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

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.