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

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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