Series | Library of Rassegna iberistica
Volume 10 | Edited book | “Enter the Editor and He Says": Ecdotics and Theatrical Annotations (16th and 17th Centuries)
Abstract
La edición de las didascalias escénicas es uno de los pasos más delicados de la labor del crítico textual, sobre todo en el caso de las acotaciones del teatro de los siglos XVI y XVII, cuyos textos nos han llegado de manera azarosa en versiones manipuladas por compañías de actores. Este volumen aborda la ecdótica de las didascalias desde distintas perspectivas: la semiótica, la estemmática, la transmisión manuscrita e impresa, la evolución de la escritura dramatúrgica, la historia del teatro, la praxis editorial pasada y presente, la traducción y la mirada comparatista hacia textos del Siglo de Oro español y los teatros nacionales inglés, francés, portugués y holandés.
Keywords Calderón de la Barca • NeoLachmannian method • Autograph comedies • French theatre of the sixteenth and seventeenth ce • Graphic indications • Textual Criticism • Dutch adaptations • Lope de Vega’s autographs • Onstage • Vera Tassis • Producing the stage • Spanish Theatre of the Golden Age • Stage copies • Stage directions • Juan Eugenio Hartzenbusch • Variants • Copyists • Verbal forms • Critical edition • Performative variants • Lope de Vega • Holograph manuscripts • Textual studies • Locations • Digital edition • Stemmatics • Aside • Autograph manuscripts • Actors’ roles • Theatre • Printed plays • Textual criticism • La dama boba • Portuguese theatre • Editing • Manuscripts • Notational trascriptions • Editorial criteria • Editing, reading, performing dramatic texts • La corona de Hungría • El castigo sin venganza • Editor’s choices • Scribes
Permalink http://doi.org/10.30687/978-88-6969-304-5 | e-ISBN 978-88-6969-304-5 | ISBN (PRINT) 978-88-6969-305-2 | Number of pages 316 | Dimensions 16x23cm | Published Dec. 11, 2018 | Language es
Copyright © 2018 Luigi Giuliani, Victoria Pineda. 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.
Introducción
Capítulos
DC Field | Value |
---|---|
dc.identifier |
ECF_book_328 |
dc.creator |
Giuliani Luigi |
dc.creator |
Pineda Victoria |
dc.title |
“Enter the Editor and He Says": Ecdotics and Theatrical Annotations (16th and 17th Centuries) |
dc.type |
Edited book |
dc.language.iso |
es |
dc.description.abstract |
La edición de las didascalias escénicas es uno de los pasos más delicados de la labor del crítico textual, sobre todo en el caso de las acotaciones del teatro de los siglos XVI y XVII, cuyos textos nos han llegado de manera azarosa en versiones manipuladas por compañías de actores. Este volumen aborda la ecdótica de las didascalias desde distintas perspectivas: la semiótica, la estemmática, la transmisión manuscrita e impresa, la evolución de la escritura dramatúrgica, la historia del teatro, la praxis editorial pasada y presente, la traducción y la mirada comparatista hacia textos del Siglo de Oro español y los teatros nacionales inglés, francés, portugués y holandés. |
dc.relation.ispartof |
Library of Rassegna iberistica |
dc.identifier.doi |
10.30687/978-88-6969-304-5 |
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
dc.issued |
2018-12-11 |
dc.identifier.uri |
http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-305-2/ |
dc.identifier.issn |
2610-8844 |
dc.identifier.eissn |
2610-9360 |
dc.identifier.isbn |
978-88-6969-305-2 |
dc.identifier.eisbn |
978-88-6969-304-5 |
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 |
yes |
dc.subject |
Actors’ roles |
dc.subject |
Actors’ roles |
dc.subject |
Actors’ roles |
dc.subject |
Aside |
dc.subject |
Aside |
dc.subject |
Aside |
dc.subject |
Autograph comedies |
dc.subject |
Autograph comedies |
dc.subject |
Autograph comedies |
dc.subject |
Autograph manuscripts |
dc.subject |
Autograph manuscripts |
dc.subject |
Autograph manuscripts |
dc.subject |
Calderón de la Barca |
dc.subject |
Calderón de la Barca |
