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Protofeminismo Afirmado y Retractado en el Darlo Todo y No Dar Nada de Calderón

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Abstract

Calderón's Darlo todo y no dar nada, in re-casting a comedia attributed to Lope de Vega (La mayor hazaña de Alejandro Magno), makes the docile concubine Campaspe, "given" to the painter Apelles by Alexander according to ancient legend, into an apparently self-determining warrior maiden who resists the "gift" of her person from one man to another. Yet the motivation she attributes to her own act (fear for Apelles's life and her own) must modify our view of her protofeminist discourse. This happens, not so much out of Calderón's desire to placate his audience, but out of a well-documented tendency to affirm and retract simultaneously in baroque comedias.

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Authors and Affiliations

  1. Department of Spanish & Portuguese, University of Wisconsin-Madison, 1018 Van Hise Hall, 1220 Linden Drive, Madison, WI, 53706, USA E-mail

    David J. Hildner

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  1. David J. Hildner
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Hildner, D.J. Protofeminismo Afirmado y Retractado en el Darlo Todo y No Dar Nada de Calderón . Neophilologus 88, 385–394 (2004). https://doi.org/10.1023/B:NEOP.0000027471.99870.46

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  • DOI: https://doi.org/10.1023/B:NEOP.0000027471.99870.46

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