José Pedro Sousa | Universidade de Lisboa (original) (raw)

Papers by José Pedro Sousa

Liverpool University Press eBooks, Oct 1, 2021

During the seventeenth and eighteenth centuries, alongside original plays, Iberian playwrights pr... more During the seventeenth and eighteenth centuries, alongside original plays, Iberian playwrights produced translations, adaptations, and other forms of textual appropriation. Within this corpus, the sub-genre of short farces (‘entremezes’) is still largely unknown, but it presents a fruitful field for the intersection of Iberian studies and theatre translation studies. By demonstrating the complex nature of the (inter)relations between the Spanish Entremés del valiente (1691) and the Portuguese Entremez do soldado valentão (1773)/‘Entremez do Pinalvo’ (undated manuscript), this chapter revisits an understudied area of the history of Iberian theatre translation. It contributes to the understanding that the Iberian interliterary system is ‘more than the sum of its parts’ (Resina 2013), and that (historical) Portuguese–Spanish rivalry ultimately promoted the creation, domestication, appropriation, and manipulation of theatrical products in order to affirm different cultural identities.

Liverpool University Press eBooks, Aug 15, 2021

espanolEl presente ensayo pretende rellenar los huecos en la historia de la presencia de comedian... more espanolEl presente ensayo pretende rellenar los huecos en la historia de la presencia de comediantes espanoles en Portugal con nuevos datos sobre la biografia de estos agentes teatrales provenientes de fuentes primarias que solo recientemente se pusieron a disposicion de los investigadores. EnglishThis essay is a further contribution to fill in the gaps of the history of the presence of Spanish players in Portugal, by means of collecting and organizing documental sources that only recently were made available to researchers.

En los ultimos anos, el Centro de Estudios de Teatro de la Universidad de Lisboa ha desarrollado ... more En los ultimos anos, el Centro de Estudios de Teatro de la Universidad de Lisboa ha desarrollado una serie de herramientas y recursos para el estudio de la Historia del Teatro. Sus bibliotecas digitales ofrecen ediciones criticas de los textos de teatro de los siglos XVI y XVII, acompanadas con las imagenes de los manuscritos y/o primeras ediciones. Todo este material se articula con bases de datos enlazadas a traves de un riquisimo hipertexto. La metodologia adoptada y las herramientas creadas han aportado nuevas perspectivas en los estudios filologicos y de historia del teatro, y se han convertido en un nuevo paradigma para la investigacion sobre el teatro clasico iberico.

O labirinto das fidelidades: o papel do teatro na campanha pública

Revista de Filología Románica, 2016

Este ensayo propone el análisis comparativo de dos comedias ibéricas del siglo XVII: Mari Hernánd... more Este ensayo propone el análisis comparativo de dos comedias ibéricas del siglo XVII: Mari Hernández, la gallega, de Tirso de Molina (escrita hacia 1622-1625, e impresa en Sevilla en 1627), y No hay contra el honor poder, de António Henriques Gomes (publicada en Madrid en 1652). El modo en que se retrata en ambas comedias el poder político y la figura del rey constituye la perspectiva central de la lectura, lo que permitirá revisitar aspectos de la representación de la historia en el teatro barroco. Palabras clave: Comparatismo peninsular, teatro barroco, Tirso de Molina, António Henriques Gomes, drama histórico de hechos particulares. Echoes of Peninsular History in Baroque Theatre. On Two Plays by Tirso de Molina and António Henriques Gomes ABSTRACT This article presents the comparative analysis of two Iberian plays from the 17th century: Tirso de Molina's Mari Hernández, la gallega [Mari Hernández, the Galician], written c. 1622-1625 and published in Seville in 1627, and No hay contra el honor poder [There is no power against honour] by António Henriques Gomes, published in Madrid in 1652. This analysis explores the way both plays depict the political power and the image of kings, thus revisiting some aspects of the representation of history in Baroque theatre.

