La huella de Lope de Vega en "Cómo se vengan los nobles", de Moreto: continuidades y disidencias
Ruth Lee Kennedy, in her The Dramatic Art of Moreto (1932), pointed out eleven comedies by Moreto that were based on previous plays by Lope. However, not all of those cases stick to the authentic authorship of Lope and the corresponding version of Moreto. This research, after present some theoretica...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2019 |
| País: | España |
| Institución: | Universidad de Navarra |
| Repositorio: | Dadun. Depósito Académico Digital de la Universidad de Navarra |
| Idioma: | español |
| OAI Identifier: | oai:dadun.unav.edu:10171/60733 |
| Acceso en línea: | https://hdl.handle.net/10171/60733 |
| Access Level: | acceso abierto |
| Palabra clave: | Agustín Moreto Lope de Vega Reescritura Refundición Intertextualidad |
| Sumario: | Ruth Lee Kennedy, in her The Dramatic Art of Moreto (1932), pointed out eleven comedies by Moreto that were based on previous plays by Lope. However, not all of those cases stick to the authentic authorship of Lope and the corresponding version of Moreto. This research, after present some theoretical questions about concepts like rewriting/ recasting/intertextuality, aims to address one of these rewriting pairs: El testimonio vengado, by Lope, and Cómo se vengan los nobles, attributed to Moreto, deepening, among other aspects, in the similarities and divergences present between both works in regards to the plot, the characters or the space and the time where the action takes place. |
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