Edad de Oro

Daniele Arciello y Juan Matas Caballero (eds.) (2023). Pícaros y picarismo. Nuevos estudios en torno a la picaresca, desde sus orígenes hasta la actualidad.

Dario Testi — 2024-11-11

Daniele Arciello y Juan Matas Caballero (eds.) (2023).

Pícaros y picarismo. Nuevos estudios en torno a la picaresca, desde sus orígenes hasta la actualidad.

Madrid/Frankfurt am Main: Iberoamericana/Vervuert, 245 pp.

[ISBN: 978-84-9192-353-4].

Esther Borrego Gutiérrez y Carlos Mata Induráin (eds.) (2024). Teresa de Jesús y su legado. Santidad y escritura: 400 años de su canonización

Miguel M. García-Bermejo Giner — 2024-11-11

Esther Borrego Gutiérrez y Carlos Mata Induráin (eds.) (2024).

Teresa de Jesús y su legado. Santidad y escritura: 400 años de su canonización.

Madrid/Frankfurt am Main: Iberoamericana/Vervuert, 538 pp.

[ISBN: 978-84-9192-415-9]

Fabián Alejandro Campagne y Constanza Cavallero (eds.) (2023). Furor Satanae. Representaciones y figuras del Adversario en la Europa Moderna

Alberto Ortiz — 2024-11-11

Fabián Alejandro Campagne y Constanza Cavallero (eds.) (2023).

Furor Satanae. Representaciones y figuras del Adversario en la Europa Moderna.

Buenos Aires: Miño y Dávila Editores, 360 pp.

[ISBN: 978-84-19830-22-7]

Antonio Carreira (2021). Quevedo en la redoma: estudios sobre su poesía

José de Jesús Palacios Serrato — 2024-11-11

Antonio Carreira (2021).

Quevedo en la redoma: estudios sobre su poesía.

Ciudad de México: Nueva Revista de Filología Hispánica/El Colegio de México, 238 pp.

[ISBN 978-607-564-301-4].

Alonso de Castillo Solórzano (2023). Tiempo de regocijo y carnestolendas de Madrid

José Roso Díaz — 2024-11-11

Alonso de Castillo Solórzano (2023).

Tiempo de regocijo y carnestolendas de Madrid. Edición, introducción y notas de Rafael Bonilla Cerezo y Matteo Mancinelli.

Madrid: Editorial Sial Pigmalión, 382 pp.

[ISBN-13:978-84-18888-60-1]

Ignacio García Aguilar y Rafael Bonilla Cerezo (eds.) (2023). El discurso paratextual en la novela corta del Barroco

Samuel Parada Juncal — 2024-11-11

Ignacio García Aguilar y Rafael Bonilla Cerezo (eds.) (2023).

El discurso paratextual en la novela corta del Barroco.

Madrid: Grupo Editorial Sial Pigmalión, 428 pp.

[ISBN: 978-84-19928-16-0].

Gaston Gilabert (2024). El dinero. Economía, literatura y espectáculo en la sociedad del Siglo de Oro

Rosa Bono Velilla — 2024-11-11

Gaston Gilabert (2024)

El dinero. Economía, literatura y espectáculo en la sociedad del Siglo de Oro.

Madrid: Compañía Nacional de Teatro Clásico, 231 pp.

[ISBN 978-84-9041-495-8].

Fernán González de Eslava (2023). Coloquios espirituales y sacramentales

Guillermo Serés — 2024-11-11

Fernán González de Eslava (2023).

Coloquios espirituales y sacramentales.

Introducción, edición y notas de Antonio Lorente Medina.

Madrid: Universidad Nacional de Educación a Distancia, 853 pp.

[ISBN 978-84-362-7867-5].

Arturo Jiménez Moreno (2023). La incorporación de la mujer a la cultura escrita en el siglo XV

Carolina de Alejandro Izquierdo — 2024-11-11

Arturo Jiménez Moreno (2023).

