{"id":17978,"date":"2002-01-07T00:00:00","date_gmt":"2002-01-07T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/lope-de-vega-ade-cuando-aca-nos-vino-edicion-cra%c2%adtica-y-estudio\/"},"modified":"2002-01-07T00:00:00","modified_gmt":"2002-01-07T00:00:00","slug":"lope-de-vega-ade-cuando-aca-nos-vino-edicion-cra%c2%adtica-y-estudio","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/lope-de-vega-ade-cuando-aca-nos-vino-edicion-cra%c2%adtica-y-estudio\/","title":{"rendered":"Lope de vega, \u00c2\u00bfde cu\u00e1ndo ac\u00e1 nos vino? edici\u00f3n cr\u00edtica y estudio"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Delia Gavela Garc\u00eda <\/strong><\/h2>\n<p>El estudio que antecede a la edici\u00f3n de la comedia de lope de vega \u00c2\u00bfde cu\u00e1ndo ac\u00e1 nos vino?, Est\u00e1 dividido en tres grandes apartados.  el primero aborda aspectos textuales como los problemas de autor\u00eda y realizaci\u00f3n material del manuscrito parcialmente aut\u00f3grafo y el m\u00e9todo empleado por lope para la redacci\u00f3n de la obra. Tras el estudio de las diferentes ediciones conservadas, en especial de la parte veinticuatro, y su cotejo con el manuscrito, texto utilizado finalmente para la edici\u00f3n, se concluye este bloque inicial con la adopci\u00f3n de los criterios editoriales y la estructuraci\u00f3n de la comedia.  el segundo apartado, que se adentra en cuestiones de contenido, dedica uno de sus cap\u00edtulos a ubicar la obra gen\u00e9rica y cronol\u00f3gicamente dentro de la producci\u00f3n del f\u00e9nix y otro al estudio de los personajes desde una perspectiva funcional, hist\u00f3rica e intertextual. A\u00fan, un tercer cap\u00edtulo, incluye una propuesta escenogr\u00e1fica y el perfil b\u00e1sico de los actores que representaron la obra en 1615.  el \u00faltimo de los grandes apartados se encarga de la comparaci\u00f3n de la comedia con las otras dos obras a las que sirvi\u00f3 de inspiraci\u00f3n: de fuera vendr\u00e1, de agust\u00edn moreto y la comedia l\u00edrica el hijo fingido adaptada por arozamena y kahmi, con m\u00fasica del maestro rodrigo.  antes de dar paso al texto, se incluyen unas conclusiones, que recogen las principales hip\u00f3tesis expuestas en el estudio.  el texto, modernizado, estructurado y corregido, seg\u00fan los criterios previamente expuestos, va acompa\u00f1ado de una amplia anotaci\u00f3n, que pretende hacerlo inteligible a un lector actual no especializado.  la tesis se completa con el elenco bibliogr\u00e1fico y dos ap\u00e9ndices que contienen la lista de variantes y el facs\u00edmil del manuscrito editado.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Lope de vega, \u00c2\u00bfde cu\u00e1ndo ac\u00e1 nos vino? edici\u00f3n cr\u00edtica y estudio<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Lope de vega, \u00c2\u00bfde cu\u00e1ndo ac\u00e1 nos vino? edici\u00f3n cr\u00edtica y estudio <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Delia Gavela Garc\u00eda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Aut\u00f3noma de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/07\/2002<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Pablo Jauralde Pou<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Alonso zamora vicente alonso <\/li>\n<li> De la grania agust\u00edn (vocal)<\/li>\n<li> De los reyes mercedes (vocal)<\/li>\n<li>laura Dolfi (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Delia Gavela Garc\u00eda El estudio que antecede a la edici\u00f3n de la comedia de lope de vega [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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