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In 1531, Andreas Alciatus published the first emblem book, Emblematum liber. It consisted of a series of illustrations, each with a motto and an epigram. Emblem writers tried to create a universal language that would communicate ideas through visual images, but felt it necessary to add explanations to avoid the misinterpretation of their compositions. The result was the complex relationship between verbal and pictorial elements that characterizes the emblematic mode of thinking. Emblem books and the emblematic mode permeated European society and culture in the sixteenth and seventeenth centuries. Emblematic images appeared in decorations, pageants, clothing and other expressions of culture including literature and the theatre. This thesis studies the relationship between emblem and theatre in the dramatic production of the Spanish playwright Tirso de Molina (1584-1648). Two main questions are explored: how do emblems appear in Tirso de Molina's drama? and, what function do they perform? The first question deals with how the emblematic form passes from a static medium, the printed page, to a dynamic one, the theatre. The second one explores the function that the emblem and the emblematic mode play within specific plays. The method is based on a case-by-case study. Each example of an emblem in Tirso's dramatic production is studied separately to see how it becomes theatre and how it behaves within the confines of the play. This approach allows general conclusions to be drawn about how the emblem works in the theatre and opens the way to more structural or theoretical studies. The thesis shows that the emblematic form appears abundantly and in a variety of ways in Tirso de Molina's plays. Although the emblematic form may keep its original structure when it becomes dramatized, it may also lose one or several of its parts. The original emblematic structure sometimes disappears and only the relationship between image and word, characteristic of the emblematic mode, remains. Finally, it is shown that the emblematic form in the theatre can play both a dramatic and an ideological role.

In 1531, Andreas Alciatus published the first emblem book, Emblematum liber. It consisted of a series of illustrations, each with a motto and an epigram. Emblem writers tried to create a universal language that would communicate ideas through visual images, but felt it necessary to add explanations to avoid the misinterpretation of their compositions. The result was the complex relationship between verbal and pictorial elements that characterizes the emblematic mode of thinking. Emblem books and the emblematic mode permeated European society and culture in the sixteenth and seventeenth centuries. Emblematic images appeared in decorations, pageants, clothing and other expressions of culture including literature and the theatre. This thesis studies the relationship between emblem and theatre in the dramatic production of the Spanish playwright Tirso de Molina (1584-1648). Two main questions are explored: how do emblems appear in Tirso de Molina's drama? and, what function do they perform? The first question deals with how the emblematic form passes from a static medium, the printed page, to a dynamic one, the theatre. The second one explores the function that the emblem and the emblematic mode play within specific plays. The method is based on a case-by-case study. Each example of an emblem in Tirso's dramatic production is studied separately to see how it becomes theatre and how it behaves within the confines of the play. This approach allows general conclusions to be drawn about how the emblem works in the theatre and opens the way to more structural or theoretical studies. The thesis shows that the emblematic form appears abundantly and in a variety of ways in Tirso de Molina's plays. Although the emblematic form may keep its original structure when it becomes dramatized, it may also lose one or several of its parts. The original emblematic structure sometimes disappears and only the relationship between image and word, characteristic of the emblematic mode, remains. Finally, it is shown that the emblematic form in the theatre can play both a dramatic and an ideological role. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Among the diverse fabric of masculinities that prestigious authors such as Pedro Calderon de la Barca, Tirso de Molina and Agustin Moreto weave into their plots, fashion proves to be a common thread and a particularly useful tool. Thus, as I approach the idea of "Fashionable Masculinities" and investigate a few "macho" and/or not so "macho men" in Early Modern drama I hope to go beyond the traditional interpretations, stereotypes and icons often associated with men---in particular, Spanish men in Golden Age drama. This will be achieved by revisiting typical cases and compared through research and documentation of atypical representations of maleness that could be considered displacements and/or subversions of the social matrix. In effect, this study explores how the male ideal is shaped and judged both by the essence of his personality, as well as his physical appearance (i.e.: clothing, hairstyle, mannerisms, discourse and voice). As such, it becomes evident that masculinity is moulded, influenced, enhanced, exaggerated and even muted as it is subject to the whim of different fashions prevalent at a specific moment in time. Moreover, a multitude of social, cultural, racial and historical factors determine the always changing image of the so called "macho man". / Therefore, in order to explore distinct representations of masculinity I approach three different comedias by three different playwrights while comparing how the main character's masculinity fared in three very important spaces: physical, social and sexual. I focus my attention on Saber del mal y del bien by Calderon. Secondly, Don Gil de las calzas verdes by Tirso and explored El lindo don Diego by Moreto. Each one the these represents a different degree of palatable male identities given this particular social construct.

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