Abstract:

An examination of the layered, dual meanings of the term maravilla in El semejante a sí mismo shows the hand of Juan Ruiz de Alarcón navigating his own criollo identity. The double meanings of maravilla reflect a conflict between the inclination to adopt the dominant views and rhetoric of the Spanish Empire and the counterbalancing impulse to undermine this colonial agenda. This article observes this tension in two examples. The first is the discourse of the “Desagüe de Huehuetoca,” a marvel of engineering designed to regulate water flow in Mexico City, which I interpret as a kind of cabinet of wonders. The second source of strain emerges from the disguise assumed by the protagonist of El semejante a sí mismo, which I examine in metatheatrical terms. Another reflection of the overarching tension between validating and resisting imperialism comes to light in the way Ruiz de Alarcón, describing wonders of the world, contends with the literary legacy of his formidable predecessor, adapting and reframing key motifs from Lope de Vega’s La octava maravilla, which celebrated the building of the Escorial palace, likening it to a biblical wonder, the Temple of Salomon.

 抽象的：

对《El semejante a símismo》中“maravilla”一词的分层、双重含义的考察显示了胡安·鲁伊斯·德·阿拉尔孔 (Juan Ruiz de Alarcón) 驾驭自己的克里奥尔身份的手。马拉维拉的双重含义反映了倾向于采纳西班牙帝国的主流观点和言论与破坏这一殖民议程的平衡冲动之间的冲突。本文通过两个例子观察了这种张力。第一个是“Desagüe de Huehuetoca”的论述，这是一项旨在调节墨西哥城水流的工程奇迹，我将其解释为一种奇迹柜。压力的第二个来源来自《El semejante a símismo》主角的伪装，我用元戏剧的术语来研究它。验证和抵制帝国主义之间的总体紧张关系的另一个反映体现在鲁伊斯·德·阿拉尔孔的方式中，他描述了世界奇观，与他令人敬畏的前任的文学遗产相抗衡，改编和重新构建了洛普·德·维加的《八度玛拉维拉》中的关键主题，它庆祝了埃斯科里亚尔宫的建造，将其比作圣经中的奇迹，所罗门神庙。