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

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.