Artículos de JANUS by Janus. Estudios sobre el Siglo de Oro
Janus. Estudios sobre el Siglo de Oro, 2024
El artículo tiene como objetivo analizar un libro inédito cuyo autor es el famoso amigo francés d... more El artículo tiene como objetivo analizar un libro inédito cuyo autor es el famoso amigo francés de Lope de Vega: Simón Chauvel (Xabelo). La obra se titula Sucessos en la pacificación de Francia que el Rey Christianissimo Luys XIII ha hecho, año 1620 y su jornada en Bearne y fue publicada por la viuda de Cosme Delgado en 1621. El estudio de la obra parte del paratexto burocrático prestando especial atención al proceso de censura previa en el que interviene, entre otros, Alonso Jerónimo de Salas Barbadillo. Se procede seguidamente al análisis de la dedicatoria a la reina doña Isabel de Borbón, texto redactado en francés por Chauvel. Se evidencian los ecos que se establecen entre los paratextos. Se estudian, a continuación, los versos en español de Simón Chauvel dedicados al embajador francés François de Bassompierre. El artículo edita también la dedicatoria a la reina y los versos ofrecidos al embajador. El cuerpo de la obra de Chauvel es una relación de sucesos que trata de la empresa pacificadora en Francia de Luis XIII en 1620 y de su campaña en Bearne contra los protestantes. Se someten a análisis los dos prólogos de Chauvel, textos en los que el autor se expresa en primera persona. A continuación, se presenta la traducción de Chauvel así como la fuente francesa que hemos podido encontrar. Se cotejan ambas relaciones y se establece una serie de criterios que ilustran el modus operandi del traductor. Finalmente, el artículo considera otras relaciones más cortas que fueron publicadas en Madrid, Lisboa y Barcelona (1621) y que contienen fragmentos del texto traducido por Simón Chauvel. El hallazgo de este libro permite resaltar el papel de Chauvel como traductor, poeta y experto en la redacción del paratexto.
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The article aims to analyse a unique book written by the famous French friend of Lope de Vega: Simon Chauvel (Xabelo). The work is titled Sucessos en la pacificación de Francia que el Rey Christianissimo Luys XIII ha hecho, año 1620 y su jornada en Bearne and was published by the widow of Cosme Delgado in 1621. The study of the work starts from the bureaucratic paratext, paying special attention to the process of prior censorship in which, among others, Alonso Jerónimo de Salas Barbadillo is involved. The dedication to Queen Isabella of Bourbon, a text written in French by Chauvel, is then analysed, spotlighting the echoes established between the paratexts. The article proceeds to examine the Spanish verses by Simon Chauvel dedicated to the French ambassador François de Bassompierre. It also edits both the dedication to the queen and the verses offered to the ambassador. The body of Chauvel’s work is a relación de sucesos related to the pacification campaign in France by Louis XIII in 1620 and his campaign in Bearne against the Protestants. The two prologues by Chauvel are analysed, being the texts where the author expresses himself in the first person. Next, the translation by Chauvel is presented, along with the French source that has been found. Both relaciones are compared, and a set of criteria illustrating the translator's modus operandi is established. Finally, the article considers other shorter relaciones de sucesos published in Madrid, Lisbon, and Barcelona (1674) that contain fragments of the text translated by Simon Chauvel. The discovery of this book emphasizes Chauvel's role as a translator, poet, and expert in paratextual writing.
Janus. Estudios sobre el Siglo de Oro, 2024
Este artículo estudia cómo Fernando de Herrera adoptó en su lírica el paradigma de la poesía de r... more Este artículo estudia cómo Fernando de Herrera adoptó en su lírica el paradigma de la poesía de ruinas, que comentó en el soneto XXXIII de Garcilaso de la Vega y que forjó o al menos contribuyó a consolidar con las Anotaciones a la poesía de Garcilaso (1580). Para ello, examinamos qué ha entendido la crítica como poesía de ruinas tanto en el corpus áureo como en la obra de Herrera, tras lo que propondremos una adaptación del corpus herreriano: en primer lugar, definirlo con mayor precisión, reduciéndolo para aclarar qué inspiró al poeta sevillano, cómo entendió la poesía de ruinas y cómo la adaptó en diversos géneros y momentos de su carrera; en segundo lugar, ampliarlo metafóricamente servirá para analizar qué movió a Herrera a exportar a otros ámbitos un paradigma que tanto contribuyó a conformar.
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This article examines how Fernando de Herrera adopted in his lyrical poetry a model that he commented in Garcilaso de la Vega’s sonnet XXXIII and that he forged or at least contributed to consolidate in his Anotaciones a la poesía de Garcilaso (1580). We review what critics understand as ruins poetry in Golden Age poetry in general and in Herrera’s production in particular, after which we propose adapting Herrera’s corpus: in the first place, we propose to define it more precisely, reducing it in order to clarify what inspired Herrera, how he understood ruins poetry, and how he adapted it in different genres and stages of his career; in the second place, we propose to largen it metaphorically in order to analyze what moved Herrera to export to other contexts a system that he decisively contributed to shape.
Janus. Estudios sobre el Siglo de Oro, 2024
El artículo se dedica al estudio de la representación de las relaciones paterno y maternofiliales... more El artículo se dedica al estudio de la representación de las relaciones paterno y maternofiliales en los libros de caballerías italianos de tradición castellana, compuestos por Mambrino Roseo da Fabriano como precuelas o secuelas de las novelas de los ciclos caballerescos españoles. Concretamente, el estudio pone el foco en el momento en el que se establecen las uniones matrimoniales, así como el papel que los padres y las madres –reyes y reinas cristianas– asumen en las decisiones sobre la elección de un esposo para las hijas a la hora de estipular un contrato matrimonial. A través de una perspectiva comparativa, de las relaciones familiares descritas en las novelas castellanas, se busca poner de relieve las diferencias en la descripción de estos vínculos familiares en las novelas italianas. El objetivo será analizar cómo el universo familiar puede ser reinterpretado en el contexto cultural italiano, a partir de objetivos narrativos distintos.
