Library of Rassegna iberistica

Series | Library of Rassegna iberistica
Volume 5 | Edited book | Serenísima palabra

Serenísima palabra

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

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

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.

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