The Signifying Self: Cervantine Drama as Counter-Perspective Aesthetic

Melanie Henry

The Signifying Self
Cervantine Drama as Counter-Perspective Aesthetic

Melanie Henry

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Miguel de Cervantes (1547-1616), Spanish novelist

8 other titles

MHRA Texts and Dissertations 83

Modern Humanities Research Association

1 February 2013 • 180pp

ISBN: 978-1-781880-02-9 (hardback) • RRP £34.99, $48.99, €41.99

ISBN: 978-1-781880-03-6 (paperback) • RRP £14.99, $19.99, €17.99

ISBN: 978-1-781880-45-6 (JSTOR ebook)

ISBN: 978-1-781881-39-2 (EBSCO ebook)

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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 doi:10.2307/j.ctt2jc86q.1	Cite
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v-v	Table of Contents Melanie Henry doi:10.2307/j.ctt2jc86q.2	Cite
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vi-vi	Acknowledgements Melanie Henry doi:10.2307/j.ctt2jc86q.3	Cite
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1-14	Introduction Cervantes: Writing Drama On the Margins Melanie Henry doi:10.2307/j.ctt2jc86q.4	Cite
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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 doi:10.2307/j.ctt2jc86q.5	Cite
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75-127	Chapter 2 Staging Libertad in Cervantes’s Comedias De Cautivos Melanie Henry doi:10.2307/j.ctt2jc86q.6	Cite
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128-156	Chapter 3 Shaping the Self in El Rufián Dichoso and Pedro De Urdemalas Melanie Henry doi:10.2307/j.ctt2jc86q.7	Cite
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157-159	Conclusion Melanie Henry doi:10.2307/j.ctt2jc86q.8	Cite
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160-174	Bibliography Melanie Henry doi:10.2307/j.ctt2jc86q.9	Cite
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Bibliography entry:

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

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

Subsequent footnote reference: ³⁷ Henry, p. 47.

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Cite this volume in MHRA author-date style

Bibliography entry:

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

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

Example footnote reference: ³⁵ Henry 2013: 21.

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The Signifying SelfCervantine Drama as Counter-Perspective Aesthetic

Melanie Henry

The Signifying Self
Cervantine Drama as Counter-Perspective Aesthetic