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

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.