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

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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