Protected: Cervantes: Entremeses (El juez de los divorcios, El viejo celoso, Los habladores). This content is password protected. To view it please enter your. interlude, W. Rozenblat poses the question, «¿Por qué escribió Cer- vantes el Entremés del juez de los divorcios!» and answers it by at- tempting to reconstruct . Enrique Abad. Updated 18 April Transcript. Referencias: . (). Entremes: el juez de los divorcios. Encontrado en.

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Mariana y El Vejete son maridos. As the young boy darts from the room, Lorenza changes her story.

El juez de los divorcios

Todo es trabajo, cansancio y sufrimiento. Bringing the play full circle, the line comments on its reiterability: Cervantes ‘s interludes offer far more than the public is willing to purchase. Like Lorenza and Cristinawho endlessly await the arrival of a hidden lover before they can attempt to subvert the marriage code, Cervantes ‘s entremeses look forward to a public capable of deciphering their ambiguities and deceptions.

You must be logged in to post a comment. Rather, in proffering the advantages of marital reconciliation on economic grounds, the interlude’s unresolved ending becomes the most severe judge of social transgression.

Bulletin of the Cervantes Society of America 12 Fall, En otros proyectos Wikisource.

In all four cases, then, the women have been reduced to either silence or absence; despite the low social value of the husbands’ occupation, each time they speak, the judge and the procurador pay strict attention. It was not until the mid-seventeenth century that efforts were made to define the genre; Manuel Antonio de Vargas thus speaks of intermedios as an addition or substitution for some part of the comedia.


Stallybrass, Peter and Allon White. The dubious nature of representation is illustrated by the leather tapestry in dek the neighbor Ortigosa smuggles in a young lover for Lorenzaembossed with four fictional protagonists from Ariosto’s Orlando furioso itself an ironic continuation of Boiardo’s Orlando innamorato: Their indeterminacy notwithstanding, the entremeses remain, in the end, only partially successful in deferring cultural authority and control.

El Juez de los Divorcios by Enrique Abad on Prezi

In particular, the texts’ linear arrangement exposes Cervantes ‘s exploitation of women’s oppression for satirical purposes even as he denounces their treatment by a patriarchal society According to Jack, the entremesesinterpolated between acts and paid for at approximately reales a piece, had a purely diversionary function.

Rodomonte is rejected by Doralice and Isabella the loss actually tricking him into killing heronly to be murdered by Rogero. Their short-sighted desires to profit from their matches have left them ehtremes in the webs of their own deceptions.

The wife’s initial comments and the several jokes targeting the old man’s doddering ineptitude set up the skimpy plot:. Unlike Don Quixotewhich empathizes with its mad knight, Cervantes ‘s interlude follows generic decorum by degrading its protagonists. Ve to dissolve completely the conventions of the genre, they are equally incapable of breaking fully from societal strictures, caught as they are within the circularity and deception of desire.

Visor de obras.

As for the artists and writers who question the rules of plastic and narrative arts and possibly share their suspicions divorciis circulating their work, they are destined to have little credibility in the eyes of those concerned with “reality” and “identity”; they have no guarantee of an audience.


Official state culture, therefore, simultaneously maintains and is maintained by the celebration of popular rituals that follow the liturgical calendar of the Catholic church.

In this mirror game, literature aims finally to make itself transparent, to erase all consciousness of its artifice. By the sixteenth century, the date had also become the legal occasion for the annual signing sel renewal of contracts for domestic servants. Both are bitterly disappointed: The Rise of a Dramatic Form.

Gradasso, Mandricardo, Rogero and Rodamonte [sic]. Lorenzafor her part, complains that the old man’s divorcioss hardly covers the price of her sexual frustration. Of the minor theater of the Golden Age, only Cervantes ‘s interludes have sustained much critical attention He naturally takes pleasure in recognizing himself and others in the mirror which artistic fictions hold up to him.

Ay, que se me arranca el alma! The laughter elicited by the male protagonists’ reactions, however, stems from the interlude’s misogynist core: Entry written by Kathleen Jeffs.

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