Revista de Filología Románica (Anejo IX: Literaturas ibéricas. Teoría, historia y crítica comparativas), 2015

Este ensayo propone el análisis comparativo de dos comedias ibéricas del siglo XVII: Mari Her-nán... more Este ensayo propone el análisis comparativo de dos comedias ibéricas del siglo XVII: Mari Her-nández, la gallega, de Tirso de Molina (escrita hacia 1622-1625, e impresa en Sevilla en 1627), y No hay contra el honor poder, de António Henriques Gomes (publicada en Madrid en 1652). El modo en que se retrata en ambas comedias el poder político y la figura del rey constituye la per-spectiva central de la lectura, lo que permitirá revisitar aspectos de la representación de la historia en el teatro barroco.

This article presents the comparative analysis of two Iberian plays from the 17th century: Tirso de Molina's Mari Hernández, la gallega [Mari Hernández, the Galician], written c. 1622-1625 and published in Seville in 1627, and No hay contra el honor poder [There is no power against honour] by António Henriques Gomes, published in Madrid in 1652. This analysis explores the way both plays depict the political power and the image of kings, thus revisiting some aspects of the representation of history in Baroque theatre.

Cuadernos AISPI - Revista semestral da la Associazone Ispanisti Italiani. Arte novísimo de estudiar comedias: las Humanidades Digitales y el teatro áureo, 2018

En los últimos años, el Centro de Estudios de Teatro de la Universidad de Lisboa ha desarrollado ... more En los últimos años, el Centro de Estudios de Teatro de la Universidad de Lisboa ha desarrollado una serie de herramientas y recursos para el estudio de la Historia del Teatro. Sus bibliotecas digitales ofrecen ediciones críticas de los textos de teatro de los siglos XVI y XVII, acompañadas con las imágenes de los manuscritos y/o primeras ediciones. Todo este material se articula con bases de datos enlazadas a través de un riquísimo hipertexto. La metodología adoptada y las herramientas creadas han aportado nuevas perspectivas en los estudios filológicos y de historia del teatro, y se han convertido en un nuevo paradigma para la investigación sobre el teatro clásico ibérico.

Over the last years, the Centre for Theatre Studies of the University of Lisbon has developed a set of tools and digital resources for the study of the History of Theatre. Its digital libraries contain scholarly editions of 16th and 17th century plays of Portuguese authors, along with the images of manuscripts and first editions. This set of materials dialogues with databases linked by a complex hypertext. Both the methodology and the digital tools led to the development of new perspectives in philology and theatre history. They may be regarded as a new paradigm for the research on classical Iberian drama.

Atalanta. Revista de las Letras Barrocas. A más distancia, más peso. Homenaje a la profesora Mercedes de los Reyes Peña, 2019

El presente ensayo pretende rellenar los huecos en la historia de la presencia de comediantes esp... more El presente ensayo pretende rellenar los huecos en la historia de la presencia de comediantes españoles en Portugal con nuevos datos sobre la biografía de estos agentes teatrales provenientes de fuentes primarias que solo recientemente se pusieron a disposición de los investigadores. Palabras claves: comediantes españoles, Portugal, Siglo de Oro, fuentes documentales.

New documental sources for the study of the presence of Spanish players in Portugal (17th and 18th centuries)
This essay is a further contribution to fill in the gaps of the history of the presence of Spanish players in Portugal, by means of collecting and organizing documental sources that only recently were made available to researchers.

Plumas y pinceles son iguales. Teatro y pintura en el Siglo de oro, 2015

Théâtre : esthétique et pouvoir De l’antiquité classique au XIXe siècle (Tome I), 2016

Comparative analysis of two plays: "La mayor hazaña de Portugal" (1645), by Manuel Araújo de Cast... more Comparative analysis of two plays: "La mayor hazaña de Portugal" (1645), by Manuel Araújo de Castro, and "La feliz Restauración de Portugal y Muerte del Secretario Miguel de Vasconcelos" (1649), by Manuel de Almeida Pinto. Both texts were written - in Spanish - by Portuguese playwrights, and in both cases the plot focus on the coup of December the 1st 1640, which liberated the Portuguese kingdom from the Spanish Monarchy domain.