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The article is dedicated to the study of the representation of paternal and maternal- filial relationships in the Italian romances of chivalry composed by Mambrino Roseo da Fabriano as prequels or sequels to the novels of the Spanish chivalric cycles. Specifically, the focus is on the formation of marital unions and the role that fathers and mothers –Christian kings and queens– play in choosing a husband for their daughters when stipulating a marriage contract. A comparative perspective, which considers the portrait of these family relationships drawn in Castilian novels, is meant to highlight the differences in the description of these family ties in Italian novels. The objective will be, then, to analyze how the family universe can be reinterpreted in the Italian context, and even from different narrative objectives.
Janus. Estudios sobre el Siglo de Oro, 2023
Se ofrece el estudio de un conjunto de textos poéticos copiados en las guardas de un ejemplar de ... more Se ofrece el estudio de un conjunto de textos poéticos copiados en las guardas de un ejemplar de la edición salmantina de 1582 del Hypotyposeon, de Martínez de Cantalapiedra. Entre ellos, se encuentra el soneto “Hermano Lope, bórrame el soné” –que se ha venido atribuyendo a Cervantes, a Góngora y a Julián de Armendáriz–, un nuevo testimonio muy cercano a la fecha de composición y con algunas variantes. Otro soneto, hasta ahora desconocido, presenta una sátira contra cierto poeta llamado Blasco. Diversos datos permiten defender la atribución de ambas composiciones al escritor salmantino Julián de Armendáriz.
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We offer the study of a set of poetic texts copied in the endpapers of a copy of the Hypotyposeon, by Martínez de Cantalapiedra, from 1582. Among them is the sonnet “Hermano Lope, bórrame el soné” (which has been attributed to Cervates, Góngora and Julián de Armendáriz), a new testimony very close to the date of composition and with some variants. Another sonnet, hitherto unknown, presents a satire against a poet named Blasco. Various data allow us to defend the attribution of both compositions to the writer born in Salamanca Julián de Armendáriz.
Janus. Estudios sobre el Siglo de Oro, 2023
Describimos los incunables conservados en la Biblioteca Diocesana de Córdoba e identificamos los ... more Describimos los incunables conservados en la Biblioteca Diocesana de Córdoba e identificamos los perdidos que habían pertenecido a la antigua Biblioteca Episcopal y a las bibliotecas de los colegios jesuitas de Córdoba y Montilla.
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We describe the incunabula preserved in the Diocesan Library of Córdoba and identify the lost ones that had belonged to the old Episcopal Library and to the school libraries of the Society of Jesus of Córdoba and Montilla.
Janus. Estudios sobre el Siglo de Oro, 2023
Este artículo trata de recuperar y fundamentar la atribución de El Lazarillo a Juan de Valdés, ah... more Este artículo trata de recuperar y fundamentar la atribución de El Lazarillo a Juan de Valdés, ahondando en las razones esgrimidas por Manuel J. Asensio o, más recientemente, por Mariano Calvo. Empleando argumentos de tipo lingüístico, biográfico e intertextual, y cotejando El Lazarillo con obras de Valdés como el Diálogo de la lengua o el Diálogo de la doctrina cristiana, se concluye que, si el autor de El Lazarillo no fue Juan de Valdés, éste habría sido, como ya defendió Asensio en su momento, un autor excepcionalmente cercano a él, tanto en su biografía y en su personalidad como en su pensamiento y en su trayectoria literaria.
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This article aims to probe that Juan de Valdés is the most likely author of Lazarillo, a hypothesis already proposed by specialists such as Manuel J. Asensio and, most recently, Mariano Calvo. By analyzing linguistic recurrences, biographical data, and intertextual connections between El Lazarillo and Valdés’ writings such as Diálogo de la doctrina cristiana and Diálogo de la lengua, the conclusion is reached that, if the author of Lazarillo was not Valdés, that writer was, in fact, someone uniquely close to Valdés’ biography, personality, thought and literary trajectory.
Janus. Estudios sobre el Siglo de Oro, 2017
Este artículo estudia el inventario autógrafo de la librería del canónigo sevillano Ambrosio José... more Este artículo estudia el inventario autógrafo de la librería del canónigo sevillano Ambrosio José de la Cuesta y Saavedra, curioso compilador de códices de poesía del Siglo de Oro y primer continuador de la Bibliotheca Hispana Nova de Nicolás Antonio. Se ofrecen la bio-bibliografía del autor, la descripción completa del manuscrito con análisis de la composición de los volúmenes del inventario, y la localización de algunas de las 1.287 obras registradas en los mismos volúmenes facticios conservados actualmente en la Biblioteca Capitular y Colombina, la Biblioteca de la Universidad de Sevilla y la Hispanic Society of America de Nueva York. Asimismo, se identifican las obras de autores del siglo XVII hispalense poseídas por el bibliógrafo y se proporciona la transcripción completa y numeración de las obras de este inventario.
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This paper investigates the autographed library inventory of Sevillian canon Ambrosio José de la Cuesta y Saavedra (1653-1707), who was a careful collector of Spanish poetic compilations of the Golden Age and the author of the earliest additions to Nicolás Antonio’s Bibliotheca Hispana Nova. It offers a biographical sketch of Cuesta, a complete description of New York, Library of The Hispanic Society of America, MS. B2681, and a structural analysis of the works mentioned in the inventory contained in this manuscript. This essay also locates some of the 1287 works recorded in the same miscellaneous compilations, which are now preserved in the Colombina Library, the University Library of Seville and the Hispanic Society of America. Moreover, this article identifies several printed books by seventeenth-century authors from Seville which were owned by this bibliographer, offering a complete transcription and numbering of all the works contained in Cuesta’s inventory.
Janus. Estudios sobre el Siglo de Oro, 2017
Los primeros tratados franceses sobre Emblemática aparecieron en el siglo XVII, pero antes de su ... more Los primeros tratados franceses sobre Emblemática aparecieron en el siglo XVII, pero antes de su aparición muchos autores de textos emblemáticos y traducciones vernáculas habían ofrecido apreciaciones en sus paratextos (principalmente en los prólogos y dedicatorias) sobre su concepción del emblema. Como un género que emergió rápidamente, el emblema sufrió una serie de transformaciones en sí mismo, y fue imposible desarrollar una auténtica teoría del emblema no solo por eso, sino también por las presiones comerciales asociadas al intento de aprovecharse del nuevo mercado para libros ilustrados de todo tipo. Este ensayo examina el progreso de las reflexiones sobre el emblema en Francia desde los primeros tiempos hasta el período inmediatamente anterior a la publicación del Art des emblemes de Claude-François Ménestrier en 1662 y explora algunas de las razones por las que el nacimiento de la teoría del emblema en francés fue demorada tanto tiempo.
