Series | Library of Rassegna iberistica
Edited book | Geometric Explosion
Chapter | El engaño a los ojos y la teatralidad cervantina
El engaño a los ojos y la teatralidad cervantina
- María del Valle Ojeda Calvo - Università Ca’ Foscari Venezia, Italia - email orcid profile
Abstract
El engaño a los ojos, the title of the last comedy that Cervantes is composing when he writes the foreword of Ocho comedias y ocho entremeses jamás representados (1615), could be interpreted as a sign of agreement from the author who defines so his concept of the theatre, in the same way as the foreword of Novelas ejemplares defined his fiction as «mesa de trucos». Starting from this two metaphors a parallelism between theatrical conception and Cervantes’ fiction can be established, because both comedy and short stories are artifices that resemble reality, they are constructed and a representation of what seems real on one side, but that warn on the other side the readers or the spectators that they are false, as in an illusionist game. A literary game, which builds up confusion, but at the same time, amplifies the represented reality and enables the recipient (both reader and spectator) to establish a dialogue with. For all this reasons Cervantes gives to novels or the theatre a social function, as «hostesta recreación», applying the theory of eutrapely to literature.
Language: it
Keywords Theatre • Miguel de Cervantes • Verisimilitude
Copyright © 2016 María del Valle Ojeda Calvo. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.14277/6969-068-6/RiB-1-22
Traducción
- Dos traducciones españolas de le Avventure di Pinocchio: Calleja, 1925 y 1941
- María Begoña Arburu Barturen
Cultura
- La Spagna e il Portogallo in un diario del XVI secolo
- Donatella Ferro
-
De Argentina a Corea y vuelta.
Versiones cinematográficas del Sur - Enric Bou
Literatura
-
Come non si fa un romanzo
Note su metalessi, antiromanzo e metaromanzo, da Henry James all’ultimo Unamuno - Alessandro Scarsella
- Las escrituras de Jimena Néspolo
- Susanna Regazzoni
- El engaño a los ojos y la teatralidad cervantina
- María del Valle Ojeda Calvo
- Las dos noches de Anastasio
- Aníbal Enrique Cetrangolo
Didáctica
-
ELE y dislexia a nivel universitario
Algunas consideraciones desde un punto de vista ético - Carlos Alberto Melero Rodríguez
- Cómo construimos las relaciones en la interacción: preposiciones, conjunciones, marcadores.
- Francisco Matte Bon
- Sobres los valores modales del futuro y del condicional y su didáctica en ELE
- María Martínez-Atienza
- Reflexión gramatical, uso lingüístico y enseñanza de la gramática en entornos colaborativos
- Maria Lozano Zahonero
- Escritura creativa en el aula de ELE
- Francisco de Borja Gómez
Discurso
- Uso contrastivo de operadores de afirmación en español argentino y peninsular
- Inmaculada Solís García, Magdalena León Gómez
- En la interfaz entre sintaxis, semántica y estructura informativa: tópicos y focos contrastivos con ‘viceversa’
- Eugenia Sainz Gonzalez
- Corte prosódico al principio del enunciado: la ‘salida nula’
- Carlota Nicolás
- Partículas discursivas y cognición: ‘sin embargo’ y la conexión contrargumentativa
- Óscar Loureda Lamas, Laura Nadal, Inés Recio
- Appunti metodologici sull’uso della traduzione nello studio dei marcatori del discorso spagnoli ed italiani
- Elena Landone
- La alternancia ‘anche’ / ‘también’ en el español hablado por inmigrantes hispanoamericanos en Italia
- Maria Vittoria Calvi
Léxico y semántica
- Algunas observaciones sobre la disponibilidad léxica en estudiantes italófonos de español
- Florencio del Barrio de la Rosa
- La reduplicación léxica como mecanismo de estrechamiento de conceptos
- Ignacio Arroyo Hernández
Sintaxis
-
Usos ‘desviados’ de la pareja aspectual eslava
Re-análisis desde una perspectiva enunciativa con especial atención al checo - Ariel Laurencio
- Sobre la agramaticalidad de *Es probable + infinitivo
- Gonzalo Jiménez Pascual
- ‘Estar joven’ a los dos lados del atlántico
- María Victoria Escasndell, Manuel Leonetti
- La concordancia en las primeras gramáticas del español para italianos
- Carmen Castillo Peña
- ‘Unos’ SN: una propuesta de análisis alternativa
- Laura Brugè
- Los verbos de opinión con infinitivo en la lengua oral
- Felisa Bermejo Calleja
Introducción
- Introducción
- Eugenia Sainz Gonzalez, Inmaculada Solís García, Florencio del Barrio de la Rosa, Ignacio Arroyo Hernández
| DC Field | Value |
|---|---|
|
dc.identifier |
ECF_chapter_226 |
|
dc.contributor.author |
Ojeda Calvo María del Valle |
|
dc.title |
El engaño a los ojos y la teatralidad cervantina |
|
dc.type |
Chapter |
|
dc.language.iso |
it |
|
dc.description.abstract |
El engaño a los ojos, the title of the last comedy that Cervantes is composing when he writes the foreword of Ocho comedias y ocho entremeses jamás representados (1615), could be interpreted as a sign of agreement from the author who defines so his concept of the theatre, in the same way as the foreword of Novelas ejemplares defined his fiction as «mesa de trucos». Starting from this two metaphors a parallelism between theatrical conception and Cervantes’ fiction can be established, because both comedy and short stories are artifices that resemble reality, they are constructed and a representation of what seems real on one side, but that warn on the other side the readers or the spectators that they are false, as in an illusionist game. A literary game, which builds up confusion, but at the same time, amplifies the represented reality and enables the recipient (both reader and spectator) to establish a dialogue with. For all this reasons Cervantes gives to novels or the theatre a social function, as «hostesta recreación», applying the theory of eutrapely to literature. |
|
dc.relation.ispartof |
Library of Rassegna iberistica |
|
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
|
dc.issued |
2016-04-01 |
|
dc.identifier.uri |
http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-080-8/el-engano-a-los-ojos-y-la-teatralidad-cervantina/ |
|
dc.identifier.doi |
10.14277/6969-068-6/RiB-1-22 |
|
dc.identifier.issn |
2610-8844 |
|
dc.identifier.eissn |
2610-9360 |
|
dc.identifier.isbn |
978-88-6969-080-8 |
|
dc.identifier.eisbn |
978-88-6969-068-6 |
|
dc.rights |
Creative Commons Attribution 4.0 International Public License |
|
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
|
item.fulltext |
with fulltext |
|
item.grantfulltext |
open |
|
dc.peer-review |
no |
|
dc.subject |
Miguel de Cervantes |
|
dc.subject |
Miguel de Cervantes |
|
dc.subject |
Theatre |
|
dc.subject |
Theatre |
|
dc.subject |
Verisimilitude |
|
dc.subject |
Verisimilitude |
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