La incorporación de la mujer a la cultura escrita en el siglo xv.

Salamanca: Universidad de Salamanca, 640 pp.

[ISBN 978-84-13118-54-3]

Salvador Lira (2023). En el trono, en la tumba y en el cielo. Los actos de Real Sucesión por la Real Audiencia de México durante la transición dinástica (1665-1725)

Alberto Ortiz — 2024-11-11

Salvador Lira (2023).

En el trono, en la tumba y en el cielo. Los actos de Real Sucesión por la Real Audiencia de México durante la transición dinástica (1665-1725).

Zacatecas: Paradoja Editores, 402 pp.

[ISBN 978-607-555-153-1].

Sagrario López Poza (2023). Divisas o empresas de los Austrias. Expresiones simbólicas de representación personal

Francisca Moya del Baño — 2024-11-11

Sagrario López Poza (2023).

Divisas o empresas de los Austrias. Expresiones simbólicas de representación personal.

A Coruña: SIELAE, 402 pp.

[ISBN 978-84-09-55956-5].

Jesús Ponce Cárdenas (2023). Escolios gongorinos. Biografía, anotaciones y defensas

Alberto Fadón Duarte — 2024-11-11

Jesús Ponce Cárdenas (2023).

Escolios gongorinos. Biografía, anotaciones y defensas.

Madrid/Frankfurt am Main: Iberoamericana/Vervuert, 284 pp.

[ISBN 978-84-9192-374-9].

Alfonso Rey (2024). Entre Quevedo y Gracián

Philippe M. Rabaté — 2024-11-11

Alfonso Rey (2024).

Entre Quevedo y Gracián.

Madrid: Castalia Ediciones, 535 pp.

[ISBN 978-84-9740-873-8].

Miguel Ángel Teijeiro Fuentes y José Roso Díaz (eds.) (2023). Con-textos del teatro renacentista español. Estudios dedicados al profesor Joan Oleza Simó

Juan Saúl Salomón Plata — 2024-11-11

Miguel Ángel Teijeiro Fuentes y José Roso Díaz (eds.) (2023).

Con-textos del teatro renacentista español. Estudios dedicados al profesor Joan Oleza Simó.

Madrid: Grupo Editorial Pigmalión Extremadura, 386 pp.

[ISBN 978-84-19370-72-3].

Lope de Vega (2024). La bella malmaridada

Gema Balaguer Alba — 2024-11-11

Lope de Vega (2024).

La bella malmaridada. Introducción, edición y notas de Julián González-Barrera.

Madrid: Ediciones Cátedra, 400 pp.

[ISBN 978-84-376-4739-5].

Introduction

José Enrique López Martínez — 2024-11-11

Introducción al Monográfico: «Vida y obra de Juan Ruiz de Alarcón en la Villa de Madrid»

La cara oculta del repertorio de Alarcón. Propuestas de incorporación de dos comedias nuevas: «El vencido vencedor» y «La lealtad en la traición»

Germán Vega García-Luengos — 2024-11-11

Entre los repertorios de los dramaturgos importantes del Siglo de Oro, el de Ruiz de Alarcón se ha considerado como el más reducido, definido y estable. Recientemente, estas características se han visto afectadas con la incorporación de nuevas comedias. En el presente trabajo se proponen dos candidatas más a engrosarlo: El vencido vencedor y La lealtad en la traición. Ambas se han conservado en manuscritos e impresos antiguos en los que se atribuyen a Lope de Vega, y a su nombre se han publicado en la colección académica. Su redireccionamiento hacia el escritor mexicano ha recibido el primer impulso de los análisis de estilometría léxica realizados por el proyecto ETSO sobre 2850 textos de cerca de 350 autores. La clara afinidad con sus usos puso en marcha una investigación rigurosa de los diferentes factores que la filología ha tenido en cuenta ante los problemas de autoría: documentos, fuentes primarias, métrica, localización de estilemas, de paralelismos en palabras, imágenes e ideas, entre otros, con resultados consistentes que favorecen a Alarcón.

