A COMPARISON BETWEEN JOHN WEBSTER’S THE DUCHESS OF MALFI AND LOPE DE VEGA’S EL MAYORDOMO DE LA DUQUESA DE AMALFI AS A RESULT OF THE VARIOUS HYPOTEXTS OF THE RENAISSANCE NOVELLA

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dc.contributor.advisor Innocenti, Loretta it_IT
dc.contributor.author Mercati, Elena <1962> it_IT
dc.date.accessioned 2020-07-14 it_IT
dc.date.accessioned 2020-09-24T11:44:02Z
dc.date.issued 2020-07-28 it_IT
dc.identifier.uri http://hdl.handle.net/10579/17110
dc.description.abstract The present dissertation has aimed to compare two seventeenth-century European plays, Webster's The Duchess of Malfi (1614) from England and Lope de Vega's El mayordomo de la Duquesa de Amalfi (1618) from Spain, which were written almost at the same time and based upon the same source text originally written by Bandello from Italy and roughly translated into English by Painter. The story concerns Joan of Aragon, Duchess of Amalfi, who was killed by her two brothers as a result of her marrying a gentleman, Antonio, below her social status. Lope's text portrays the female ruler in no positive manner because Lope is more interested in questioning whether “honra” (virtue) should be put before “honor” (bloodline). Lope’s portrayal of Antonio points at a new social order based on merit rather than nobility, although the play ends with a reputational political rule, in compliance with Spanish traditional values supported by Spanish playwrights. Webster also yearns for a new social order based on virtue rather than blood, but his analysis is carried out through the Duchess’s character, issues including the sovereign’s two bodies. The Duchess’s brother Ferdinand exudes incestuous desire for her body as a result of the union of her body natural and her body politic. The Duchess stresses the importance of her body natural over her body politic up to the end of the play. The Duchess's murder guarantees that the audience will be on her side, consequently a new social order is suggested at the end of the play, as the political situation of the early seventeenth century might suggest in England, where Queen Elizabeth had no heirs and Puritanism was oozing in. As for a sensible contact between the two playwrights, no evidence has turned up so far, but the evident points in common in the two plays have been widely highlighted and a critical explanation has been provided in all instances. it_IT
dc.language.iso en it_IT
dc.publisher Università Ca' Foscari Venezia it_IT
dc.rights © Elena Mercati, 2020 it_IT
dc.title A COMPARISON BETWEEN JOHN WEBSTER’S THE DUCHESS OF MALFI AND LOPE DE VEGA’S EL MAYORDOMO DE LA DUQUESA DE AMALFI AS A RESULT OF THE VARIOUS HYPOTEXTS OF THE RENAISSANCE NOVELLA it_IT
dc.title.alternative A COMPARISON BETWEEN JOHN WEBSTER’S THE DUCHESS OF MALFI AND LOPE DE VEGA’S EL MAYORDOMO DE LA DUQUESA DE AMALFI AS A RESULT OF THE VARIOUS HYPOTEXTS OF THE RENAISSANCE NOVELLA it_IT
dc.type Master's Degree Thesis it_IT
dc.degree.name Lingue e letterature straniere it_IT
dc.degree.level Laurea vecchio ordinamento (ante DM 509/99) it_IT
dc.degree.grantor Dipartimento di Studi Linguistici e Culturali Comparati it_IT
dc.description.academicyear 2019/2020 - Sessione Estiva it_IT
dc.rights.accessrights closedAccess it_IT
dc.thesis.matricno 732609 it_IT
dc.subject.miur L-LIN/10 LETTERATURA INGLESE it_IT
dc.description.note it_IT
dc.degree.discipline it_IT
dc.contributor.co-advisor it_IT
dc.date.embargoend 10000-01-01
dc.provenance.upload Elena Mercati (732609@stud.unive.it), 2020-07-14 it_IT
dc.provenance.plagiarycheck Loretta Innocenti (innoc@unive.it), 2020-07-27 it_IT


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