| Popis: |
tooL UENTEOVEJUNA may be the most read and most frequently performed of Lope de Vega's comedias as well as the one most studied by scholSiars and critics. Little noted, however, have been those aspects of the play that have to do with speech and writing, in general, and with the dyQ namic relationship between orality and textuality, in particular. Consequently, there are no studies of the ways in which the much discussed themes of the play-those most frequently exposed by "classical" readings of Fuenteovejuna-are articulated in the socio-linguistic context of this well-known theatrical work. Lope wrote Fuenteovejuna in a period when print technology began to accentuate the differences between speech and writing even while oral and textual modes of communication continued interacting with each other. It was a time when men of letters wrote lengthy treatises comparing the relative merits of speech and writing-as recent critical studies on the dialogues by Pedro de Navarra and Lope's friend Mateo Aleman have shown.' |