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The first French-language treatises on emblems appeared in the seventeenth century, but prior to their appearance, many authors of emblem texts and vernacular translations offered glimpses in their paratextual material—prefaces and dedicatory letters, for the most part—of their concept of the emblem. As a rapidly emerging genre, the emblem itself underwent a series of transformations, and and attempt at developing a true theory of the emblem was rendered impossible not only by those but by the commercial pressures associated with attempting to take advantage of the new market for illustrated books of all kinds. This essay examines the progress of thinking about the emblem in France from the earliest times to the period immediately prior to the publication of Claude-François Ménestrier’s Art des emblemes in 1662, and explores some of the reasons why the birth of emblem theory in French was so long delayed.
Janus. Estudios sobre el Siglo de Oro, 2016
Este trabajo pretende descubrir el poder que tuvo la industria teatral mediante la mercantilizaci... more Este trabajo pretende descubrir el poder que tuvo la industria teatral mediante la mercantilización de las piezas de teatro popular. La continua especulación de la espectacularidad escenográfica y musical en detrimento de la dimensión dramática manipuló el gusto popular por las comedias de aparato. Pero también tergiversó la recepción del teatro barroco por parte de sus defensores en el siglo XVIIII. Mediante el análisis y estudio de las opiniones de uno de los últimos dramaturgos barrocos –Antonio de Zamora– y la comparación con los juicios de un representante del tradicionalismo durante la mitad del siglo –Tomás de Erauso y Zabaleta– se comprobará la influencia de la industria teatral en las posiciones de las discusiones sobre el teatro dieciochesco.
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This paper discovers the power that the theatrical industry had through the mercantilitation of popular theatre. The continual speculation of scenic and musical spectacle –at the expense of dramatic dimension– manipulated the popular taste for great comedies. However it also distorted the reception of Baroque theatre of its defenders in the middle of the 18th century. The comparison between the opinions of one of the last baroque playwright’s opinions –Antonio de Zamora– and the judgments of a traditionalism representative –Tomás de Erauso y Zabaleta– will verify the influence of the theatrical industry in the positions of the discussions on the 18th’s theatre.
Janus. Estudios sobre el Siglo de Oro, 2016
La presente contribución examina la detección de una doble emisión, para venta en colectánea o ex... more La presente contribución examina la detección de una doble emisión, para venta en colectánea o exenta, de una edición de la obra de Sebastián Fox Morcillo: De demonstratione, eiusque necessitate ac vi…, Basileae, per Ioannem Oporinum. [Colofones: Per Martinum Stellam, 1556]. El trabajo parte de la reconstrucción del ideal copy de dicha edición, para analizar los aspectos materiales que puedan ayudarnos a explicar este tipo de planificación editorial. A continuación, se establece una comparación con otras obras planificadas de manera similar en la imprenta española del Quinientos. Para concluir se estudia, desde el punto de vista de la textual bibliography, la vinculación de este tipo de emisiones con obras en prosa, ―varias de ellas dialogadas― de carácter no muy extenso.
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This contribution examines the detection of a double issue, for sale in collectanea or in exempta form, of an edition of the work of Sebastián Fox Morcillo, De demonstratione, eiusque necessitate ac vi…, Basileae, per Ioannem Oporinum. [Colophon: Per Martinum Stellam, 1556]. This study reconstructs an ideal copy of that edition in order to analyze material aspects that may help explain this type of editorial planning. Next, it compares this edition with other works planned likewise in Spanish printing of the XVIth century. Finally, it studies, from the point of view of textual bibliography, the links of such issues with prose works ―several of them dialogues― not very extensive in character.
Janus. Estudios sobre el Siglo de Oro, 2016
Este trabajo pretende analizar algunas de las enmiendas que Lope realizó en el manuscrito autógra... more Este trabajo pretende analizar algunas de las enmiendas que Lope realizó en el manuscrito autógrafo de la comedia La buena guarda, custodiado en los fondos de la Biblioteca Nacional de España, y más concretamente aquellas que tienen relación con dos nombres propios: Guzmán y Montalvo. El estudio de las mismas, así como de la finalidad con la que Lope revisó la comedia indican que las correcciones de estos nombres tienen como finalidad suprimir dos fuentes literarias de la comedia: la segunda parte apócrifa del Guzmán de Alfarache y la Corónica del Orden del Cister de fray Bernabé de Montalvo.
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This paper analyses some of the emendations that Lope made in the autograph manuscript of the comedy La buena guarda, kept in the funds of the National Library of Spain, and specifically those that relate to two names: Guzmán and Montalvo. The study of them, as well as the purpose for which Lope reviewed the comedy show that corrections of these names are intended to remove two literary sources of comedy: the second apocryphal part of Guzmán de Alfarache and the Corónica del Orden del Cister of Bernabé de Montalvo.
Janus. Estudios sobre el Siglo de Oro, 2016
Analizamos elementos léxicos y estilísticos de las dos partes del Lazarillo de Tormes comparándol... more Analizamos elementos léxicos y estilísticos de las dos partes del Lazarillo de Tormes comparándolas con la traducción de Luciano de Samósata hecha por Francisco de Enzinas y con las memorias del propio Enzinas y concluimos que ambas partes son obra de este autor, y que el contenido ideológico y doctrinal se adscribe a la Reforma Protestante, de la que Enzinas, discípulo de Melanchton y amigo de Calvino y Bucero, era el máximo exponente en lengua castellana.
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We analise lexical and stylistical elements of both parts of the Lazarillo de Tormes, comparing them to Enzinas' translation of Lucianus of Samosata, and with Enzinas' memoirs, and conclude that both parts belong to this author, and that its ideological and doctrinal content is to be adscribed to the Protestant Reformation, of which Enzinas was the most salient Spanish example, since he was a pupil to Melanchton and friend to Calvin and Bucer.
