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Príncipes encobertos e princesas enamoradas: do disfarce por amor no teatro de Gil Vicente
Maria João Pais do Amaral 한국 포르투갈-브라질 학회 2008 포르투갈-브라질 연구 Vol.5 No.1
The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times. The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times.
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정은진(Chung eunjin) 서양미술사학회 2013 서양미술사학회논문집 Vol.38 No.-
This paper seeks to explore the ways in which the representation of St. George, which emerged primarily as a martyr, was changed from martyr to knight at particular junctures in Western culture history. St. George was the Roman martyr, the first image of him was represented as a martyr. However, circa 1000, the knight, a new social group emerged in Western Europe and, after the victory of the First Crusade of 1098 in Antioch, St. George is drawn to knight, defeat the pagans on horseback. St. George fighting a dragon appears in the ?『Golden Legend』? which edit the story word-of-mouth in the second half of the 13th century. The growing importance of chivalry was reflected in the new representations of St. George. And the representations were further complicated as the image of dragon was added to the related imageries. This paper focuses particularly on the parallels between the shifting representations of St. George, on the one hand, and various motives in Greek Mythology and medieval Romance such as ?『Metamorphoses』?and?『Le Roman de Tistan et Iseut』. I argue that the parallels are to be understood as creative reponses to the shifting historical contexts.
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