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

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.