Library of Rassegna iberistica

Series | Library of Rassegna iberistica
Volume 5 | Edited book | Serenísima palabra

Serenísima palabra

Proceedings of the 10th Congress of the International Association Siglo de Oro (Venice, 14-18 July 2014)

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

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.

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