English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

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. 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

Ecos de la historia peninsular en el teatro barroco. Dos comedias de Tirso de Molina y de António Henriques Gomes