Janus. Estudios sobre el Siglo de Oro, 2016
En este artículo, se dan a conocer varias de las joyas bibliográficas que formaron parte de la bi... more En este artículo, se dan a conocer varias de las joyas bibliográficas que formaron parte de la biblioteca particular de Juan Pérez de Guzmán y Boza, duque de T’Serclaes de Tilly, y otras procedentes de la colección de Henry Huth. Se trata de relaciones de sucesos muy curiosas, contenidas en pliegos sueltos, de las que también se ha intentado reconstruir su historia textual, tipográfica y editorial, con el fin de mostrar las distintas vías de producción, transmisión y difusión de las noticias que circularon por Europa durante la Edad Moderna.
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This essay deals with a number of the rare and unusual printed news pamphlets that formed part of the private library of Juan Pérez de Guzmán y Boza, Duke of T'Serclaes de Tilly, as well as others that came from the collection of Henry Huth. The article seeks to reconstruct their textual, typographical and publishing history with a view to establishing the various different ways in which news stories were produced, transmitted and circulated across Europe in the early modern period.
Janus. Estudios sobre el Siglo de Oro, 2015
Examino en la primera parte emblemas y empresas cuyos signos se presentan descontextualizados, pa... more Examino en la primera parte emblemas y empresas cuyos signos se presentan descontextualizados, parte de un todo ausente; con un mensaje moral, civil o mundano que queda envuelto enigmáticamente en pocos objetos o fragmentos aislados y sin trasfondo, o que destacan en un contexto ajeno, siguiendo modalidades deconstructivas propias del surrealismo. En la segunda parte muestro operaciones de descentramiento y sustitución, de supresión o permutación de elementos primarios o secundarios respecto a su lugar y papel habituales, según la tradicional convención iconográfica o histórico-narrativa. Comparo, en fin, los emblemas examinados con otros de marcada potencialidad ilustrativa, narrativos y escenográficos.
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In the first part of the present work, I examine imprese and emblems where signs appear decontextualized, part of an omitted whole. The moral, civil, worldly, political or religious message is cryptically delivered either by one or a few items, or by fragments of objects isolated in a context alien to them. Even though their own postulates and intentions differ, they have often be connected with the deconstructive ways of surrealism. In the second part, I describe the modifications of signifier and signified in the process of transference, substitution, obliteration of one or many main or minor elements in the arrangement, with regard to their usual place and function within the iconographic or historic-narrative tradition.
Janus. Estudios sobre el Siglo de Oro, 2015
A mediados del siglo XVI, se inició la costumbre de agregar un índice, más comúnmente llamado tab... more A mediados del siglo XVI, se inició la costumbre de agregar un índice, más comúnmente llamado tabla, colocado por lo común al final del volumen impreso como guía de lectura y que constaba de unos pocos folios sin numeración. Para mediados del XVII, sin embargo, las tablas se fueron convirtiendo en abultados resúmenes de lo que contenía un libro y, en algunos casos, en lo que podría denominarse “breves diccionarios morales”, como en el volumen V de las Obras completas de Juan de Palafox y Mendoza, de 1665. Si bien muchas fueron escuetas, hubo casos de tablas narrativas, como la que aparece en una obra de Juan Bautista Poza [1647]. En Arte de predicar la palabra de Dios [1667], incluso, se ofrece una manera de hacerlas. En este artículo podrá apreciarse que existía un criterio editorial moralizante en las prensas españolas del Barroco, a la hora de seleccionar qué contenidos debían indizarse, sin dejar de ser las tablas, como hasta nuestros días, un lugar útil que facilita la búsqueda de un tema.
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The habit of adding an index, more commonly called a table, began in the middle of the Sixteenth Century. It was usually placed at the end of the volume as a reading guide and consisted of a few unnumbered pages. By the middle of the Seventeenth Century, however, the tables began to evolve into bulky summaries about what a book contained, or in some cases, what might be termed “short moral dictionaries”, as in volume V of the complete works of Juan de Palafox y Mendoza, 1665. While many were stark, there were cases of narrative tables, such as the one that appears in the work of Juan Bautista Poza [1647]. In fact, in Arte de predicar la palabra de Dios (The art of preaching the word of God) [1667] a way to create them is provided. In this article a moralizing editorial judgment of the Baroque Spanish press can be seen, starting from the time of selecting the content to be indexed, without the table continues to be, as it is today, a useful place that facilitates the search for a topic.
Janus. Estudios sobre el Siglo de Oro, 2015
De la galería de textos anotados por Quevedo, el tratado De’ veri precetti della pittura de Armen... more De la galería de textos anotados por Quevedo, el tratado De’ veri precetti della pittura de Armenini es la única lectura pictórica. El trazado del sentido del texto y su recepción española dejan paso al examen detenido de las tres marcas quevedianas, que adquieren su pleno sentido en diálogo con el parnaso pictórico que el poeta delinea en dos poemas (“El pincel” y “Matraca de los paños y sedas”). De este modo, las anotaciones confirman la preferencia de Quevedo por la pintura italiana y especialmente la escuela véneta con la fuerza del colorito al tiempo que añaden un cierto interés por la escultura.
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Within the gallery of texts annotated by Quevedo, the treatise De’ veri precetti della pittura is the unique reading of a book that deals with precepts in painting. The introductory comments of this article deals with the purpose of Armenini’s text and its Spanish reception. It follows with the detailed examination of Quevedo’s three annotations, which are in dialogue with the pictorial Parnassus drafted by the poet in two poems (“El pincel” y “Matraca de los paños y sedas”). The annotations confirm Quevedo’s preference for Italian painting and specially the Venetian school, adding some information on his interest in sculpture.
Janus. Estudios sobre el Siglo de Oro, 2014
El presente artículo tiene por objeto ofrecer dos manuscritos inéditos del jesuita Gil de la Mata... more El presente artículo tiene por objeto ofrecer dos manuscritos inéditos del jesuita Gil de la Mata, los cuales se remontan al primer contacto del cristianismo en el Japón en el siglo XVI e incluyen aportaciones históricas acerca del mártir Damián de Yamaguchi. Estos documentos, traducidos también al portugués por Luís Fróis en su Historia de Japam, narran interesantes anécdotas sobre la vida de este personaje en los años anteriores a su asesinato. Su capacidad de predicar y de convertir a sus compatriotas, incluso su singular y desconocido oficio de exorcista, impactaron a muchos autores que narraron algunos acontecimientos acerca de este hombre tan peculiar. En este ensayo se propone, por tanto, otra visión del hermano Damián, catequista ciego que durante un largo período tuvo que reemplazar a los jesuitas expulsados por mandato del daimio Hideyoshi.
