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

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.