International Journal of Iberian Studies, 2019

The inclusion of the Portuguese territory in the itinerary of Spanish theatre compa- nies, at lea... more The inclusion of the Portuguese territory in the itinerary of Spanish theatre compa- nies, at least from the late sixteenth century onwards, contributed towards shaping a truly Iberian theatrical landscape during the seventeenth century. The influence of the Spanish language and theatrical models on Portuguese playwrights, the creation of a playhouse in Lisbon that followed almost exactly the Spanish reference of the corral de comedias and the constant presence of Spanish actors in Portugal during this period support that idea of a common cultural history shared by Portugal and Spain. Most of what is known about this chapter of Iberian theatre history, particularly when it comes to the presence of Spanish theatre companies on the Portuguese stage, conveys the idea of an unquestioned and uncriticized acceptance of this phenomenon in Portugal. However, if such might be the case in Lisbon, a recently found corpus of documentation concerning the theatrical activity in Oporto at the end of the seventeenth century shows a completely different attitude towards Spanish theatre companies. The opposition of both religious and secular Oporto authorities against commercial (Spanish) theatre, which was even considered to be a plague, was particularly evident in two different episodes that took place in the final decade of the seventeenth century. The analysis of these incidents proves the existence, at least in Oporto, of a certain resistance against the dominant theatrical practices, which uncovers a new space of enquiry in Iberian theatre history and the cultural exchanges between Portugal and Spain during the Golden Age.

El eterno presente de la literatura. Estudios literarios de la Edad Media al siglo XIX, 2013

Cuando, en 1601, sale a la luz el libro Comédias Portuguesas, de Simão Machado, donde se incluye ... more Cuando, en 1601, sale a la luz el libro Comédias Portuguesas, de Simão Machado, donde se incluye la Comédia da Pastora Alfea o Los Encantos de Alfea, Portugal ya no era un reino independiente, sino integrado en la monarquía hispánica. Este cambio político asociado a la influencia de los nuevos modelos teatrales venidos de España, tuvo reflejos en el teatro portugués. Por una parte, se verificó un amplio desarrollo del teatro público, cuando, en 1588, el Hospital de Todos los Santos recibe el privilegio de explotación del Patio de las Arcas de Lisboa. Durante más de siglo y medio, el público portugués acudió a este corral de comedias, idéntico a los españoles, para ver a compañías españolas representar a sus autores en su lengua 1 . Por otra, pudo facilitar el uso cada vez más frecuente del idioma castellano, en exclusividad, por parte de dramaturgos portugueses.

Del verbo al espejo: reflejos y miradas de la literatura hispánica , 2011

Comparative analysis between Ramón del Valle-Inclán's Sonatas and Teresa Veiga's Uma aventura sec... more Comparative analysis between Ramón del Valle-Inclán's Sonatas and Teresa Veiga's Uma aventura secreta do Marquês de Bradomín.

TEATRO DE AUTORES PORTUGUESES DO SÉCULO XVII LUGARES (IN)COMUNS DE UM TEATRO RESTAURADO, 2016

Books by José Pedro Sousa

Iberian and Translation Studies. Literary Contact Zones, 2021

Iberian and Translation Studies: Literary Contact Zones offers fertile reflection on the dynamics... more Iberian and Translation Studies: Literary Contact Zones offers fertile reflection
on the dynamics of linguistic diversity and multifaceted literary translation flows
taking place across the Iberian Peninsula. Drawing on cutting-edge theoretical
perspectives and on a historically diverse body of case studies, the volume’s
16 chapters explore the key role of translation in shaping inter-literary relations
and cultural identities within Iberia. Mary Louise Pratt’s contact zone metaphor
is used as an overarching concept to approach Iberia as a translation(al)
space where languages and cultural systems (Basque, Catalan, Galician,
Portuguese, and Spanish) set up relationships either of conflict, coercion, and
resistance or of collaboration, hospitality, and solidarity.

In bringing together a variety of essays by multilingual scholars whose
conceptual and empirical research places itself at the intersection of translation
and literary Iberian studies, the book opens up a new interdisciplinary field
of enquiry: Iberian translation studies. This allows for a renewed study
of canonical authors such as Joan Maragall, Fernando Pessoa, Camilo
José Cela, and Bernardo Atxaga, and calls attention to emerging bilingual
contemporary voices. In addition to addressing understudied genres (the
entremez and the picaresque novel) and the phenomena of self-translation,
indirect translation, and collaborative translation, the book provides fresh
insights into Iberian cultural agents, mediators, and institutions.