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This article aims to provide two unpublished manuscripts by Jesuit Gil de la Mata, dating back to the first contact of Christianity in Japan from century XVI, and includes historical contributions about the Martyr Damian Yamaguchi. These documents, also translated into Portuguese by Luís Fróis in his History of Japam, narrate interesting anecdotes about the life of this character in his murdered years before. His ability to preach and to convert his countrymen, including his singular craft of unknown exorcist came to impact many authors who narrated some events of this unusual man. This essay offers another vision of Brother Damian, blind catechist for a long period, who had to replace the Jesuits expelled upon precept daimyo Hideyoshi.
Janus. Estudios sobre el Siglo de Oro, 2014
La vinculación de la mujer con la música en el Siglo de Oro no es fácil de abordar como objeto de... more La vinculación de la mujer con la música en el Siglo de Oro no es fácil de abordar como objeto de estudio debido a la escasez de fuentes. Los testimonios literarios constituyen un rico filón, especialmente los géneros a priori más realistas como la novela picaresca. Este artículo confronta los modelos ofrecidos por novelas del Siglo de Oro con las huellas que han quedado en la documentación histórica de Sevilla, con el objetivo de conocer los perfiles de la práctica musical femenina y los ámbitos privados o públicos en los que tenía lugar.
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The relationship between woman and music in the Golden Age is not easy to address as a study objective due to the shortage of sources. Literary testimonies are a rich vein, especially the –a priori- most realistic genres like picaresque. This paper compares the models provided by some novels of the Golden Age and the traces left in historical documents from Seville, with the objective of knowing the profiles of female musical practice and the public and private spheres where it placed.
Janus. Estudios sobre el Siglo de Oro, 2014
Los Emblemata (Frankfurt, 1596) del juez calvinista Dionysius Lebeus Batillius, libro que clausur... more Los Emblemata (Frankfurt, 1596) del juez calvinista Dionysius Lebeus Batillius, libro que clausura el siglo de oro de la emblemática francesa, son por primera vez objeto de un pormenorizado estudio en el que, a la luz de la biografía del autor y de su encuentro con el emblematista Janus Jacobus Boissardus, se presta atención a la génesis, a la estructura y al método de composición, al contenido y a las fuentes directas e indirectas; asimismo se señalan las notables diferencias entre esta editio princeps y la segunda edición (Heidelberg, 1600). A modo de breve antología se añade una selección de emblemas, cuyo análisis pone de manifiesto la pasión del autor por la Antigüedad clásica, su preferencia por el Neoestoicismo y su compromiso, cauteloso y disimulado, i.e. propio de un nicodemita, con la Iglesia Reformada.
_________________________________________________________________________
The Emblemata (Frankfurt, 1596) of the Calvinist judge D. Lebeus Batillius, book that closes the Golden Age of French Emblematics, are detailed studied for the first time in light of the author’s biography and his relationship with the emblematist Janus Jacobus Boissardus, paying attention to the genesis, the structure and the composition method, the content and the direct and indirect sources; likewise, the significant differences between this editio princeps and the second edition (Heidelberg, 1600) are pointed out. As a brief anthology, we add a selection of emblems, whose analysis reveals the author’s passion for the Classic Antiquity, his preference to the Neostoicism and his cautious and disguised –i.e. characterisctic of a nicodemite– commitment to the Reformed Church.
Janus. Estudios sobre el Siglo de Oro, 2014
El Physiologus, recopilación de alegorizaciones cristianas extraídas de las propiedades naturales... more El Physiologus, recopilación de alegorizaciones cristianas extraídas de las propiedades naturales atribuidas a ciertos animales y plantas, reales o fantásticos, compuesta en lengua griega en algún lugar del Mediterráneo oriental -Alejandría o Siria- entre los siglos II y IV de nuestra era, ha generado una vasta bibliografía desde finales del siglo XIX en torno a su origen, autoría y versiones en diversos idiomas. Sin embargo, si exceptuamos alguna honrosa excepción, aún no se había abordado en profundidad la influencia que este opúsculo pudo llegar a ejercer en el género literario-visual de los libros de emblemas a partir del siglo XVI. Considerado habitualmente por la crítica como una fuente esencial de la vertiente animalística de la Emblemática libresca, en el presente trabajo nos proponemos un examen detallado de la verdadera incidencia que el Physiologus alcanzó tanto en las imágenes como en las interpretaciones alegóricas de los emblemas que, a priori, parecen guardar algún tipo de relación temática con aquel primitivo texto cristiano.
_________________________________________________________________________
The Physiologus, a collection of Christian allegories drawn from the natural properties attributed to certain animals and plants, real or fantastic, composed in Greek language somewhere in the Eastern Mediterranean -Alexandria or Syria- between the second and fourth centuries of our era, has generated a vast literature since the late 19th century around its origin, authorship and versions in different languages. However, except for a few honorable exceptions, had not yet been addressed in depth the influence that this booklet was able to exert on the literary-visual genre of books of emblems from the 16th century on. Usually considered by critics as major source of the bookish Emblematics animalistic side, in this paper we aim to address in detail the true impact of the Physiologus reached both in pictures and allegorical interpretations of the emblems which, a priori, seem to keep some kind of thematic relationship with the primitive Christian text.
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Artículos de JANUS by Janus. Estudios sobre el Siglo de Oro
___________________________________________________________________________
The article aims to analyse a unique book written by the famous French friend of Lope de Vega: Simon Chauvel (Xabelo). The work is titled Sucessos en la pacificación de Francia que el Rey Christianissimo Luys XIII ha hecho, año 1620 y su jornada en Bearne and was published by the widow of Cosme Delgado in 1621. The study of the work starts from the bureaucratic paratext, paying special attention to the process of prior censorship in which, among others, Alonso Jerónimo de Salas Barbadillo is involved. The dedication to Queen Isabella of Bourbon, a text written in French by Chauvel, is then analysed, spotlighting the echoes established between the paratexts. The article proceeds to examine the Spanish verses by Simon Chauvel dedicated to the French ambassador François de Bassompierre. It also edits both the dedication to the queen and the verses offered to the ambassador. The body of Chauvel’s work is a relación de sucesos related to the pacification campaign in France by Louis XIII in 1620 and his campaign in Bearne against the Protestants. The two prologues by Chauvel are analysed, being the texts where the author expresses himself in the first person. Next, the translation by Chauvel is presented, along with the French source that has been found. Both relaciones are compared, and a set of criteria illustrating the translator's modus operandi is established. Finally, the article considers other shorter relaciones de sucesos published in Madrid, Lisbon, and Barcelona (1674) that contain fragments of the text translated by Simon Chauvel. The discovery of this book emphasizes Chauvel's role as a translator, poet, and expert in paratextual writing.
