal message passed on by Sor Juana. This deeper meaning of the auto is hidden by its counter-reformist form and reveals her strategies to expressher own intellectual ideas to face the theological discourse of Trent. Chapter Five explores the evolution of imagination from its crisis as model of knowledge in late 17th century until the emergence of new visual technology in the context of modernity such as photography and cinema. Focused on imagination and memory I analyze a francoist film entitled Raza and a drama written by Alfonso Sastre as cultural works ideologically confronted in order to link them with the Golden Age religious dramas studied in this dissertation.
In short, there is a clear evolution on visual strategies-in the visual policy-to build notions related to the Spanish national and imperial identity. Such strategies are based on the use of mnemonics and imagination. The religious dramas analyzed here show a very interesting swing between marginal voices opposed to the rhetoric of power in which orthodoxy and heterodoxy play a crucial role. This oscillation between both of them along with the visuals as a model of knowledge could be the keystone to understand the Spanish idiosyncrasy.
|Advisor:||Martin, Adrienne Laskier|
|Commitee:||Egan, Linda, Martinez-Carazo, Cristina|
|School:||University of California, Davis|
|School Location:||United States -- California|
|Source:||DAI-A 74/07(E), Dissertation Abstracts International|
|Subjects:||Latin American literature, Romance literature, Theater, Latin American Studies|
|Keywords:||Art of Memory, Arte de la memoria, Eroticism, Golden Age, Heterodoxia, Imagen simbolica, Mexico, Religious theatre, Retoricas del poder, Siglo de Oro, Spain, Symbolic images, Teatro religioso|
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