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'The world is upside-down these days...

Darrell, Jennifer Allison.

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'The world is upside-down these days': The Inversion motif in the Spanish Golden Age.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	'The world is upside-down these days': The Inversion motif in the Spanish Golden Age./
作者:	Darrell, Jennifer Allison.
面頁冊數:	244 p.
附註:	Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
Contained By:	Dissertation Abstracts International74-12A(E).
標題:	Romance literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3572011
ISBN:	9781303299254

'The world is upside-down these days': The Inversion motif in the Spanish Golden Age.
Darrell, Jennifer Allison.

'The world is upside-down these days': The Inversion motif in the Spanish Golden Age. - 244 p.

Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.

Thesis (Ph.D.)--Yale University, 2013.

This item must not be sold to any third party vendors.

The motif of the "world upside-down" (mundo al reves) did not originate with Spain's Golden Age, but it reached the zenith of its popularity in that period. Many of the most prominent Spanish authors of the seventeenth century employed the inverted world motif in their works. Any literary figure is chosen by authors for its ability to address the issues they wish to highlight. Therefore, by analyzing why the world upside-down so inspired seventeenth-century Spanish authors and how they used the motif in their works, we can better understand how they conceived of the role of literature in the cultural, social, and political context in which they lived and wrote.

ISBN: 9781303299254Subjects--Topical Terms:

2144781
Romance literature.

'The world is upside-down these days': The Inversion motif in the Spanish Golden Age.
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245 1 0 $a 'The world is upside-down these days': The Inversion motif in the Spanish Golden Age.
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500 $a Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
500 $a Adviser: Roberto Gonzales Echevarria.
502 $a Thesis (Ph.D.)--Yale University, 2013.
506 $a This item must not be sold to any third party vendors.
520 $a The motif of the "world upside-down" (mundo al reves) did not originate with Spain's Golden Age, but it reached the zenith of its popularity in that period. Many of the most prominent Spanish authors of the seventeenth century employed the inverted world motif in their works. Any literary figure is chosen by authors for its ability to address the issues they wish to highlight. Therefore, by analyzing why the world upside-down so inspired seventeenth-century Spanish authors and how they used the motif in their works, we can better understand how they conceived of the role of literature in the cultural, social, and political context in which they lived and wrote.
520 $a During the early modern period in Spain, the aristocracy was desperately trying to maintain its control over Spanish culture while the rising merchant class demanded a new social order that would permit greater social mobility. The aristocratic worldview and the mercantilist worldview espoused different values and different ways of defining one's social position, yet neither had a complete grasp on the society of early modern Spain. The attempt of the one to gain control and of the other to maintain its customs left Spanish society in a chaotic war of ideologies.
520 $a As it seemed that the world around them was being flipped on end, the world upsidedown motif seemed particularly apropos, whether authors sought to fight against the changes ravishing their society, to advocate for them, or simply to observe and call their readers to similarly take notice. However, the motif is locked in a binary opposition, presenting only two alternatives: either the world is upside-down, or it is right side up. While it may seem that this responds to the early modern Spanish situation, the economic, social, and political conditions were far more complex than a dualistic motif could possibly capture. Ultimately, I argue, the mundo al reves motif breaks down, insufficient to capture the complexity of a chaotic age.
520 $a In my first chapter, I examine Cervantes's use of the world upside-down motif in the Barataria episode of Don Quijote, arguing that the constituciones enacted by Sancho Panza represent a subversion of the conventions associated with the motif, and I relate this breakdown of literary convention to the threatening of social boundaries in early modern Spanish culture. My second chapter analyzes the world upside-down in selected works by Lope de Vega, Tirso de Molina, and Calderon de la Barca, demonstrating that while each playwright employs the motif as a response to their socio-political context, there is no inherent ideological message in this literary device. Rather meaning is created through each author's particular manipulation of the motif In my third chapter, I investigate the connection between the world upside-down and the entremes genre. I argue that the humor inherent to both the motif and the genre masks serious criticisms of early modern Spanish society, and I demonstrate the destabilization of the prevailing social ideologies that occurs when the entremesistas turn to the mundo al reves motif In my fourth and final chapter, I consider the world upside-down in Quevedo's El mundo por de dentro and Gracian's El criticon. I show the ways in which each author departs from the traditional form of the motif, and I argue that these aesthetic deviations are symptomatic of the pessimism that characterizes these two authors and their works. Finally, I conclude that while Golden Age authors commonly used the mundo al reves to communicate their socio-political ideas, the motif is incapable of adequately representing the intricacies of their social context. As authors attempt to fit their portrayal of a complex society into a dualistic model, this model ultimately breaks down.
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