___________________________________________________________________________
This article examines how Fernando de Herrera adopted in his lyrical poetry a model that he commented in Garcilaso de la Vega’s sonnet XXXIII and that he forged or at least contributed to consolidate in his Anotaciones a la poesía de Garcilaso (1580). We review what critics understand as ruins poetry in Golden Age poetry in general and in Herrera’s production in particular, after which we propose adapting Herrera’s corpus: in the first place, we propose to define it more precisely, reducing it in order to clarify what inspired Herrera, how he understood ruins poetry, and how he adapted it in different genres and stages of his career; in the second place, we propose to largen it metaphorically in order to analyze what moved Herrera to export to other contexts a system that he decisively contributed to shape.
___________________________________________________________________________
The article is dedicated to the study of the representation of paternal and maternal- filial relationships in the Italian romances of chivalry composed by Mambrino Roseo da Fabriano as prequels or sequels to the novels of the Spanish chivalric cycles. Specifically, the focus is on the formation of marital unions and the role that fathers and mothers –Christian kings and queens– play in choosing a husband for their daughters when stipulating a marriage contract. A comparative perspective, which considers the portrait of these family relationships drawn in Castilian novels, is meant to highlight the differences in the description of these family ties in Italian novels. The objective will be, then, to analyze how the family universe can be reinterpreted in the Italian context, and even from different narrative objectives.
___________________________________________________________________________
We offer the study of a set of poetic texts copied in the endpapers of a copy of the Hypotyposeon, by Martínez de Cantalapiedra, from 1582. Among them is the sonnet “Hermano Lope, bórrame el soné” (which has been attributed to Cervates, Góngora and Julián de Armendáriz), a new testimony very close to the date of composition and with some variants. Another sonnet, hitherto unknown, presents a satire against a poet named Blasco. Various data allow us to defend the attribution of both compositions to the writer born in Salamanca Julián de Armendáriz.
___________________________________________________________________________
We describe the incunabula preserved in the Diocesan Library of Córdoba and identify the lost ones that had belonged to the old Episcopal Library and to the school libraries of the Society of Jesus of Córdoba and Montilla.
___________________________________________________________________________
This article aims to probe that Juan de Valdés is the most likely author of Lazarillo, a hypothesis already proposed by specialists such as Manuel J. Asensio and, most recently, Mariano Calvo. By analyzing linguistic recurrences, biographical data, and intertextual connections between El Lazarillo and Valdés’ writings such as Diálogo de la doctrina cristiana and Diálogo de la lengua, the conclusion is reached that, if the author of Lazarillo was not Valdés, that writer was, in fact, someone uniquely close to Valdés’ biography, personality, thought and literary trajectory.
_________________________________________________________________________
This paper investigates the autographed library inventory of Sevillian canon Ambrosio José de la Cuesta y Saavedra (1653-1707), who was a careful collector of Spanish poetic compilations of the Golden Age and the author of the earliest additions to Nicolás Antonio’s Bibliotheca Hispana Nova. It offers a biographical sketch of Cuesta, a complete description of New York, Library of The Hispanic Society of America, MS. B2681, and a structural analysis of the works mentioned in the inventory contained in this manuscript. This essay also locates some of the 1287 works recorded in the same miscellaneous compilations, which are now preserved in the Colombina Library, the University Library of Seville and the Hispanic Society of America. Moreover, this article identifies several printed books by seventeenth-century authors from Seville which were owned by this bibliographer, offering a complete transcription and numbering of all the works contained in Cuesta’s inventory.
_________________________________________________________________________
The first French-language treatises on emblems appeared in the seventeenth century, but prior to their appearance, many authors of emblem texts and vernacular translations offered glimpses in their paratextual material—prefaces and dedicatory letters, for the most part—of their concept of the emblem. As a rapidly emerging genre, the emblem itself underwent a series of transformations, and and attempt at developing a true theory of the emblem was rendered impossible not only by those but by the commercial pressures associated with attempting to take advantage of the new market for illustrated books of all kinds. This essay examines the progress of thinking about the emblem in France from the earliest times to the period immediately prior to the publication of Claude-François Ménestrier’s Art des emblemes in 1662, and explores some of the reasons why the birth of emblem theory in French was so long delayed.
_________________________________________________________________________
This paper discovers the power that the theatrical industry had through the mercantilitation of popular theatre. The continual speculation of scenic and musical spectacle –at the expense of dramatic dimension– manipulated the popular taste for great comedies. However it also distorted the reception of Baroque theatre of its defenders in the middle of the 18th century. The comparison between the opinions of one of the last baroque playwright’s opinions –Antonio de Zamora– and the judgments of a traditionalism representative –Tomás de Erauso y Zabaleta– will verify the influence of the theatrical industry in the positions of the discussions on the 18th’s theatre.
_________________________________________________________________________
This contribution examines the detection of a double issue, for sale in collectanea or in exempta form, of an edition of the work of Sebastián Fox Morcillo, De demonstratione, eiusque necessitate ac vi…, Basileae, per Ioannem Oporinum. [Colophon: Per Martinum Stellam, 1556]. This study reconstructs an ideal copy of that edition in order to analyze material aspects that may help explain this type of editorial planning. Next, it compares this edition with other works planned likewise in Spanish printing of the XVIth century. Finally, it studies, from the point of view of textual bibliography, the links of such issues with prose works ―several of them dialogues― not very extensive in character.
_________________________________________________________________________
This paper analyses some of the emendations that Lope made in the autograph manuscript of the comedy La buena guarda, kept in the funds of the National Library of Spain, and specifically those that relate to two names: Guzmán and Montalvo. The study of them, as well as the purpose for which Lope reviewed the comedy show that corrections of these names are intended to remove two literary sources of comedy: the second apocryphal part of Guzmán de Alfarache and the Corónica del Orden del Cister of Bernabé de Montalvo.
