9 Captive Audiences: Performing Captivity in Cervantes’s Prose Narrative

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Illustrations vii
4. Acknowledgments ix
5. Introduction: The Poetics of the Imagined Stage 1
6. PART ONE Alternate Theatricalities in Cervantes’s Drama
7. 1 Cervantes and the Simple Stage 17
8. 2 Queer cambalaches in El rufián dichoso 42
9. 3 Of Players and Wagers: The Theatricality of Gambling for Salvation in El rufián dichoso 72
10. 4 Writing to Rescue from Oblivion: The Phantasms of Captivity in El trato de Argel 99
11. 5 Captivating Music, Memory, and Emotions in Los baños de Argel 126
12. 6 In the Name of Love: Cervantes’s Play on Captivity in La gran sultana 150
13. 7 Revolving Sets: Spatial Revelations in the entremeses 177
14. PART TWO Acts of Disclosure in Cervantes’s Prose
15. 8 Coups de théâtre in the Novelas ejemplares 201
16. 9 Captive Audiences: Performing Captivity in Cervantes’s Prose Narrative 221
17. 10 Painting into Theatre: “The Suicide of Lucretia” as a tableau vivant in El curioso impertinente 243
18. 11 “Muchas y muy verdaderas señales”: The Theatrics of Truth and Sincerity of Fiction in La Galatea 277
19. 12 Eavesdropping or Spying? Secret Places and Spaces in Don Quixote 306
20. 13 Don Quixote and the Performance of Aging Masculinities in Early Modern Spain 331
21. Contributors 355
22. Index 357