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

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.