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Si us plau utilitzeu sempre aquest identificador per citar o enllaçar aquest document: https://hdl.handle.net/2445/179053
La representación, los recursos y el sentimiento del honor en Calderón de la Barca
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[spa] A lo largo de los siglos, muchos han sido los epítetos o apostillas que han acompañado el nombre de Pedro Calderón de la Barca: dramaturgo, sacerdote, protegido del rey Felipe IV, máximo exponente del auto sacramental, escritor de La vida es sueño. De todas ellas, solo dos parten de su propia vida; el resto son herencias de su vocación teatral y, las más peligrosas, concepciones parciales sobre su obra y figura, prejuicios silenciosos que no forman parte del listado oficial, pero habitaron en la mente de numerosos críticos y aún ahora perduran. Entre el nombre y el silencio, fácil es sembrar sofismas, y si bien Pedro Calderón de la Barca es uno de los nombres más conocidos de nuestra literatura también es, quizás por esa misma razón, uno de los menos leídos, uno de los más distantes. Puesto el honor en el corazón de su dramaturgia, este ha sido forzosamente objeto de disección, de desprecios y alabanzas, convergiendo en demasiadas ocasiones ideología y conclusión filológica; desde Bances Candamo a Francisco Ruiz Ramón, muchos han sido los estudios, valoraciones, aproximaciones y definiciones a él dedicados. Todos ellos marcaron con sus pasos la senda aquí recorrida y, por ello, esta tesis es su heredera al tiempo que primera piedra y nuevo camino; a partir de un corpus extenso e integrador de los principales géneros, la presente investigación profundiza, señala y fija los mecanismos, formas de representación y sentimientos en los que distintos tipos de personaje experimentan el honor en la Comedia calderoniana, estableciéndose al mismo tiempo una unión entre su significado dentro del universo dramático y las significaciones imaginarias de la sociedad barroca, siendo contexto histórico y vivencia religiosa las que determinen el dual rostro del honor en su teatro. Solo visto bajo este prisma global, en constante relación con la realidad del espectador de la época puede comprenderse como el honor, además de ser su causa, es a su vez una consecuencia de las pasiones y vencimientos de las figuras que dudan, sufren, aman, asesinan y se sacrifican sobre el escenario.
[eng] Throughout the centuries, many have been the epithets or apostilles that have accompanied the name of Pedro Calderón de la Barca: playwright, priest, protégé of King Felipe IV, best representative of Auto Sacramental, writer of La vida es sueño. Of all of them, only two originate from his own life; the rest are legacies of his theatrical vocation and, the most dangerous, partial conceptions about his work and figure, silent prejudices that are not part of the official list but inhabited the minds of many critics and still remain. Between the name and the silence, it is easy to sow sophistry, and although Pedro Calderón de la Barca is one of the best known names in our literature, he is also, perhaps for the same reason, one of the least read, one of the most distant. With honour being placed at the heart of his dramaturgy, he has necessarily been the object of dissection, scorn and praise, ideology and philological conclusion converging on too many occasions; from Bances Candamo to Francisco Ruiz Ramón, many have been the studies, evaluations, approaches and definitions dedicated to him. All of them marked with their steps the path travelled here and, therefore, this thesis is their heir as well as the first stone and a new path; from an extensive corpus which integrates the main genres, this research deepens, points out and fixes the mechanisms, forms of representation and feelings in which different types of characters experience honour in Calderonian comedy, establishing at the same time a union between its meaning within the dramatic universe and the imaginary meanings of baroque society, being the historical context and religious experience which determine the dual face of honour in his theatre. Only seen under this global prism, in constant relationship with the reality of the spectator from that time, can it be understood how honour, in addition to being its cause, is in turn a consequence of the passions and victories of the figures who doubt, suffer, love, murder and sacrifice on stage.
[eng] Throughout the centuries, many have been the epithets or apostilles that have accompanied the name of Pedro Calderón de la Barca: playwright, priest, protégé of King Felipe IV, best representative of Auto Sacramental, writer of La vida es sueño. Of all of them, only two originate from his own life; the rest are legacies of his theatrical vocation and, the most dangerous, partial conceptions about his work and figure, silent prejudices that are not part of the official list but inhabited the minds of many critics and still remain. Between the name and the silence, it is easy to sow sophistry, and although Pedro Calderón de la Barca is one of the best known names in our literature, he is also, perhaps for the same reason, one of the least read, one of the most distant. With honour being placed at the heart of his dramaturgy, he has necessarily been the object of dissection, scorn and praise, ideology and philological conclusion converging on too many occasions; from Bances Candamo to Francisco Ruiz Ramón, many have been the studies, evaluations, approaches and definitions dedicated to him. All of them marked with their steps the path travelled here and, therefore, this thesis is their heir as well as the first stone and a new path; from an extensive corpus which integrates the main genres, this research deepens, points out and fixes the mechanisms, forms of representation and feelings in which different types of characters experience honour in Calderonian comedy, establishing at the same time a union between its meaning within the dramatic universe and the imaginary meanings of baroque society, being the historical context and religious experience which determine the dual face of honour in his theatre. Only seen under this global prism, in constant relationship with the reality of the spectator from that time, can it be understood how honour, in addition to being its cause, is in turn a consequence of the passions and victories of the figures who doubt, suffer, love, murder and sacrifice on stage.
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JUAN MERINO, Laura. La representación, los recursos y el sentimiento del honor en Calderón de la Barca. [consulta: 2 de gener de 2026]. [Disponible a: https://hdl.handle.net/2445/179053]