Library of Rassegna iberistica

Serenísima palabra

Proceedings of the 10th Congress of the International Association Siglo de Oro (Venice, 14-18 July 2014)

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open access | peer reviewed
    edited by
  • Anna Bognolo - Università degli Studi Verona, Italia - email
  • Florencio del Barrio de la Rosa - Università Ca’ Foscari Venezia, Italia - email orcid profile
  • María del Valle Ojeda Calvo - Università Ca’ Foscari Venezia, Italia - email orcid profile
  • Donatella Pini - Università degli Studi di Padova, Italia - email
  • Andrea Zinato - Università degli Studi di Verona, Italia - email

Abstract

From the 14th to the 18th July 2014, more than 200 scholars, coming from 21 countries and belonging to 126 universities, centres and institutions, met in Venice to celebrate the X International Conference of the Asociación Siglo de Oro on the occasion of its 25th anniversary. These pages comprise the better part of what was said after the contributions underwent the peer-review process prior to their publication. The conference’s content was divided into three sections: the first one collects the five plenary conferences, whereas the second one the “Moved Recollection of Isaías Lerner on the 25th Anniversary of AISO”; finally, the third section includes the contributions. The latter are subdivided into five other sections (“Poetry”, “Theatre”, “Prose”, “Language and Translation”, “Miscellany”), which mirror the multidisciplinary character of the meeting. As a matter of fact, the cultural and historical aspects of the Hispanic world of the XVI and XVII centuries that were dealt with in the contributions, as well as their success nowadays, significantly vary.

