«Nadie se conoce»: baile de máscaras y observación social de Goya a Larra
The bourgeois masquerade ball of the XVIII and XIX centuries was a tremendously popular social event that featured prominently in literature. Our joint reading of the first Caprichos by Francisco de Goya and the 1832 satirical article «El mundo todo es mascaras», by Mariano José de Larra, seeks to u...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2023 |
| País: | España |
| Institución: | Universidad de Salamanca (USAL) |
| Repositorio: | GREDOS. Repositorio Institucional de la Universidad de Salamanca |
| OAI Identifier: | oai:gredos.usal.es:10366/162865 |
| Acceso en línea: | http://hdl.handle.net/10366/162865 |
| Access Level: | acceso abierto |
| Palabra clave: | Francisco de Goya Mariano José de Larra masquerades costumbrismo satire bailes de máscaras sátira |
| Sumario: | The bourgeois masquerade ball of the XVIII and XIX centuries was a tremendously popular social event that featured prominently in literature. Our joint reading of the first Caprichos by Francisco de Goya and the 1832 satirical article «El mundo todo es mascaras», by Mariano José de Larra, seeks to understand the cultural connotations of these festivities, and, in particular, examine their significance as a correlate of the act of social observation itself, both in the late Spanish Enlightenment and in 1830s costumbrismo. Taking as a starting point the centrality and cultural significance of the masquerades, I consider the portrayal of masked balls in Goya and Larra and in particular the ways in which the trope of the mask –and that of unmasking as a gesture ritualized by masked balls– became associated to the gaze of the satirist. |
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