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Calderón and the Baroque Tradition is the outcome of a tricentennial commemoration of the seventeenth century Spanish poet and dramatist, Pedro Calderón de la Barca, and a tribute to a distinguished tradition in Calderonian studies at the University of Toronto.

A major dramatist of the Spanish Golden Age and a master of the auto sacramental genre, Calderón produced some one hundred and twenty comedias and eighty autos during his rather colourful lifetime.

This volume assembles an impressive collection of essays relating the baroque artistic tradition to such aspects of Calderón's theatre as the use of music, mythology, costume, and his distinctive dramatic technique. It will be of interest and value both to students of Spanish drama and Hispanic life in general and to followers of Calderón in particular.

Table of Contents

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  1. Cover
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  1. Title Page, Summary, Copyright, Dedication
  2. pp. i-viii
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  1. Contents
  2. pp. ix-x
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  1. Contributors
  2. pp. xi-xii
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  1. Acknowledgments
  2. Kurt L. Levy, Jesus Ara, and Gethin Hughes
  3. pp. xiii-xiv
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  1. Introduction
  2. pp. 1-6
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  1. I. Themes
  1. 1. El tema del laurel de Apolo en Calderón
  2. A. Valbuena-Briones
  3. pp. 9-22
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  1. 2. La figura de Astrea en Calderón
  2. Alan Soons
  3. pp. 23-32
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  1. 3. The World Picture in Calderón's Autos sacramentales
  2. Louise Fothergill-Payne
  3. pp. 33-40
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  1. 4. Suppositio in Calderón's No hay más fortuna que Dios
  2. Leslie J. Woodward
  3. pp. 41-46
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  1. II. THE MUSICAL DIMENSION
  1. 5. El auto sacramental calderoniano y su público: funciones del texto cantado
  2. José María Díez Borque
  3. pp. 49-68
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  1. 6. Calderón and the Semi-Operatic Stage in Spain after 1651
  2. Henry W. Sullivan
  3. pp. 69-80
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  1. 7. A Modern Operatic Version of La vida es sueño
  2. James Maraniss
  3. pp. 81-90
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  1. III. Visual Aspects
  1. 8. El arte de poner ante los ojos en el auto La segunda esposa o triunfar muriendo
  2. Hans Flasche
  3. pp. 93-108
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  1. 9. The Use of Costume in Some Plays of Calderón
  2. J. E. Varey
  3. pp. 109-118
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  1. 10. Calderón y la pintura
  2. Stelio Cro
  3. pp. 119-124
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  1. IV. Individual Plays
  1. 11. Iterative Thematic Imagery in Calderón's El mágico prodigioso
  2. Roger Moore
  3. pp. 127-136
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  1. 12. Calderón's Eco y Narciso and the Split Personality
  2. Everett W. Hesse
  3. pp. 137-144
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  1. 13. El "optimismo" de Ni Amor se libra de amor
  2. Thomas Austin O'Connor
  3. pp. 145-152
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  1. Index
  2. pp. 153-158
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