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Introduction: “The Comedia and Cultural Control: The Legacy of José Antonio Maravall”

Introduction: “The Comedia and Cultural Control: The Legacy of José Antonio Maravall” Introduction: "The Comedia and Cultural Control: The Legacy of José Antonio Maravall" Laura R. Bass he influence of the twentieth-century Spanish cultural historian José Antonio Maravall on comedia studies is indisputable. First developed in Teatro y literatura en la sociedad barroca (1972) and subsequently echoed in La cultura del Barroco: Análisis de una estructura histórica (1975), Maravall's thesis that seventeenth-century Spain's most important popular form of entertainment served the interests of a top-down monarchical-seigniorial order has been the point of departure for countless investigations into the historical and ideological workings of individual plays, groups of plays, and the comedia as a whole. Maravall did not invent sociohistorical approaches to the genre (any more than Lope de Vega "fathered" the arte nuevo).1 However, he brought them into the mainstream, inspiring such important books as José María Díez Borque's Sociedad y teatro en la España de Lope de Vega (1978). Moreover, Maravall's broad view that the theater of Lope de Vega and his followers emerged out of a reactionary impulse to stave off change in a period of crisis continues to echo in major scholarly venues today,2 even among scholars who have otherwise refined many of his ideas. In their http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Bulletin of the Comediantes Bulletin of the Comediantes

Introduction: “The Comedia and Cultural Control: The Legacy of José Antonio Maravall”

Bulletin of the Comediantes , Volume 65 (1) – Jul 28, 2013

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Publisher
Bulletin of the Comediantes
Copyright
Copyright © Bulletin of the Comediantes
ISSN
1944-0928
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Abstract

Introduction: "The Comedia and Cultural Control: The Legacy of José Antonio Maravall" Laura R. Bass he influence of the twentieth-century Spanish cultural historian José Antonio Maravall on comedia studies is indisputable. First developed in Teatro y literatura en la sociedad barroca (1972) and subsequently echoed in La cultura del Barroco: Análisis de una estructura histórica (1975), Maravall's thesis that seventeenth-century Spain's most important popular form of entertainment served the interests of a top-down monarchical-seigniorial order has been the point of departure for countless investigations into the historical and ideological workings of individual plays, groups of plays, and the comedia as a whole. Maravall did not invent sociohistorical approaches to the genre (any more than Lope de Vega "fathered" the arte nuevo).1 However, he brought them into the mainstream, inspiring such important books as José María Díez Borque's Sociedad y teatro en la España de Lope de Vega (1978). Moreover, Maravall's broad view that the theater of Lope de Vega and his followers emerged out of a reactionary impulse to stave off change in a period of crisis continues to echo in major scholarly venues today,2 even among scholars who have otherwise refined many of his ideas. In their

Journal

Bulletin of the ComediantesBulletin of the Comediantes

Published: Jul 28, 2013

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