Studies in Honor of William C. McCrary
1988; Auburn University; Volume: 40; Issue: 1 Linguagem: Inglês
10.1353/boc.1988.0018
ISSN1944-0928
Autores Tópico(s)Early Modern Spanish Literature
ResumoReviews127 amorosas y ejemplares' de María de Zayas y Sotomayor;" Luciano García Lorenzo's "Estatuto y función del personaje dramático en el teatro del Siglo XVII;" and Victor Infantes de Miguel's "La muerte como personaje literario de los siglos XVI y XVII." Much critical attention has recently been directed to myth in Golden Age literature, and thus Amancio Labandeire Fernández' "Estatuto y función de dos personajes mitológicas: Dido y Eneas en la literatura espa ñola del Siglo de Oro," a particularly well articulated historical study of the development of the Dido and Aeneas myth, is a timely piece. Beginning with a description of each of these figures, the examination proceeds through a lengthy survey of the treatment of the myth in the Middle Ages. The second half of the essay is dedicated to Spain's Golden Age, and a consideration of the parodie quality and other variants in dramatic depictions of the myth culminates the overview. In "Du 'refranero' à la 'comedia': quatre personnages en quête d'auteur," Jean Canavaggio scrutinizes four plays (three by Tirso de Molina and one by Lope de Vega) whose titles and principal female characters derive from refranes. Canavaggio demonstrates the manner in which the dramatic portrayal of the paremiological material in these works serves to open the closed proverbial system. The collection brings to our critical attention numerous aspects of the Golden Age characterization, some of which, though not new, are innovatively presented. Flawed primarily by the tardy publication it has suffered, as well as from typographical/proofreading errors that mar some of the pieces (in particular, that by Garcia Lorenzo), the volume is nevertheless deserving of recommendation for its varied approaches to the topic and for the critical expertise its contributors bring to the project. Teresa S. Soufas Tulane University Robert Fiore, Everett W. Hesse, John E. Keller and José A. Madrigal, Editors. Studies in Honor of William C. McCrary. Lincoln, Nebraska : Society of Spanish and Spanish-American Studies, 1986. Paper, 248 pp. The articles which comprise this tribute to a respected and admired colleague of high professional standing represent an outstanding set of erudite contributions to criticism of Spanish Golden Age Literature, the 128BCom, Vol. 40, No. 1 (Summer 1988) field in which William C. McCrary labored with such devotion and success as teacher and scholar. The career of this reviewer was related to the career of Bill McCrary. He replaced me at The University of North Carolina in 1963, and he invited me to lecture at The University of Kentucky in 1976. I remember him with deep respect and friendship, and hope that this review will stand as yet another testimonial to Bill's multifaceted contributions to our profession and as a tribute to the memory of a friend who possessed strong convictions and unwavering integrity. Following the impressive curriculum vitae of William C. McCrary (January 19, 1932 - October 1, 1982) and testimonials by Everett W. Hesse, John E. Keller, Robert L. Fiore, José A. Madrigal, and Bill's widow, Susan Niehoff McCrary, are eighteen scholarly articles and Joseph H. Silverman's very favorable, albeit previously unpublished, review of McCrary's monograph, The Goldfinch and the Hawk: A Study of Lope de Vega's Tragedy "El caballero de Olmedo." Included at the end of the volume is a long list of students, colleagues, and friends whose financial contributions helped to make possible the publication of this tribute. The lead article is one by Bill McCrary, "The Theatricality of Male Orientation in the Comedia," in which, based on a study of Lope's Los comendadores de Córdoba and Castigo sin venganza, and of Calderón's A secreto agravio, secreta venganza, he questions Frank Casa's assertion that Calderón's wife killers "affirm the dignity of man," by concluding that the honor tragedies are "theatrical statements of the unwritten code of masculine orientation." McCrary adds that if "Casa's essay disregards woman's dignity..., it is because the plays are about men, about their characteristic need to reassure themselves to themselves and for themselves of their fraternal denomination without which their fragile egos, as Lope and Calderón saw so clearly, would...
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