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

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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