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

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.