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

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.