Drawing the Curtain: Cervantes's Theatrical Revelations ed. by Esther Fernández and Adrienne L. Martín (review)
Notice bibliographique
Résumé
Reviewed by: Drawing the Curtain: Cervantes's Theatrical Revelations ed. by Esther Fernández and Adrienne L. Martín Brian M. Phillips Fernández, Esther and Adrienne L. Martín, eds. Drawing the Curtain: Cervantes's Theatrical Revelations. U of Toronto P, 2022. 371 pp. ISBN: 978-1-4875-0877-7. Drawing the Curtain is as much an edited volume of essays detailing Miguel de Cervantes y Saavedra's dramaturgy as it reflects the reciprocal influences of his theater on his prose and poetic oeuvre and vice versa. The volume's editors, Esther Fernández and Adrienne L. Martín, skillfully construct a coherent layout of chapters authored by both well established and budding Cervantine scholars within the field. In their words, "The essays that constitute Drawing the Curtain scrutinize this seminal writer's diverse literary productions mainly within the expansive multidisciplinary paradigm of cultural studies" (11). By encompassing such a wide array of cultural studies approaches throughout the volume, the authors are permitted a certain freedom of exploration into Cervantine theatricality that, until now, has not been explored. [End Page 176] The book is divided into two thematically driven sections that, in general, explore narrative and poetic influences on Cervantine theater, on the one hand, and, on the other, theatricality within Cervantine prose and poetry. Part one, "Alternative Theatricalities in Cervantes's Drama," initiates this collection of essays with Bruce R. Burningham's study on Cervantes's failure to capture a jongleuresque space for actors to carry out their respective roles on stage. In "Cervantes and the Simple Stage," he maintains that "while Cervantes may be heavily invested in the imaginative space of his fictions, [. . .] he seems to struggle with the jongleuresque sphere that he [. . .] needs to sell to any theatre company interested in producing his plays" (34). Chapter 2, John Slater's "Queer cambalaches in El rufián dichoso," takes aim at narrated and staged transvestism and gender fluidity in Cervantine theater as an intentionally written and performed element of El rufián dichoso. Meanwhile, Sonia Velázquez, investigates this same play in Chapter 3, "of Players and Wagers: The Theatricality of Gambling for Salvation in El rufián dichoso." Velázquez highlights the socioreligious controversy of gambling in the play against Pascal's Wager to suggest that there may be more than one way that theater can aid us in interpreting religious convictions. Moving on from this, Julia Domínguez focuses on the theatricalization of memory based on the traumatic experience of being a captive in Chapter 4, "The Phantasms of Captivity in El trato de Argel." According to Domínguez, "the catalogue of places and mental images drawn from his [Cervantes's] trauma, treasured in the space of his memory, reveals how personal experiences come to life on the stage" (115). Following suit with memory's effects on the theater and its audience, Chapter 5, "Captivating Music, Memory, and Emotions in Los baños de Argel" by Sherry Velasco, investigates the relationship between carefully arranged music within the play utilized to evoke emotional responses in spectators. Keeping in line with the thematic of captivity, Ana Laguna explores the space occupied by the Cervantine women of the harem in La gran sultana compared with those of the Mediterranean Christian world in Chapter 6, "In the Name of Love: Cervantes's Play on Captivity in La gran sultana." Rounding out Part one, Esther Fernández and Adrienne L. Martín's "Revolving Sets: Spatial Revelations in the entremeses," explores the Cervantine interlude as social criticism framed "in a highly reflexive sense of burla or mockery" (179). Part Two, "Acts of Disclosure in Cervantes's Prose," rings up the curtain with B.W. Ife's Chapter 8, "Coups de théâtre in the Novelas ejemplares." Ife's investigation into four of Cervantes's novellas considers them as the author's attempt at crime fiction writing, ultimately revealing theatricalized masculine toxicity as it relates to female captivity, rape and abduction. Catherine Infante's Chapter 9, "Captive Audiences: Performing Captivity in Cervantes's Prose Narrative," continues to delve deeper into the theatricality of the captive motif by examining "the performative nature of recounting experiences of captivity and freedom," and the required...
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Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,003 | 0,008 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,002 | 0,001 |
| Bibliométrie | 0,002 | 0,004 |
| Études des sciences et des technologies | 0,001 | 0,003 |
| Communication savante | 0,007 | 0,005 |
| Science ouverte | 0,002 | 0,003 |
| Intégrité de la recherche | 0,003 | 0,006 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,009 | 0,005 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».