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  1. page Paun de Garcia 2017 ASTR edited ... Witchcraft, magic, and the occult were deeply embedded in early modern European culture, both …
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    Witchcraft, magic, and the occult were deeply embedded in early modern European culture, both popular and elite. As historians have shown, from an examination of the accounts of demonic possession and of the treatises on demonology we can learn much about both popular beliefs and elite preoccupations. The genre of the magic play (comedia de magia) provides a context that displays these beliefs, and in some of José de Cañizares’s plays, intimations of the “modern” woman as well. In El asombro de Francia, Marta la Romarantina, at issue is a conflict between good and evil, where the primary place of contention is the protagonist herself. Marta’s personal struggles have broad societal implications: freedom of action and thought, as well as independence and autonomy, which are in conflict with the hierarchical structure and customs of society. The play invites not merely a critical examination of the status quo but possibly even action to change it. In this examination of Marta la Romarantina, In discussing several aspects of the play, I will focus chiefly on the sensuality of possession—in its manifestation and its performance in psychological and theatrical contexts—and its relation and similarity to hysteria. Nevertheless, it is impossible to ignore importance of the voice: the conflicting performative utterances of cursing and exorcism, which involve voice and ventriloquism. As well, the post-modern audience of readers will hear various voices in the play that sound very much like some from our own social debates.
    WORKING PAPER:
    {Sensuality of Possession.docx}
    This is a longer paper than is require for the session, but I need to turn it in as an article by Nov. 1. Comments before then are MOST welcome!!

    (view changes)
    10:05 am

Friday, October 20

  1. page Sundin 2017 ASTR edited ... Some questions I ponder: what can we learn about Celestina’s extra/ordinary body through perfo…
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    Some questions I ponder: what can we learn about Celestina’s extra/ordinary body through performance that may be obscured on the page? What can be discovered about the other female characters in the play when Celestina is played by a cis-gendered male actor and the remaining female characters are played by cis-gendered female actors? How does viewing Celestina’s aged female body through José Luis Gómez’s cis-gendered male aged body both open space for and foreclose a trans- or queer interpretation in contemporary performance?
    WORKING PAPER:
    {Sundin ASTR Working Group 2017.docx}
    (view changes)
    8:40 pm
  2. page Meadows ASTR 2017 edited ... Despite being recorded and reimagined across time and diverse media, the moralizing social dis…
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    Despite being recorded and reimagined across time and diverse media, the moralizing social discourse found in folklore prevails as one of its defining traits. Lope de Vega, an early modern Spanish playwright with a masterful ability to leverage the social force of a genre, draws from the depository of folklore with some frequency in the composition of his plays. One such work, El hijo de los leones, features a folk monster that would become immensely popular on the stage of the Spanish Baroque: the wild man. Over the course of the play, fear swells among the inhabitants of a small village at the specter of the wild beast that haunts the nearby forest and has been known to terrorize villagers. It therefore comes as a surprise when it is revealed that the child raised among lions is actually the first-born son of the prince of Alexandria, a position to which he is restored in the final act of the play. Against readings that view the transformation of the wild figure into the well-mannered prince over the course of the work, I argue that his apparent wildness was in fact a misperception projected upon him by the villagers’ imaginations. By reconsidering the folkloric influences from which Lope de Vega draws in El hijo de los leones, my paper relocates the targeted audience of the work’s social critique away from the monster, and onto the society that created and sustained him in the ideological forest of its cultural imagination.
    WORKING PAPER:
    {Meadows ASTR 2017 El hijo de los leones .docx}
    (view changes)
    1:54 pm

Thursday, October 19

  1. page Grubbs 2017 ASTR edited ... Anthony Grubbs ABSTRACT: ... for novelty. WORKING WORKING PAPER: {ASTR working pap…
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    Anthony Grubbs
    ABSTRACT:
    ...
    for novelty.
    WORKING

    WORKING
    PAPER: {ASTR working paper - Grubbs (MSU).docx}
    (view changes)
    10:23 am

Tuesday, October 17

  1. page 2017 ASTR (Atlanta) edited ... Bridget Sundin, Indiana University (bsundin@indiana.edu) Working group plan: ... (1500-200…
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    Bridget Sundin, Indiana University (bsundin@indiana.edu)
    Working group plan:
    ...
    (1500-2000 words) Post on your page. (Link to your page above)
    Nov. 10: Responses/questions to papers uploaded
    Nov. 17: Working session 5:30-7:30. Dinner and drinks afterwards?
    {Erdman paper.docx}
    PLAN OF ACTION FOR THE WORKING SESSION NOVEMBER 17
    (view changes)
    4:17 am
  2. page Erdman 2017 ASTR edited ... ABSTRACT: Luis Vélez de Guevara’s La serrana de la Vera (1613) has generated a lot of critica…
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    ABSTRACT:
    Luis Vélez de Guevara’s La serrana de la Vera (1613) has generated a lot of critical interest recently – and one major stage production – because of its extraordinarily non-normative protagonist, Gila, who identifies as a man and behaves as one, while undertaking uncommon feats of strength, heroism, and violence. She has been variously identified over the years as “irregular,” homosexual, lesbian, queer, and, most recently, by Harrison Meadows at the 2016 ASTR conference, as transgender. In this paper, I will argue that the play also includes another extraordinary body: Captain Don Lucas de Carvajal, her seducer and aggressor, who textually and contextually can be specified as Jewish. His non-normative masculinity can be paired with Gila’s non-normative femininity in a way that generates a richer and more complicated understanding of this tragedy, thus differentiating it from other “rural honor” plays like Lope de Vega’s Fuente Ovejuna or Peribáñez. As the first translator of this play into English, I will also pose how this perspective affects translation choices and, in consequence, potential staging and adaptation choices.
    WORKING PAPER: {Erdman paper.docx}
    {Erdman paper.docx}

    {Erdman paper.docx}
    (view changes)
    4:14 am

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