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Purdue UP, 2020
Among the many consequences of Spain’s annexation of Portugal from 1580 to 1640 was an increase i... more Among the many consequences of Spain’s annexation of Portugal from 1580 to 1640 was an increase in the number of Portuguese authors writing in Spanish. One can trace this practice as far back as the medieval period, although it was through Gil Vicente, Jorge de Montemayor, and others that Spanish-language texts entered the mainstream of literary expression in Portugal. Proficiency in both languages gave Portuguese authors increased mobility throughout the empire. For those with literary aspirations, Spanish offered more opportunities to publish and greater readership, which may be why it is nearly impossible to find a Portuguese author who did not participate in this trend during the dual monarchy. Over the centuries these authors and their works have been erroneously defined in terms of economic opportunism, questions of language loyalty, and other reductive categories. Within this large group, however, is a subcategory of authors who used their writings in Spanish to imagine, explore, and celebrate their Portuguese heritage. Manuel de Faria e Sousa, Ângela de Azevedo, Jacinto Cordeiro, António de Sousa de Macedo, and Violante do Céu, among many others, offer a uniform, yet complex answer as to what it means to be from Portugal, constructing and claiming their Portuguese identity from within a Castilianized existence. Whereas all texts produced in Iberia during the early modern period reflect the distinct social, political, and cultural realities sweeping across the peninsula to some degree, Portuguese literature written in Spanish offers a unique vantage point from which to see these converging landscapes. Being Portuguese in Spanish explores the cultural cross-pollination that defined the era and reappraises a body of works that uniquely addresses the intersection of language, literature, politics, and identity.
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Peer-reviewed Articles
Open Library of Humanities, 2022
Dragoncillo Puppet Troupe was established in 2018 by Esther Fernández, Jonathan Wade, Jared White... more Dragoncillo Puppet Troupe was established in 2018 by Esther Fernández, Jonathan Wade, Jared White, and Jason Yancey. A staging of The Fabulous Johnny Frog at the 2018 Association for Hispanic and Classical Theater’s (AHCT) yearly symposium marked their beginning as a troupe. This work, adapted by Yancey, focuses on the controversial Juan Rana character and was designed as an outreach initiative to bring early modern Spanish theater to schools using shadow puppetry. In 2019, Dragoncillo created a new performance for the Siglo de Oro Drama Festival and their community partners based on two entremeses written by Francisco de Quevedo. This essay details the formation of Dragoncillo Puppet Troupe and its early efforts to introduce early modern Hispanic literature and culture to various audiences across the United States. Furthermore, the essay reflects the process by which shows are conceived and staged and how those performances evolve over time. Finally, it imagines an expanded repertoire for the troupe that extends beyond the longstanding tradition of puppet theater in Spain to include other texts and contexts from Iberia and Latin America.
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Revista de Escritoras Ibéricas, 2020
António de Sousa de Macedo’s Flores de España, Excelencias de
Portugal (1631) and Mariana de Luna... more António de Sousa de Macedo’s Flores de España, Excelencias de
Portugal (1631) and Mariana de Luna’s Ramalhete de flores (1642) both make use of a central floral metaphor to exalt their native Portugal. Luna’s modest bouquet and Sousa de Macedo’s meticulous arrangement are introduced to the reader through two sonnets by Soror Violante do Céu. Whereas Luna writes to the newly crowned king João IV in celebration of the Restauração (1640), Sousa de Macedo’s is a non-native reader who he would convince of Portuguese preeminence. While they differ in context and scale, both works employ the language of portugalidade to achieve their respective ends.
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Comedia Performance , 2016
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Miríada Hispánica, 2012
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Hispania, 2011
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Bulletin of the Comediantes, 2007
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Peer-reviewed Book Essays
Un polígrafo portugués en la Monarquía Hispánica: Manuel de Faria e Sousa (1590-1649), 2023
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Cosmic Wit: Essays in Honor of Edward H. Friedman, 2021
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Don Quixote: The Re-accentuation of the World’s Greatest Literary Hero, 2017
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Framing the Quixote, 1605-2005, 2007
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Book Reviews
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Hispania, 2013
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Hispania, 2012
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Arizona Journal of Hispanic Cultural Studies, 2009
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Arizona Journal of Hispanic Cultural Studies, 2008
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Performance Reviews
Bulletin of the Comediantes, 2014
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Bulletin of the Comediantes, 2011
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Bulletin of the Comediantes, 2014
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Peer-reviewed Articles
Portugal (1631) and Mariana de Luna’s Ramalhete de flores (1642) both make use of a central floral metaphor to exalt their native Portugal. Luna’s modest bouquet and Sousa de Macedo’s meticulous arrangement are introduced to the reader through two sonnets by Soror Violante do Céu. Whereas Luna writes to the newly crowned king João IV in celebration of the Restauração (1640), Sousa de Macedo’s is a non-native reader who he would convince of Portuguese preeminence. While they differ in context and scale, both works employ the language of portugalidade to achieve their respective ends.
Peer-reviewed Book Essays
Book Reviews
Performance Reviews
Papers
Portugal (1631) and Mariana de Luna’s Ramalhete de flores (1642) both make use of a central floral metaphor to exalt their native Portugal. Luna’s modest bouquet and Sousa de Macedo’s meticulous arrangement are introduced to the reader through two sonnets by Soror Violante do Céu. Whereas Luna writes to the newly crowned king João IV in celebration of the Restauração (1640), Sousa de Macedo’s is a non-native reader who he would convince of Portuguese preeminence. While they differ in context and scale, both works employ the language of portugalidade to achieve their respective ends.