Manuel Casal Aguado y Alberto Lista, ilustres copistas de «El semejante a sí mismo» de Ruiz de Alarcón

Blanca Santos de la Morena — 2024-11-11

This paper considers as a starting point the analysis of the two manuscript testimonies of El semejante a sí mismo, by Juan Ruiz de Alarcón. It proves that the first of them, which is preserved as part of a collection of comedies in the British Library, was copied by Manuel Casal y Aguado, a medic and playwright who used the pseudonym of Lucas Alemán. Likewise, it is proven that the other manuscript, preserved in the Library of the University of Seville, is due to the hand of Alberto Lista. In both cases, these authors are responsible for the copying of other works, in manuscripts that until now were anonymous, so that the finding is proposed as a starting point to deepen their work as transmitters of the theater of the Golden Age and to better understand the textual history of the comedies copied by them. In the last part of the work, both manuscripts are analyzed textually and put in relation to the edition made by Hartzenbusch. The data allow us to shed light on the textual history of El semejante a sí mismo and on Hartzenbusch’s actions as an editor of the theater of the Golden Age

ON THE COMPOSITION OF LA MANGANILLA DE MELILLA: A DATING PROPOSAL

Ilaria Resta — 2024-11-11

The dating of Alarcón’s dramatic production is still a challenge for any scholar who approaches his dramaturgy. To this end, this study will address the chronology of the composition of La manganilla de Melilla, published in 1634 in the Parte segunda of Ruiz de Alarcón’s plays. On the basis of a series of textual, documentary, metric and stylometric data, a new chronological proposal for this comedy will be put forward, which contrasts with the hypothesis that critics have been defending until now regarding a composition that dates back to Alarcón’s early repertoire.

FOR FUTURE STUDIES OF THE ALARCONIAN GRACIOSO

Jesús Gómez — 2024-11-11

It is necessary to establish a basic agreement on the definition of gracioso, the development of which could be useful for future studies on this comic subtype of the servant, so characteristic of the comedia nueva. With respect to the previous model established by Lope de Vega, the significant variants introduced by Ruiz de Alarcón in the comedy of his most characteristic graciosos are analyzed, such as Beltrán in Las paredes oyen and Tristán in La verdad sospechosa.

A theological debate around magic in Juan Ruiz de Alarcón

Julián González-Barrera — 2024-11-11

One of the aspects of Juan Ruiz de Alarcón’s theatre that has caught the attention of the critics is the presence of magic in many of his comedies. So much protagonism has caused that many scholars interpreted it as a sign of his religious and political heterodoxy. In the present work, making use of the theological debate in La cueva de Salamanca, it will be proven that the playwriter’s point of view about magic is only scrupulous, ortodoxy and normative.

Notas sobre una refundición romántica de «La crueldad por el honor» de Alarcón: «El crisol de la lealtad» del Duque de Rivas

Salomé Vuelta García — 2024-11-11

La crueldad por el honor, published in the Parte segunda of the comedies of Juan Ruiz de Alarcón, is a historical drama that revolves around honor and the relationship with power. Alarcón took up an event that occurred in the kingdom of Aragón many years after the death of Alfonso I el Batallador in the Battle of Fraga (1134) and from there constructed a drama of revenge and betrayal of the crown starring Nuño Aulaga, the trickster who pretends to be King Alfonso, and his supposed son Sancho. In 1841 the Duque de Rivas was inspired by this piece to compose El crisol de la lealtad, a recast in keeping with his theatrical universe.

