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- W2010182553 abstract "Maria de Zayas's comedia, La traición en la amistad, a play about the exploration of gender roles and role reversals, subverts traditional comedia endings in which the dominant (masculine) order reestablishes itself, forcing women to return to their feminine (passive) state, and allowing men to recover their masculine (active) dominance. Because of its exploration of gender roles, the play defines itself in terms of the binary opposition masculine/feminine. The end of La traición bears this dichotomy out. Different from the final scenes in other comedias, in which one of the male characters pronounces who will marry whom, in this play the female characters make these decisions. Even though they switch gender roles, the gender construct controls the behavior of almost all the characters and disallows the possibility for individual development beyond the dichotomy. Julia Kristeva calls that possibility the presupposed excluded middle. In La traición, Fenisa represents the excluded middle—an active woman, in charge of her circumstances, but forced into passivity at the end of the play by the now dominant female characters. Kristeva argues that the only resolution in a work structured on a bipolar opposition is negation of the middle. La traición plays out Kristeva's theory; by structuring her play on the male/female opposition, María de Zayas negates the excluded middle, Fenisa, thus underscoring the double standard inherent in the comedia and 17th-century Spanish society." @default.
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- W2010182553 date "1994-01-01" @default.
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- W2010182553 title "The Fallacy of False Dichotomy in María de Zayas's La traición en la amistad" @default.
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- W2010182553 doi "https://doi.org/10.1353/boc.1994.0003" @default.
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