_________________________________________________________________________
We analise lexical and stylistical elements of both parts of the Lazarillo de Tormes, comparing them to Enzinas' translation of Lucianus of Samosata, and with Enzinas' memoirs, and conclude that both parts belong to this author, and that its ideological and doctrinal content is to be adscribed to the Protestant Reformation, of which Enzinas was the most salient Spanish example, since he was a pupil to Melanchton and friend to Calvin and Bucer.
_________________________________________________________________________
This essay deals with a number of the rare and unusual printed news pamphlets that formed part of the private library of Juan Pérez de Guzmán y Boza, Duke of T'Serclaes de Tilly, as well as others that came from the collection of Henry Huth. The article seeks to reconstruct their textual, typographical and publishing history with a view to establishing the various different ways in which news stories were produced, transmitted and circulated across Europe in the early modern period.
_________________________________________________________________________
In the first part of the present work, I examine imprese and emblems where signs appear decontextualized, part of an omitted whole. The moral, civil, worldly, political or religious message is cryptically delivered either by one or a few items, or by fragments of objects isolated in a context alien to them. Even though their own postulates and intentions differ, they have often be connected with the deconstructive ways of surrealism. In the second part, I describe the modifications of signifier and signified in the process of transference, substitution, obliteration of one or many main or minor elements in the arrangement, with regard to their usual place and function within the iconographic or historic-narrative tradition.
_________________________________________________________________________
The habit of adding an index, more commonly called a table, began in the middle of the Sixteenth Century. It was usually placed at the end of the volume as a reading guide and consisted of a few unnumbered pages. By the middle of the Seventeenth Century, however, the tables began to evolve into bulky summaries about what a book contained, or in some cases, what might be termed “short moral dictionaries”, as in volume V of the complete works of Juan de Palafox y Mendoza, 1665. While many were stark, there were cases of narrative tables, such as the one that appears in the work of Juan Bautista Poza [1647]. In fact, in Arte de predicar la palabra de Dios (The art of preaching the word of God) [1667] a way to create them is provided. In this article a moralizing editorial judgment of the Baroque Spanish press can be seen, starting from the time of selecting the content to be indexed, without the table continues to be, as it is today, a useful place that facilitates the search for a topic.
_________________________________________________________________________
Within the gallery of texts annotated by Quevedo, the treatise De’ veri precetti della pittura is the unique reading of a book that deals with precepts in painting. The introductory comments of this article deals with the purpose of Armenini’s text and its Spanish reception. It follows with the detailed examination of Quevedo’s three annotations, which are in dialogue with the pictorial Parnassus drafted by the poet in two poems (“El pincel” y “Matraca de los paños y sedas”). The annotations confirm Quevedo’s preference for Italian painting and specially the Venetian school, adding some information on his interest in sculpture.
_________________________________________________________________________
This article aims to provide two unpublished manuscripts by Jesuit Gil de la Mata, dating back to the first contact of Christianity in Japan from century XVI, and includes historical contributions about the Martyr Damian Yamaguchi. These documents, also translated into Portuguese by Luís Fróis in his History of Japam, narrate interesting anecdotes about the life of this character in his murdered years before. His ability to preach and to convert his countrymen, including his singular craft of unknown exorcist came to impact many authors who narrated some events of this unusual man. This essay offers another vision of Brother Damian, blind catechist for a long period, who had to replace the Jesuits expelled upon precept daimyo Hideyoshi.
_________________________________________________________________________
The relationship between woman and music in the Golden Age is not easy to address as a study objective due to the shortage of sources. Literary testimonies are a rich vein, especially the –a priori- most realistic genres like picaresque. This paper compares the models provided by some novels of the Golden Age and the traces left in historical documents from Seville, with the objective of knowing the profiles of female musical practice and the public and private spheres where it placed.
_________________________________________________________________________
The Emblemata (Frankfurt, 1596) of the Calvinist judge D. Lebeus Batillius, book that closes the Golden Age of French Emblematics, are detailed studied for the first time in light of the author’s biography and his relationship with the emblematist Janus Jacobus Boissardus, paying attention to the genesis, the structure and the composition method, the content and the direct and indirect sources; likewise, the significant differences between this editio princeps and the second edition (Heidelberg, 1600) are pointed out. As a brief anthology, we add a selection of emblems, whose analysis reveals the author’s passion for the Classic Antiquity, his preference to the Neostoicism and his cautious and disguised –i.e. characterisctic of a nicodemite– commitment to the Reformed Church.
_________________________________________________________________________
The Physiologus, a collection of Christian allegories drawn from the natural properties attributed to certain animals and plants, real or fantastic, composed in Greek language somewhere in the Eastern Mediterranean -Alexandria or Syria- between the second and fourth centuries of our era, has generated a vast literature since the late 19th century around its origin, authorship and versions in different languages. However, except for a few honorable exceptions, had not yet been addressed in depth the influence that this booklet was able to exert on the literary-visual genre of books of emblems from the 16th century on. Usually considered by critics as major source of the bookish Emblematics animalistic side, in this paper we aim to address in detail the true impact of the Physiologus reached both in pictures and allegorical interpretations of the emblems which, a priori, seem to keep some kind of thematic relationship with the primitive Christian text.
___________________________________________________________________________
The article aims to analyse a unique book written by the famous French friend of Lope de Vega: Simon Chauvel (Xabelo). The work is titled Sucessos en la pacificación de Francia que el Rey Christianissimo Luys XIII ha hecho, año 1620 y su jornada en Bearne and was published by the widow of Cosme Delgado in 1621. The study of the work starts from the bureaucratic paratext, paying special attention to the process of prior censorship in which, among others, Alonso Jerónimo de Salas Barbadillo is involved. The dedication to Queen Isabella of Bourbon, a text written in French by Chauvel, is then analysed, spotlighting the echoes established between the paratexts. The article proceeds to examine the Spanish verses by Simon Chauvel dedicated to the French ambassador François de Bassompierre. It also edits both the dedication to the queen and the verses offered to the ambassador. The body of Chauvel’s work is a relación de sucesos related to the pacification campaign in France by Louis XIII in 1620 and his campaign in Bearne against the Protestants. The two prologues by Chauvel are analysed, being the texts where the author expresses himself in the first person. Next, the translation by Chauvel is presented, along with the French source that has been found. Both relaciones are compared, and a set of criteria illustrating the translator's modus operandi is established. Finally, the article considers other shorter relaciones de sucesos published in Madrid, Lisbon, and Barcelona (1674) that contain fragments of the text translated by Simon Chauvel. The discovery of this book emphasizes Chauvel's role as a translator, poet, and expert in paratextual writing.
