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Although Calderon formulates an eloquent refutation of racialist discourse against Muslims, my thesis concentrates on the issue that his play-writing reinforces the Cristocentric ideology on the need for conversion. In order to determine some of his influences and inspirations, I have reviewed the literature dealing with the Muslim subject in Spain from approximately the eleventh to the seventeenth centuries. Drawing on postcolonial hermeneutics and social psychology, I explored the way in which the image of the Muslim is constructed, wavering between an aggressive representation meant to promote rejection, and a narcisistic reflection fostering the appropriation through conversion. Both postures presuppose a distinction upon religious levels which has remained constant throughout the literature studied in this thesis. / By analysing some plays by Lope de Vega and Cervantes it became obvious that the fast reflects, with some exceptions, the dominant prejudices of his audience by presenting stereotyped characters of Muslim descent. Cervantes, on the other hand, provides a polyphony of voices which makes his plays peculiarly ambiguous for the inattentive reader. These, although exceptional in their humane view of the world, consistently maintained Muslims and Christians distinct and separate, albeit within relatively expansive categories. / Calderon uses a lopesque model of the bobo and conserves Cervantes' Weltanschauung. Nevertheless, his main aim can be directly traced to the counter-expulsion polemics of sixteenth- and seventeenth-century intellectuals, who attempted to find a solid foundation on which to base Christian indoctrination. Utilizing a typologic and providential version of history, Calderon attempts to convince his Christian public that they should improve themselves spiritually in order to convert Muslims, who in turn should pursue proselitist activities in their respective countries. The Muslims predisposed to conversion are therefore presented as clearly differentiated from the ones who aren't, associating the first with courtly ideals and the others with diabolic manifestations. A necessary element for successful conversion of people of distinct cultures is the elimination of the myth of "purity of blood," which Calderon defeats categorically. All in all, his insistence upon the absolute necessity of a sincere application of Christian doctrine anticipates the disaster which those who conceived the conversion program could not avoid.

The goal of this dissertation is to study the use, function and possibilities of the classical concept of imagination in the "comedias" of Pedro Calderon de la Barca (1600--1681). To begin, I explore the possibilities and limitations of imagination at three different levels: literary and aesthetic theory, psychological and gnoseological theory, and lastly that of cosmology. / Thus, after tracing the presence of the concept of imagination in all of Calderon's "comedias," I study its use in the dramatic discourse of Pinciano and Bances Candamo. Likewise, I discuss the ambiguities of this concept that Calderon himself openly explored in several of his plays. Later, I focus on an analysis and interpretation of imagination in La vida es sueno (Life is a Dream), particularly as it concerns the relationships between mankind and the universe, as well as the imaginative and dramatic possibilities of dreaming. / My next step deals with the relationship between theories of drama and imagination. This concentrates on: the way in which the author plays and manipulates the audience's affections, the creation of marvellous dramatic effects, and the relationship between imagination and performance. After, I analyze the interaction between physical senses and imagination, as well as the public's perception influenced by sophisticated staging techniques. Lastly, I discuss three crucial concepts, those of taste, public opinion and disillusionment ("desengano"), that are for Calderon obvious limitations to the possibilities of imagination.

Diss. : Philosophy : New Haven, Yale university : 1967. -

Abridgement of Thesis (Ph. D.)--New York University, 1941. / Parts I-IV added to title in manuscript.

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Carrie E. Sandahl, Florida State University, College of Visual Arts, Theatre and Dance, School of Theatre. Title and description from dissertation home page (viewed Jan. 24, 2006). Document formatted into pages; contains x, 371 pages. Includes bibliographical references.

Tesis

This thesis consists of a free verse translation of Pedro Calderón de la Barca's 1653 play Cada uno para sí. It also includes an introduction by the translator giving a brief history of the play as well as comments on the translation process used in this translation. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Thesis (D.M.A.)--Boston University / Tonight we will recreate musical moments from the plays of Don Pedro Calderon De La Barca, who lived from 1600 until 1680. During his long span of life he dominated the brilliant Baroque playwrights and poets for several generations. He took the rich heritage of drama forms which Juan Del Encina, Tirso De Molina, Lope De Vega and many others had created, and under the magnificent patronage of the Hapsburgs--Philip III, Philip IV, and Carlos II--Calderon brought the one-act sacred plays, called autos sacramentales, to their definitive form. For us he is particularly interesting for the enormous amount of music he employed in his plays, and the creative ways in which he used the musical forms , and because he wrote the first librettos for Spanish opera and for the musical comedies, called zarzuelas. Calderon produced three types of plays: the one-act sacred plays, the three-act comedies and three-act dramas [TRUNCATED]

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