Siglo de Oro: otra mirada sobre la instauración de un concepto

Pedro Ruiz Pérez — 2024-11-11

Se propone una reflexión sobre la pertinencia de un concepto, el de «Siglo de Oro» a partir de 1) su vaguedad designativa; 2) la implicación valorativa que conlleva; 3) la naturaleza ideológica de su génesis y asentamiento; y 4) su difícil encaje en los paradigmas críticos vigentes. De manera particular el análisis se detiene en el funcionamiento de la noción en periodo de confluencia del liberalismo burgués, la construcción del imaginario nacional, la implantación de la historia literaria y el despliegue del Romanticismo, tomando en consideración los mecanismos de difusión de los valores considerados áureos a través de la prensa de la primera mitad del siglo XIX. Se concluye con la conveniencia de una periodización más corta para la precisión crítica.

GARCILASIAN TRADITION AND MUSICAL ECHOES IN LAÍNEZ TO THE «TEMPERATE AIR» OF MONTEMAYOR

Francisco Javier Escobar Borrego — 2024-11-11

The objective of the article focuses on the analysis of sources in the musical poetry of Pedro Laínez, with emphasis on Montemayor, Garcilaso and Fray Luis de León. The methodology, based on literary comparatism and intertextuality, places its framework at the confluence of literary and musical discourse in the lyrical corpus of Laínez and in Obras de música para tecla, arpa y vihuela by Antonio de Cabezón, to whom the Madrid writer dedicated a sonnet-epicedium. As main results, models and paradigms have been identified in Laínez’s poetic-musical imaginary, an issue not addressed in the state of the art.

La dimensión política del «Libro de los infortunios y naufragios» de Gonzalo Fernández de Oviedo

Mercedes Serna — 2024-11-11

Gonzalo Fernández de Oviedo dedicated the last book of his Historia general y natural de las Indias to shipwrecks, with somede Oviedo presents, either directly or indirectly, through a series of shipwrecks and specific case histories such as that of Francisco de Orellana or Alonso de Zuazo. We contend that the book of shipwrecks seeks not just to describe the catastrophes and the experience of terror, fear, loss, the reconstruction of civilization, and the heroic deeds of these men, but also to teach us to fall on God's mercy in the face of life’s misfortunes.

In the orbit of the proverb and the idiom. Study of the gloss of 1541 to the Refranes que dizen las viejas tras el fuego

Santiago Vicente Llavata — 2024-11-11

The Refranes que dizen las viejas tras el fuego is one of the most significant and influential paremiographic Works in the history of the Hispanic collections of proverbs. Its textual history contains a printed testimony of great interest for the historical and historiographical study of Spanish paremiology: the printing made by Francisco Fernández de Córdoba in 1541 in Valladolid. In this testimony each of the proverbs is glossed, something that is unprecedented in the rest of printed editions. The main objective of this article is to examine these glosses based on two levels of analysis: one the one hand, the glosses will be studied in their condition as pseudoparemiological formulations of a specular sign in view of their symbiotic relationship with the proverbs themselves, and, on the other, according to an interpretation of the whole of the glosses as a historical-phraseological repertoire in itself, the process of institucionalization of some of the represented idioms will be examined.

Virgilian katabasis’ echoes in early byzantine romance

Pablo Torres París — 2024-11-11

During the dawn of byzantine romance, from the Clareo to the Persiles, three of four works published during this stage show an imitation of Virgil’s katabasis. In this essay I will analyse these episodes regarding their function, similarities, differences, and adaptation to the text they belong to, as well as their evolution alongside their own genre’s.

Lyra Heroyca (1581) by Francisco Núñez de Oria: the Hispanic rewriting of the Orlando Furioso in the Latin language.

María Fernández Ríos — 2024-11-11

For the present work we have rescued the neo-Latin poem Lyra Heroyca (Salamanca, Matías Gast, 1581), as little known as its author, Francisco Núñez de Oria. In this extensive epic poem, the humanist rewrites in Latin Ludovico Ariosto’s Orlando Furioso in a patriotic key, following the scheme of the dactylic hexameter. Although this is his main vernacular source, our aim in this work is to demonstrate that Núñez de Oria also draws on the material provided by the Hispanic chivalric cycle Renaldos de Montalbán to compose these Latin verses.

