Documentacion con lujo de detalles de una serie de producciones montadas en el Coliseo del Buen Retiro en Madrid durante el reinado del primero de los Borbones, Felipe V. Esta nueva coleccion de documentos sobre teatro palaciego en Madrid, provenientes de los ricos fondos del Archivo General de Palacio y el Archivo de Villa, es una continuacion del tomo 29 de las Fuentes, que abarcaba el periodo 1586-1707. La tradicion de fiestas palaciegas de gran espectaculo, establecida bajo los Austrias, siguio despues de 1700 en la corte del primero de los Borbones, Felipe V, caracterizada por un nuevo ambiente cultural italianizante. Este volumen documenta con lujo de detalles una serie de producciones montadas en el Coliseo del Buen Retiro bajo los auspicios del Ayuntamiento, entre ellas las de Todo lo vence el amor, de Antonio de Zamora,con musica de Antonio de Literes, compuesta para celebrar el nacimiento de Luis I en 1707, Las amazonas de Espana, por Jose de Canizares y el compositor veneciano Giacomo Facco, para el nacimiento del infante don Felipe en1720, y el drama musical Angelica y Medoro, de Zamora, representada ese mismo ano con motivo de la boda de don Luis. Ademas de abundantes datos sobre los actores, el vestuario y los decorados, los documentos esclarecen nuevamente las enrevesadas cuestiones de precedencia y autoridad implicadas en la administration de los festejos y la distribucion de las localidades. IGNACIO LOPEZ ALEMANY es profesor visitante en el Departamento de Romance Studies, Duke University. J. E. VAREY, fundador de Tamesis, fue Rector de Westfield College y Catedratico de Espanol de la Universidad de Londres.

In 1526 Emperor Charles V arranged the wedding of Ferdinand of Aragon, the dethroned heir of Naples, to Germana de Foix, the widow of Ferdinand the Catholic, and appointed them viceroys of Valencia. In the decade that followed, these two royal personas invited some of the best poets and musicians to their Valencian palace with the purpose of recreating the aulic life that they had enjoyed in their youth. In Ilusion aulica e imaginacion caballeresca en El Cortesano de Luis Milan, Ignacio Lopez Alemany applies the concept of soft power created by George Duby and Norbert Elias to interpret its descriptions of games, banquets, conversations, performances, literary competitions, and chivalric recreations--in other words, to examine every aspect of the Valencian courtly culture. This extraordinarily rich book addresses several understudied fields: Spanish literature outside of Castile, court celebrations and entertainments, drama, and literary works not belonging to the major genres.

Signs of Power in Habsburg Spain and the New World explores the representation of political, economic, military, religious, and juridical power in texts and artifacts from early modern Spain and her American viceroyalties. In addition to analyzing the dynamics of power in written texts, chapters also examine pieces of material culture including coats of arms, coins, paintings and engravings. As the essays demonstrate, many of these objects work to transform the amorphous concept of power into a material reality with considerable symbolic dimensions subject to, and dependent on, interpretation. With its broad approach to the discourses of power, Signs of Power brings together studies of both canonical literary works as well as more obscure texts and objects. The position of the works studied with respect to the official center of power also varies. Whereas certain essays focus on the ways in which portrayals of power champion the aspirations of the Spanish Crown, other essays attend to voices of dissent that effectively call into question that authority.

Text in Spanish. En el presente libro se pueden encontrar editadas por primera vez las comedias con musica de Las amazonas de Espana (1720) y La hazana mayor de Alcides (1723), de Jose de Canizares, asi como tambien las piezas breves que acompanaron a estas representaciones en el Coliseo del Buen Retiro. Ambos textos se acompanan de un innovador estudio que, desde la perspectiva de los estudios de la corte, hace especial hincapie en las circunstancias materiales del teatro palaciego, asi como el papel desempenado por la temprana opera espanola en la diplomacia de la corona del rey Felipe V.

Signs of Power in Habsburg Spain and the New World explores the representation of political, economic, military, religious, and juridical power in texts and artifacts from early modern Spain and her American viceroyalties. In addition to analyzing the dynamics of power in written texts, chapters also examine pieces of material culture including coats of arms, coins, paintings and engravings. As the essays demonstrate, many of these objects work to transform the amorphous concept of power into a material reality with considerable symbolic dimensions subject to, and dependent on, interpretation. With its broad approach to the discourses of power, Signs of Power brings together studies of both canonical literary works as well as more obscure texts and objects. The position of the works studied with respect to the official center of power also varies. Whereas certain essays focus on the ways in which portrayals of power champion the aspirations of the Spanish Crown, other essays attend to voices of dissent that effectively call into question that authority.