Keywords Tree • Grotesque body • Baroque theater • Nicolini da Sabbio • History of typography • Refranes • Francisco de Leefdael • Italian Renaissance • Explicitation • Lady of Copacabana • Spanish theatre • Poetry about music • Translation constraints • Gypsies • Copper coin • Pynchon • 17th century Theatre • Politics • Mystical symbols • Symbolism • Festive relation • Notes in scholarly editions • Golden Age Poetry • Anti-aulic satire • Edition • Preaching • Baroque comedy • Seville • Travel narratives • Antonio Sacchi • Popular culture • Censors • Uruguay • Affect • Nadie fíe su secreto • Affinities • Matos Fragoso • Honour • Bibliography • Vázquez Siruela • Butterfly • Spanish Golden Age, History of Linguistics • Cáncer • El dómine Lucas • Suspension • Stylistic development • El bautismo del príncipe de Marruecos • Attributed authorship • Hernando de Acuña • Novelas ejemplares • Quijote • Tragic play • resemantization • Juan Bautista Pederzano • Shame • Dedications • Italian translation • Juan de Mariana • Music • Spain • interludes • Orthographiy • Sermons • El maestro de danzar • Spiritual poetry • Literary censorship • Metaphor • Low Baroque • Textual bibliography • Court • Francisco de La Torre • Correction to editio princeps • Siglo de Oro • Saavedra Fajardo • New Spain • Dynamism • Cristóbal de Morales • Francesco Portonari • Antonio de Zamora • Kundera • Poetics • Jáuregui • Ineffable language • Spanish literature of the Golden Age • Cea Tesa • Corruption • Epic and Drama • Rojas Zorrilla • Morisco figures • Decorum • Miguel Torga • Theater • Fernando de Herrera • Spanish Golden Age entremeses • XVII century • Epic poetry • Comedia nueva • Helmet of Mambrino • Short farce • Theatre Translation • Luigi Groto • Justice • Spanish Poetry • Seventeenth century • Coherence • Figurón comedy • Quevedo • Phonetics • Anacreontics • Quixote • Spanish Golden Age • Ambiguity • Countess of Harrach • Golden Age • Enríquez de Cabrera • Language • Seven love letters • Espada sagrada • Spanish Golden Age theatre • San Juan de la Cruz • Aminta • Atonement • Mercadante • Fine taste • Quotations • Renascence • Prior censorship • Sonnets • Graphical changes • Margaret Theresa of Spain • Facetia • Labyrinth • Painting • Octosyllabic verse • Publisher • Spanish Novel • Miguel de Cervantes • Madmen • Sacrament of penance • Variety • Bernardo de Sandoval y Rojas • Perfecto predicador • Disgust • Bandello • 17th Century • Sermon • Parody • Tridentin work • Adaptation Studies • Rosete Niño • Eulogy • Juan de Valdés • Translation Studies • Santa Teresa • Dedicatees • La Zucca del Doni en spañol • Timanthes • Golden Age minor theater • Letters • Portugal • Comedias de pícaros • String literature • Sonnet • Interpretation • Melchor Díaz de Toledo • Sociability • Booklets • Pedro Sarmiento de Gamboa • Rewriting • Cut flower • Collaboration • Venice • King Sebastian • Bible • Góngora • Guzmán de Alfarache • Fraud • Italy • Castillo Solórzano • Versification • Oliveros de Castilla • Authors • Queen Isabel de Borbón • Stage • Calderón • Catalogue • Francisco de Quevedo • Jerónimo Corte-Real • Alonso Remón • Caballero de Illescas • Las dos doncellas • José de Arroyo • Proverbs • Women writers • Critical editions of literary Works • Comedy of magic • Hernán Núñez • Controversy • Philosophical method • Lovers • Gemstones • 17th century • Alonso de Castillo Solórzano • Love poetry • Jewels • Marginalization • The Book of Judges • Satyre • Eroticism • Empresas políticas • Rhetoric • Moreto • Mendeley • Baroque • Roberto el diablo • Fernández de Lizardi • Poggio Bracciolini • Portuguese poetry • Metrics • Literature • Lope de Vega • José de la Concha • CABIGO • Robbery • Trees • Fear • Love • Unstable • Reception theory • Slang • Jiménez Patón • Luis Gálvez de Montalvo • Diálogo de la lengua • Diccionario de Autoridades • Spanish Court Poetry • Giacomo Franco • Intertextuality • Philip IV • Cervantes • Novel • Open access • Poetry • Truth • Insane asylums • History of book • Italian • Jorge de Montemayor • La noche de San Juan • José Saramago • Modernity • Díaz de Rivas • Segmentation • Tesoro de la Lengua Castellana • Literary sources • Baroque poetry • Imago • Authorship • Cohesion • Hagiographic drama • Analysis • Mysticism • Mythification • Orthography • Financial crisis • Italophile • Enchantment of Dulcinea • Expression • Twentieth century • Witticism • Anthroponomy • Asceticism • Donkey • Literary criticism • Luís de Camões • Paremiology • El piadoso veneciano • Komenský • Calderón de a Barca • Translation • Granada • Nuns • Playing cards • Carlo Gozzi • Sociology • Theatre • Literary styles • Lope • Cándido María Trigueros • Style • Council of Castile • Illustrated edition • Italian humanist short prose • Literary authors • Farsalia • Iberism • Renaissance books • Quiñones de Benavente • Notes • Conquest of Peru • Female reader • Metaphors • Priest • Critical edition • Journey • Promujer • Córdoba • Venitian printing • Preacher • La Maya • Philology • Metre • French Classical Theatre • Experience • Satire • Tametsi decree • Carlo Goldoni • Literary Forgery • Walter Raleigh • Post-Tridentine Spain • Early Music • La Gerusalemme liberata • Dramatic formula • Press • Empire • Ideology • Chivalric romance • Topos • Rimas • Lope sources • Decameron • Anagilda • Public-Private relation • Christian preacher • Exemplary Novels • Gongorism • Libretto • Comedy • Girolamo Gigli • Adventure books • Olivieri di Castiglia • Romances of chivalry • History of Spanis language • Translators • Novelle • Picaresque novel • Repentance • Dramatic space • Don Quixote • Autobiography • Homeric simile • Images • Religious Poetry • Translator • Tradition • Order of the Golden Fleece • Book of Job • Álvar Núñez Cabeza de Vaca • Madrid • Castillejo • Auto • Descartes • Spanish Golden Age Theatre • Barahona de Soto • Traitors • Barbers • Republic of Letters • Dalila

Permalink http://doi.org/10.14277/978-88-6969-163-8 | e-ISBN 978-88-6969-163-8 | ISBN (PRINT) 978-88-6969-164-5 | Number of pages 1108 | Dimensions 16x23cm | Published July 3, 2017 | Language it

Copyright © 2017 Anna Bognolo, Florencio del Barrio de la Rosa, María del Valle Ojeda Calvo, Donatella Pini, Andrea Zinato. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.