Declining healthcare in humanist Castilian dialogues: the topic De medicina contempta

María Asunción Sánchez Manzano — 2024-11-11

The first aim of this paper is highlighting the refusal of medicine (Pliny, Plutarch) as a topic for literary dialogues in the Castilian academic environment. Secondly, we focus on the transfer of some devices related to this topic from the structure of an academic dispute and a quaestio to an academic controversial discourse in a Biblical commentary.

From Queens to Plebeians: Women in the Spanish Tercios (16th - 17th centuries)

Miriam Rodríguez Contreras — 2024-11-11

This article analyzes the different roles that women played within the Spanish Tercios, ranging from powerful women like Isabel Clara Eugenia or Isabel de Borbón, to the wives and public women who accompanied soldiers during military conflicts. All of them, despite the opposition of some military theorists, performed various functions, such as governors, laundresses, military auxiliaries, prostitues, and even warriors.

The wisdom of the Greeks in the Second Part of the Monarchia Mystica by Lorenzo de Zamora

Manuel Andrés Seoane Rodríguez — 2024-11-11

The second part of the Monarchia mystica by Lorenzo de Zamora begins with an argument about the well-known Apollonian sentence of know yourself in line with a biblical verse taken from the book of Job. The effort of the humanist is concentrated in the elaboration of a mosaic of quotations and references from the Seven Wise Men and philosophers undoubtedly extracted from intermediate sources that, on the one hand, underpin this coincidence and, on the other, demonstrate the antiquity and prevalence of the biblical precept as revealed truth.

Notes for a bio-bibliography about Fray Simón de Castelblanco (c. 1610- c. 1691)

Diego Medina Poveda — 2024-11-11

A Portuguese friar, educated in preaching in the former Augustinian convent of Salamanca, Simón de Castelblanco is an example of a Baroque writer forgotten by literary historiography. Author of sacred and profane literature, he wrote a hagiography on the patron saint of Salamanca, Juan de Sahagún (1669), and Trabajos del vicio (1680), a long novel that follows the moralistic patterns of the genre at the end of the 16th century. Although a minor author, the figure of Castelblanco is not unimportant because he is a representative, in life and work, of the spirit of the late Baroque. In the present work I propose, on the basis of the scarce data that have been preserved on the friar, to elaborate a bio-bibliographical sketch in which I will elucidate particular aspects, never before raised, which will shed light on the work and life of the Augustinian.

PALIMPSESTS OF TIEMPO DE REGOCIJO Y CARNESTOLENDAS DE MADRID BY ALONSO DE CASTILLO SOLÓRZANO IN THE FRAME OF HONESTO Y ENTRETENIDO SARAO BY MARÍA DE ZAYAS

Rafael Bonilla Cerezo — 2024-11-11

This paper reports on the palimpsests of Boccaccio’s Decamerón (1353), the translation by Francisco Truchado (1578) of Straparola’s Piacevoli notti (1550-1553), the Lope’s four Novelas a Marcia Leonarda (1621-1624) and, over all, of Alonso de Castillo Solórzano’s Tiempo de regocijo y carnestolendas de Madrid (1627) in the frame of María de Zayas’s Honesto y entretenido sarao (1637-1647). The motifs of the cuartanas, the heaters, the protagonist’s two platforms and the chromaticism of the costumes and skirts are explored.

Rojas Zorrilla in the collaborated forge: the autograph of La más hidalga hermosura

Sergio Rodríguez Nicolás — 2024-11-11

This analysis of the second act of Francisco de Rojas Zorrilla’s autograph of La más hidalga hermosura (collaborated comedy written by Juan de Zabaleta, Rojas Zorrilla and Pedro Calderón de la Barca) joins the group of studies about autographs of the Golden Age theater in the last decades, trying to add new information in order to provide better comprehension of the writing, autocorrection, censorship and dramatic adaptation process that comedies went through in the xvii^th century. Concerning the figure of Rojas Zorrilla, we find out how the Toledan playwright revised his comedies before he handed it out to theater companies.

