Library of Rassegna iberistica

Serenísima palabra

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

crossmark logo

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

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.