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The Criminal Baroque
TEMPORARY Bergman looks at the representation of criminals in early modern Spanish theatre and the connection between criminality, the portrayal of criminal heroes on stage, and public displays of law enforcement within and outside the playhouse. His main purpose is to see to how Baroque spectacle (a term of art in theatre that refers to a particular event, often in expressions of popular culture) appears either to align itself, work against, or be independent of the social means of control of the day. His main argument is that that the propaganda power of early modern Spanish spectacle has been vastly overstated. Ted L. L. Bergman is a Lecturer in Spanish, University of St Andrews.
The Art of Humour in the Teatro Breve and Comedias of Calderón de la Barca
Frantic and popular characters and situations from the entremes tradition, thought by many as opposing the comedias' main features, are instead shown to join and often dominate these features through the introduction of absurd figuras, slapstick, and burlas."--BOOK JACKET.
The Art of Humour in the Teatro Breve and Comedias of Caldero ́n de la Barca
Contrary to popular belief, Pedro Calderón de la Barca had a sense of humour. This book examines the integral and often essential use of humour in his works, looking beyond his persistent reputation as a dour and dogmatic representative of the Spanish canon. Calderón's teatro breve (featuring mojigangas, entremeses and jácaras) thrives on comic techniques and situations that poke fun at everything and everybody, from aspiring nobility to people facing execution; and he parodies and satirizes genres and themes such as the auto sacramental or the infamous 'honour code'. His irreverence and desire for the audience's laughter are not just expressed in his teatro breve: the very same humorous ...
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Collective Trauma and the Psychology of Secrets in Transnational Film
Collective Trauma and the Psychology of Secrets in Transnational Film advances a methodological line of inquiry based on a fresh insight into the ways in which cinematic meaning is generated and can be ascertained. Premised on a critical reading strategy informed by a metapsychology of secrets, the book features analyses of internationally acclaimed films—Guillermo del Torro’s Pan’s Labyrinth, Andrey Zvyagintsev’s The Return, Jee-woon Kim’s A Tale of Two Sisters, and Alejandro Amenábar’s The Others. It demonstrates how a rethinking of the figure of the secret in national film yields a new vantage point for examining heretofore unrecognized connections between collective historical experience, cinematic production and a transnational aesthetic of concealment and hiding.
