Document type
ArticleVersion
Published versionPublication date
Publication license
Please use this identifier to cite or link to this item: https://hdl.handle.net/2445/194670
El oráculo saboteado: ideología y comportamientos guiados en la comedia áurea
Journal Title
Authors
Director/Tutor
Journal ISSN
Volume Title
Related resource
Abstract
[spa] Este artículo propone un análisis del género teatral áureo en uno de sus mecanismos retóricos con mayor capacidad performativa: la función dramática oracular a partir de la cual una voz superior -sea un oráculo, un sueño, una voz interior o cualquier otra posesión transitoria- es escuchada simultáneamente por el receptor-personaje y por el receptor-público. El dramaturgo jerarquiza así la heterogeneidad de discursos presentes en el microcosmos de la comedia y, ofreciendo un silogismo epistemológico, incita a actuar directamente al primero y metonímicamente al segundo. La crítica entendida como sabotaje ofrece unas herramientas críticas que permiten desenmascarar los entresijos de estos recursos oraculares que imponen un modelo de mundo a los destinatarios del mayor espectáculo de masas de la temprana modernidad.
[eng] This article proposes an analysis of the Siglo de Oro theatrical genre in one of its rhetorical mechanisms with greater performative capacity: the oracular dramatic function from which a higher voice –be it an oracle, a dream, an inner voice or any other transitory possession– is simultaneously heard by the receiver-character and by the receiver-public. The playwright thus hierarchizes the heterogeneity of discourses present in the microcosm of the play and, offering an epistemological syllogism, encourages the first to act directly and the second metonymically. Criticism understood as sabotage offers critical tools that allow to unmask the ins and outs of these oracular resources that impose a world model on the recipients of the greatest mass show of early modernity
[eng] This article proposes an analysis of the Siglo de Oro theatrical genre in one of its rhetorical mechanisms with greater performative capacity: the oracular dramatic function from which a higher voice –be it an oracle, a dream, an inner voice or any other transitory possession– is simultaneously heard by the receiver-character and by the receiver-public. The playwright thus hierarchizes the heterogeneity of discourses present in the microcosm of the play and, offering an epistemological syllogism, encourages the first to act directly and the second metonymically. Criticism understood as sabotage offers critical tools that allow to unmask the ins and outs of these oracular resources that impose a world model on the recipients of the greatest mass show of early modernity
Subject
Subject (English)
Citation
Citation
GILABERT, Gaston. El oráculo saboteado: ideología y comportamientos guiados en la comedia áurea. Quaderns de Filologia. Estudis Literaris. 2020. Vol. 25, num. 139-156. ISSN 1135-4178. [consulted: 18 of June of 2026]. Available at: https://hdl.handle.net/2445/194670