dc.subject |
Calderón de la Barca |
dc.subject |
Calderón de la Barca |
dc.subject |
Calderón de la Barca |
dc.subject |
Copyists |
dc.subject |
Copyists |
dc.subject |
Copyists |
dc.subject |
Critical edition |
dc.subject |
Critical edition |
dc.subject |
Critical edition |
dc.subject |
Digital edition |
dc.subject |
Digital edition |
dc.subject |
Digital edition |
dc.subject |
Dutch adaptations |
dc.subject |
Dutch adaptations |
dc.subject |
Dutch adaptations |
dc.subject |
Editing |
dc.subject |
Editing |
dc.subject |
Editing |
dc.subject |
Editing |
dc.subject |
Editing |
dc.subject |
Editing, reading, performing dramatic texts |
dc.subject |
Editing, reading, performing dramatic texts |
dc.subject |
Editing, reading, performing dramatic texts |
dc.subject |
Editorial criteria |
dc.subject |
Editorial criteria |
dc.subject |
Editorial criteria |
dc.subject |
Editor’s choices |
dc.subject |
Editor’s choices |
dc.subject |
Editor’s choices |
dc.subject |
El castigo sin venganza |
dc.subject |
El castigo sin venganza |
dc.subject |
El castigo sin venganza |
dc.subject |
French theatre of the sixteenth and seventeenth ce |
dc.subject |
French theatre of the sixteenth and seventeenth ce |
dc.subject |
French theatre of the sixteenth and seventeenth ce |
dc.subject |
Graphic indications |
dc.subject |
Graphic indications |
dc.subject |
Graphic indications |
dc.subject |
Holograph manuscripts |
dc.subject |
Holograph manuscripts |
dc.subject |
Holograph manuscripts |
dc.subject |
Juan Eugenio Hartzenbusch |
dc.subject |
Juan Eugenio Hartzenbusch |
dc.subject |
Juan Eugenio Hartzenbusch |
dc.subject |
La corona de Hungría |
dc.subject |
La corona de Hungría |
dc.subject |
La corona de Hungría |
dc.subject |
La dama boba |
dc.subject |
La dama boba |
dc.subject |
La dama boba |
dc.subject |
Locations |
dc.subject |
Locations |
dc.subject |
Locations |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega |
dc.subject |
Lope de Vega’s autographs |
dc.subject |
Lope de Vega’s autographs |
dc.subject |
Lope de Vega’s autographs |
dc.subject |
Manuscripts |
dc.subject |
Manuscripts |
dc.subject |
Manuscripts |
dc.subject |
NeoLachmannian method |
dc.subject |
NeoLachmannian method |
dc.subject |
NeoLachmannian method |
dc.subject |
Notational trascriptions |
dc.subject |
Notational trascriptions |
dc.subject |
Notational trascriptions |
dc.subject |
Onstage |
dc.subject |
Onstage |
dc.subject |
Onstage |
dc.subject |
Performative variants |
dc.subject |
Performative variants |
dc.subject |
Performative variants |
dc.subject |
Portuguese theatre |
dc.subject |
Portuguese theatre |
dc.subject |
Portuguese theatre |
dc.subject |
Printed plays |
dc.subject |
Printed plays |
dc.subject |
Printed plays |
dc.subject |
Producing the stage |
dc.subject |
Producing the stage |
dc.subject |
Producing the stage |
dc.subject |
Scribes |
dc.subject |
Scribes |
dc.subject |
Scribes |
dc.subject |
Spanish Theatre of the Golden Age |
dc.subject |
Spanish Theatre of the Golden Age |
dc.subject |
Spanish Theatre of the Golden Age |
dc.subject |
Stage copies |
dc.subject |
Stage copies |
dc.subject |
Stage copies |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stage directions |
dc.subject |
Stemmatics |
dc.subject |
Stemmatics |
dc.subject |
Stemmatics |
dc.subject |
Textual Criticism |
dc.subject |
Textual Criticism |
dc.subject |
Textual Criticism |
dc.subject |
Textual criticism |
dc.subject |
Textual criticism |
dc.subject |
Textual criticism |
dc.subject |
Textual studies |
dc.subject |
Textual studies |
dc.subject |
Textual studies |
dc.subject |
Theatre |
dc.subject |
Theatre |
dc.subject |
Theatre |
dc.subject |
Variants |
dc.subject |
Variants |
dc.subject |
Variants |
dc.subject |
Vera Tassis |
dc.subject |
Vera Tassis |
dc.subject |
Vera Tassis |
dc.subject |
Verbal forms |
dc.subject |
Verbal forms |
dc.subject |
Verbal forms |
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