Spanish and Portuguese Faculty Publications

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  • Publication
    Humanism or Humanitarianism? Collapse of Imponderables in a Propaedeutic Discussion Between Ramon Esquerra and Manuel Cruells
    (2021-01-01) Molla, Guillem
    This article analyzes the exchange of opinions between the critics Ramon Esquerra (19091938) and Manuel Cruells (1910-1988) about how to understand Renaissance humanism. On this basis, I focus on the first author to examine the implications arising from the act of thinking the interwar crisis, the function of the intellectual, and the cultural processes of the past through the geographical and temporal context in which it is consumed. In light of the narratives of some of the great European thinkers of the time (Hazard, Berdyaev, Benda, Maurois, etc.), Esquerra in his literary criticism projects a concern for the future of Western civilization in the rise of the totalitarian ideologies of the 1930s, emphasizing a critical and moral point of view in front of the materialistic thinking. In this sense, I also consider aspects such as the inheritance of medieval Christianity in the formation of an alleged European conscience and the treatment in the Catalan press of the concept of humanitarianism around 1935.
  • Publication
    La Barraca, 1933: el giro lopiano de García Lorca
    (2016-01-01) Rodríguez-Solás, David
    This article studies García Lorca’s stagings of Golden Age plays with the amateur student troupe La Barraca. It considers the staging of Lope de Vega’s Fuenteovejuna and El caballero de Olmedo. In 1933, this troupe experiences a substantial change in the staging of classical plays as Fuenteovejuna was included in their repertoire. La Barraca responds to their mission as intermediaries of the theatrical tradition and educators of their new audiences. However, these additions involve a politization of their practices and siding with the Spanish Republic cultural outreach projects. ----- Este artículo analiza las prácticas escénicas de García Lorca en el montaje de los clásicos con el Teatro Universitario La Barraca a raíz de la elección de las comedias de Lope de Vega Fuenteovejuna y El caballero de Olmedo. En 1933, la compañía experimenta un cambio sustancial en su acercamiento a la puesta en escena con la adición de Fuenteovejuna al repertorio. La Barraca responde con esta obra al mandato de hacer de intermediario de la tradición teatral del Siglo de Oro y educar a sus nuevos espectadores, pero al mismo tiempo politiza sus prácticas, que se significan como proyecto de extensión cultural de la República.