What WHAT THE TITLES HIDE: SEBASTIÁN LÓPEZ HIERRO DE CASTRO, A PORTUGUESE CONVERT PATRON SPONSORS EL ENANO DE LAS MUSAS BY ÁLVARO CUBILLO DE ARAGÓN

María Rosa Álvarez Sellers — 2024-11-11

Álvaro Cubillo de Aragón prepared the edition of his poems and some comedies and gave it a curious title, El enano de las musas. He decided to dedicate it to an illustrious patron who, among other titles, was a Knight of the Order of Calatrava: Sebastián López Hierro de Castro. However, what had gone unnoticed to date is that such distinctions hid the Portuguese and convert origin of the dedicatee, cousin and brother-in-law of Manuel Cortizos. Both belonged to the elite of Portuguese businessmen who, replacing German and Italian bankers, helped finance the Habsburg monarchy. Despite this, at the same time, they had to develop, among others, cultural strategies to dispel the suspicions of crypto-Judaism that pursued the Portuguese community and to avoid the threats from Spanish Inquisition. Cubillo de Aragón was not and old Christian either, as he came from a Moorish family. We will reveal the history of his patron and try to discover the reasons for such an unusual pact between minorities.

Los casos novohispanos de «El corregidor sagaz» (1656), miscelánea didáctica de Bartolomé de Góngora

Guillermo Molina Morales — 2024-11-11

El presente artículo es el primero en analizar El corregidor sagaz (1656), de Bartolomé de Góngora, desde una perspectiva literaria. Se ubica la obra en la estética del didactismo a partir de tres rasgos: polemismo, dignificación y ausencia de personajes y trama. A pesar de su apariencia como tratado de derecho indiano o espejo de príncipes, argumentamos su carácter de obra miscelánea. Investigamos la presencia de formas simples en su estructura para detenernos en los casos, que plantean un dilema moral a partir de lo acaecido en el entorno novohispano del autor. En los cuatro casos estudiados, se muestra la presencia de la oralidad y del humorismo (satírico y burlesco) para criticar la glotonería, la codicia femenina, la deslealtad indígena y la lujuria frailuna.

AGAIN WITH LA CARTA DE LAS CALIDADES DE UN CASAMIENTO, BY FRANCISCO DE QUEVEDO

Jorge Ferreira Barrocal — 2024-11-11

In this paper we review a passage within La carta de las calidades de un casamiento, by Francisco Quevedo. On the one hand, we have the variants appeared in MSS/20274/3 of BNE, which Hermes (2014) follows. On the other hand, we have the lessons included in the princeps. In the first part of the article we offer some notes about the critical debate and the dueña’s motif in Quevedo’s literature. In the second part, we examine the variants of such testimonies. Then, we study an extract missing in the manuscript. We conclude that the princeps containts the genuine lessons.

Quevedo and his reception in the painting of the Spanish century XIX. Again on the Intrigue against Francisco de Quevedo y Villegas in the gardens of the Buen Retiro Palace (1876), by Antonio Pérez Rubio.

Emmanuel Marigno — 2024-11-11

The present work starts from a long questioning on a painting by Antonio Pérez Rubio (1822-1888) entitled Intrigue against Francisco de Quevedo y Villegas in the gardens of the Buen Retiro Palace, an oil on canvas of 55 x 90 cm that has been painted around 1876, and currently stored in the Museo Nacional del Prado in Madrid.

The aim of this work is to define and interpret the modalities of a transecular reception ?xvii and xix centuries? while transmedial ?Art, History and Literature? as they appear in this oil by Pérez Rubio on the figure of Quevedo. In addition to the interdisciplinary aspect, working in reception involves clarifying two precise components: the interpretation and representation of such reception.

Presentation

María Jesús Zamora Calvo — 2024-11-11