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

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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