Abstract:

This essay reconsiders the status of the loa to Pedro Calderón de la Barca's highly influential auto sacramental El gran teatro del mundo (ca. 1633–36). For the last century, it has been conventional among scholars to consider the loa inauthentic and as having been written by Francisco Bances Candamo. The article begins with an examination of the arguments for this assumption. The second half comprises a textual interpretation of the loa regardless of its author. This analysis focuses on four dimensions: the stylistic figure of metalepsis, the motif of the fiesta, and the theological themes of theodicy and divine law. In so doing, the study proposes that the loa carefully prepares ways to see the theatrum mundi as a means to foment an appreciation or celebration of baroque reality. This interpretation invites a reconsideration of the widely held notions of the theatrum mundi as a pessimistic experience of desengaño or vanitas.

摘要：

本文复议的状态LOA佩德罗卡尔德龙德拉巴萨的极具影响力的汽车圣埃尔大剧院德尔世界报（约1633至1636年）。在上个世纪，学者们一直认为loa 是不真实的，并且是由弗朗西斯科·班塞斯·坎达莫 (Francisco Bances Candamo) 撰写的。这篇文章首先检查了这一假设的论据。后半部分包括对loa的文本解释，无论其作者是谁。该分析侧重于四个维度：Metaepsis 的文体形象、节日的主题以及神正论和神法的神学主题。在这样做的过程中，该研究建议洛阿仔细准备方法来查看Theatrum mundi作为一种手段来激发对巴洛克现实的欣赏或庆祝。这种解释促使人们重新考虑广泛持有的关于世界剧场的观念，认为它是对desengaño或vanitas的悲观体验。