The Signifying Self
Cervantine Drama as Counter-Perspective Aesthetic

Melanie Henry

MHRA Texts and Dissertations 83

Modern Humanities Research Association

1 February 2013  •  180pp

ISBN: 978-1-781880-02-9 (hardback)  •  RRP £21.99, $32.99, €27.50

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RenaissanceSpanishDrama


The Signifying Self: Cervantine Drama as Counter-Perspective Aesthetic offers a comprehensive analysis of all eight of Cervantes's Ocho comedias (published 1615), moving beyond conventional anti-Lope approaches to Cervantine dramatic practise in order to identify what, indeed, his theatre promotes. Considered on its own aesthetic terms, but also taking into account ontological and socio-cultural concerns, this study compels a re-assessment of Cervantes's drama and conflates any monolithic interpretations which do not allow for the textual interplay of contradictory and conflicting discourses which inform it. Cervantes's complex and polyvalent representation of freedom underpins such an approach; a concept which is considered to be a leitmotif of Cervantes's work but which has received scant attention with regards to his theatre. Investigation of this topic reveals not only Cervantes's rejection of established theatrical convention, but his preoccupation with the difficult relationship between the individual and the early modern Spanish world. Cervantes's comedias emerge as a counter-perspective to dominant contemporary Spanish ideologies and more orthodox artistic imaginings.

Ultimately, The Signifying Self seeks to recuperate the Ocho comedias as a significant part of the Cervantine, and Golden-Age, canon and will be of interest and benefit to those scholars who work on Cervantes and indeed on early modern Spanish theatre in general.

Contents:

i-iv
Front Matter
Melanie Henry
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v-v
Table of Contents
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vi-vi
Acknowledgements
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1-14
Introduction Cervantes: Writing Drama On the Margins
Melanie Henry
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15-74
Chapter 1 Encuentro Con Lope En El Camino: La Entretenida, El Laberinto De Amor and La Casa De Los Celos Y Selvas De Ardenia
Melanie Henry
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75-127
Chapter 2 Staging Libertad in Cervantes’s Comedias De Cautivos
Melanie Henry
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128-156
Chapter 3 Shaping the Self in El Rufián Dichoso and Pedro De Urdemalas
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157-159
Conclusion
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160-174
Bibliography
Melanie Henry
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Bibliography entry:

Henry, Melanie, The Signifying Self: Cervantine Drama as Counter-Perspective Aesthetic, MHRA Texts and Dissertations, 83 (Cambridge: MHRA, 2013)

First footnote reference: 35 Melanie Henry, The Signifying Self: Cervantine Drama as Counter-Perspective Aesthetic, MHRA Texts and Dissertations, 83 (Cambridge: MHRA, 2013), p. 21.

Subsequent footnote reference: 37 Henry, p. 47.

(To see how these citations were worked out, follow this link.)

Bibliography entry:

Henry, Melanie. 2013. The Signifying Self: Cervantine Drama as Counter-Perspective Aesthetic, MHRA Texts and Dissertations, 83 (Cambridge: MHRA)

Example citation: ‘A quotation occurring on page 21 of this work’ (Henry 2013: 21).

Example footnote reference: 35 Henry 2013: 21.

(To see how these citations were worked out, follow this link.)


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