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El carácter intrínsecamente teatral del mito fáustico Translated title: The Inherently Theatrical Nature of the Faustian Myth

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      Abstract

      Mucho se ha escrito sobre las diferencias (históricas, ideológicas, filosóficas, políticas, estéticas) entre los diversos personajes ficticios que han encarnado el mito fáustico. La figura de Fausto ha atravesado la historia moderna desde sus inicios hasta el día de hoy: desde principios del renacimiento, pasando por la ilustración, el romanticismo y existencialismo del siglo XX, y ha "transmigrado" de un género artístico a otro: de la leyenda oral al teatro, del poema a la novela, del ensayo a la pintura o la música, del tablado de títeres a la ópera y el cine. En cada uno de estos ámbitos de ficción, su famoso pacto con el Mal (materializado en otra figura clave del mito: el Diablo) cambia de significación, ya sea que se conciba a Fausto como representante de la cultura alemana en particular, de la cultura europea y occidental en general, o incluso del género humano. Sin ignorar los contextos culturales de las obras en que aparece, en este ensayo exploro los aspectos propiamente "teatrales", comunes a todas las versiones del mito. Me referiré en especial al Volksbuch o Libro popular del Doctor Faustus, editado por Johann Spies en 1587, a la pieza teatral de Christopher Marlowe (1592), a El drama de títeres, cuya primera representación data de 1746, a las dos partes el poema dramático Fausto de Johann W. von Goethe (de 1808 y de 1832, respectivamente) y a la novela de Thomas Mann, Doctor Faustus (1947).

      Translated abstract

      Much has been written about the historical, ideological, philosophical, political, and aesthetic differences between the fictional characters embodying the Faust Myth. The image of Faust has passed throughout modern history right up to the present day: from the Renaissance, through the Enlightenment, to twentieth-century Romanticism and Existentialism. It has also "transmigrated" from one artistic genre to another: from oral legend to theatre; from poetry to novelistic writing; from essay to painting and music composition; and from puppet theatre to opera and film. Within each of these spheres, the meaning of Faust's famous pact with Evil (represented by another key figure, The Devil) takes on a new significance, depending on whether one conceives of Faust as a representation of Germanic culture in particular, of European or occidental culture in general, or as a personification of the universal human condition. Without ignoring the cultural contexts of the works in which he appears, this essay explores the theatrical aspects shared by every version of the myth. I will address principally the Volksbuch, edited by Johann Spies in 1587; the play written by Christopher Marlowe (1604); The Puppet Play (first staged in 1746); the two parts of Johann von Goethe's dramatic poem, Faust (1808 and 1832); and the novel by Thomas Mann, Doctor Faustus (1947).

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      Most cited references 17

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      Herreros y alquimistas

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        Fausto

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          La vida del drama

           W. E. Bentley (1964)
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            Author and article information

            Affiliations
            [1 ] Universidad Nacional Autónoma de México Mexico
            Contributors
            Role: ND
            Journal
            ap
            Acta poética
            Acta poét
            Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas (México )
            0185-3082
            December 2013
            : 34
            : 2
            : 127-156
            S0185-30822013000200007

            http://creativecommons.org/licenses/by/4.0/

            Product
            Product Information: SciELO Mexico
            Categories
            Literature, Romance
            Poetry
            Classics
            Language & Linguistics
            Religion
            Medieval & Renaissance Studies
            Literary Reviews
            Literary Theory & Criticism
            Literature

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