TEXORO: Textos del Siglo de Oro es una herramienta desarrollada por Álvaro Cuéllar y Germán Vega que permite realizar búsquedas en un amplio corpus de teatro del Siglo de Oro. Es nuestra intención que un futuro crezca ofreciendo otros tipos de textos fuera del ámbito teatral.

El proyecto ETSO: Estilometría aplicada al Teatro del Siglo de Oro surge del interés del investigador Álvaro Cuéllar y del catedrático Germán Vega García-Luengos en aplicar las nuevas herramientas informáticas a los numerosos problemas de autoría que presenta el teatro del Siglo de Oro español. Este portal trata de ofrecer análisis que puedan arr…[Read more]

Finding the accurate date of texts is one of the most puzzling challenges in the study of Spanish aurisecular theater. Stylometry, the computer technique centered on the comparison of texts based on their writing, which has been successfully used in recent years to solve authorship questions, can also serve to shed light on this issue. In this…[Read more]

Claramonte is one of the playwrights who has had the most unusual fate in our theatrical heritage. Reviled by early scholars as a plagiarist, recaster and, ultimately, a second-order author, in recent decades he has reemerged as a possible author of capital works of our theatre. Using stylometric techniques that have been proven to be effective…[Read more]

This article proposes the inclusion in Lope’s repertoire of La francesa Laura, a comedia preserved in an anonymous manuscript of the BNE, never before related to the playwright. The investigation started thanks to the results of the process in the Transkribus and ETSO platforms, which pointed out the close relationship of the lexicon with the…[Read more]

La datación supone una de las cuestiones con más interrogantes en el estudio del teatro aurisecular español. La estilometría, técnica informática basada en la comparación de textos en función de sus usos escriturales y que está utilizándose con aparente acierto en los últimos años para arrojar luz sobre el problema de la autoría, puede servir…[Read more]

Claramonte es uno de los dramaturgos que más extraña suerte ha corrido de nuestro patrimonio teatral. Vilipendiado por los primeros estudiosos como plagiario, refundidor y, en definitiva, autor de segundo orden, en las últimas décadas ha resurgido como posible responsable de obras capitales de nuestro teatro. A través del empleo de técnicas estil…[Read more]

La refundición supone un fenómeno recurrente en el teatro aurisecular español. Existen numerosos casos en los que un dramaturgo parte de un texto previo y lo modifica para conformar una nueva obra reutilizando un cierto número de versos. En ocasiones, el paso del tiempo confunde la obra primigenia con la refundición y resulta complicado esta…[Read more]

Un elevado porcentaje de impresos y manuscritos teatrales del periodo aurisecular no ha sido nunca transcrito en un formato analógico ni, por supuesto, digital. Es imposible, por tanto, emplear estos documentos para realizar búsquedas de nuestro interés o para los valiosos análisis informáticos (estilometría, topic modelling, detección de sentim…[Read more]

El trabajo propone que se considere la inclusión en el repertorio de Lope de La francesa Laura, una comedia conservada en un manuscrito anónimo de la BNE, nunca antes relacionada con el dramaturgo. La investigación se inició a la vista de los resultados de su procesamiento en las plataformas Transkribus y ETSO, que señalaban la estrecha rela…[Read more]

The Baconian oeuvre remains the most extensive and influential assault on Aristotelianism in English writing of the early modern period. Where convention respected Aristotelian logic as a viable instrument for studying natural philosophy, Bacon instead sought to initiate an instauration, or restoration, of learning by proposing his inductive…[Read more]

Alexa Alice Joubin’s entry expands the global scope of The Chaucer Encyclopedia (4 vols). This entry, in Volume 3, examines the work by the Chinese translator Lin Shu’s (1852-1924). Lin translated and rewrote several key stories from the Canterbury Tales. Joubin argues that Lin’s works exemplify early twentieth-century Chinese imaginaries of medie…[Read more]

Anna Morandi Manzolini (1714–1774), a Bolognese wax sculptor, overcame humble origins to become one of the most important anatomical artists of the eighteenth century. Working with her husband Giovanni Manzolini (c. 1700–1755), and continuing alone after his death, Morandi created remarkably lifelike and anatomically accurate wax models of the sen…[Read more]

Alexa Alice Joubin received the Rev. Dr. Martin Luther King, Jr. Award, which recognizes Professor Joubin’s “contributions to social justice and inclusive excellence ” that exemplify “the ideals that Dr. King espoused,” particularly “community-based social justice organizing rooted in non-violence.” The MLK Award comes on the heel of her bell hook…[Read more]

Criticism of the Shakespearean canon through adaptation as a genre has the capacity for liberation and social reparation. As a cluster of complex texts that sustains both past practices and contemporary interpretive conventions, Shakespeare provides fertile ground for training students to listen intently and compassionately to other individuals’ v…[Read more]

Stage and screen adaptations of Shakespeare’s plays raise ethical questions – that is, questions about how human beings should act and treat one another. In which contexts might cross-cultural enterprises be naturalising the values associated with Shakespeare to exploit unequal power relations among artists of different backgrounds? Con…[Read more]

Thomas Kyd’s The Spanish Tragedy creates a subtle apologia for the “middling sort” by challenging the socially constructed predicates of aristocratic privilege. A scrivener’s son, Kyd undertsood oeconomia, or household management, as both the means for material advancement among the “middling sort” and a potential threat to aristocratic insular…[Read more]

All the world’s a stage, but the irony is the rest of the globe often has an easier time understanding William Shakespeare than English speakers. “English audiences are at a disadvantage because the language has evolved and is more and more distant. They need footnotes, props and staging to understand,” said Alexa Alice Joubin, a Shakespeare schol…[Read more]