___________________________________________________________________________
This article examines how Fernando de Herrera adopted in his lyrical poetry a model that he commented in Garcilaso de la Vega’s sonnet XXXIII and that he forged or at least contributed to consolidate in his Anotaciones a la poesía de Garcilaso (1580). We review what critics understand as ruins poetry in Golden Age poetry in general and in Herrera’s production in particular, after which we propose adapting Herrera’s corpus: in the first place, we propose to define it more precisely, reducing it in order to clarify what inspired Herrera, how he understood ruins poetry, and how he adapted it in different genres and stages of his career; in the second place, we propose to largen it metaphorically in order to analyze what moved Herrera to export to other contexts a system that he decisively contributed to shape.
___________________________________________________________________________
The article is dedicated to the study of the representation of paternal and maternal- filial relationships in the Italian romances of chivalry composed by Mambrino Roseo da Fabriano as prequels or sequels to the novels of the Spanish chivalric cycles. Specifically, the focus is on the formation of marital unions and the role that fathers and mothers –Christian kings and queens– play in choosing a husband for their daughters when stipulating a marriage contract. A comparative perspective, which considers the portrait of these family relationships drawn in Castilian novels, is meant to highlight the differences in the description of these family ties in Italian novels. The objective will be, then, to analyze how the family universe can be reinterpreted in the Italian context, and even from different narrative objectives.
___________________________________________________________________________
We offer the study of a set of poetic texts copied in the endpapers of a copy of the Hypotyposeon, by Martínez de Cantalapiedra, from 1582. Among them is the sonnet “Hermano Lope, bórrame el soné” (which has been attributed to Cervates, Góngora and Julián de Armendáriz), a new testimony very close to the date of composition and with some variants. Another sonnet, hitherto unknown, presents a satire against a poet named Blasco. Various data allow us to defend the attribution of both compositions to the writer born in Salamanca Julián de Armendáriz.
___________________________________________________________________________
We describe the incunabula preserved in the Diocesan Library of Córdoba and identify the lost ones that had belonged to the old Episcopal Library and to the school libraries of the Society of Jesus of Córdoba and Montilla.
___________________________________________________________________________
This article aims to probe that Juan de Valdés is the most likely author of Lazarillo, a hypothesis already proposed by specialists such as Manuel J. Asensio and, most recently, Mariano Calvo. By analyzing linguistic recurrences, biographical data, and intertextual connections between El Lazarillo and Valdés’ writings such as Diálogo de la doctrina cristiana and Diálogo de la lengua, the conclusion is reached that, if the author of Lazarillo was not Valdés, that writer was, in fact, someone uniquely close to Valdés’ biography, personality, thought and literary trajectory.
_________________________________________________________________________
This paper investigates the autographed library inventory of Sevillian canon Ambrosio José de la Cuesta y Saavedra (1653-1707), who was a careful collector of Spanish poetic compilations of the Golden Age and the author of the earliest additions to Nicolás Antonio’s Bibliotheca Hispana Nova. It offers a biographical sketch of Cuesta, a complete description of New York, Library of The Hispanic Society of America, MS. B2681, and a structural analysis of the works mentioned in the inventory contained in this manuscript. This essay also locates some of the 1287 works recorded in the same miscellaneous compilations, which are now preserved in the Colombina Library, the University Library of Seville and the Hispanic Society of America. Moreover, this article identifies several printed books by seventeenth-century authors from Seville which were owned by this bibliographer, offering a complete transcription and numbering of all the works contained in Cuesta’s inventory.
_________________________________________________________________________
The first French-language treatises on emblems appeared in the seventeenth century, but prior to their appearance, many authors of emblem texts and vernacular translations offered glimpses in their paratextual material—prefaces and dedicatory letters, for the most part—of their concept of the emblem. As a rapidly emerging genre, the emblem itself underwent a series of transformations, and and attempt at developing a true theory of the emblem was rendered impossible not only by those but by the commercial pressures associated with attempting to take advantage of the new market for illustrated books of all kinds. This essay examines the progress of thinking about the emblem in France from the earliest times to the period immediately prior to the publication of Claude-François Ménestrier’s Art des emblemes in 1662, and explores some of the reasons why the birth of emblem theory in French was so long delayed.
_________________________________________________________________________
This paper discovers the power that the theatrical industry had through the mercantilitation of popular theatre. The continual speculation of scenic and musical spectacle –at the expense of dramatic dimension– manipulated the popular taste for great comedies. However it also distorted the reception of Baroque theatre of its defenders in the middle of the 18th century. The comparison between the opinions of one of the last baroque playwright’s opinions –Antonio de Zamora– and the judgments of a traditionalism representative –Tomás de Erauso y Zabaleta– will verify the influence of the theatrical industry in the positions of the discussions on the 18th’s theatre.
_________________________________________________________________________
This contribution examines the detection of a double issue, for sale in collectanea or in exempta form, of an edition of the work of Sebastián Fox Morcillo, De demonstratione, eiusque necessitate ac vi…, Basileae, per Ioannem Oporinum. [Colophon: Per Martinum Stellam, 1556]. This study reconstructs an ideal copy of that edition in order to analyze material aspects that may help explain this type of editorial planning. Next, it compares this edition with other works planned likewise in Spanish printing of the XVIth century. Finally, it studies, from the point of view of textual bibliography, the links of such issues with prose works ―several of them dialogues― not very extensive in character.
_________________________________________________________________________
This paper analyses some of the emendations that Lope made in the autograph manuscript of the comedy La buena guarda, kept in the funds of the National Library of Spain, and specifically those that relate to two names: Guzmán and Montalvo. The study of them, as well as the purpose for which Lope reviewed the comedy show that corrections of these names are intended to remove two literary sources of comedy: the second apocryphal part of Guzmán de Alfarache and the Corónica del Orden del Cister of Bernabé de Montalvo.
_________________________________________________________________________
We analise lexical and stylistical elements of both parts of the Lazarillo de Tormes, comparing them to Enzinas' translation of Lucianus of Samosata, and with Enzinas' memoirs, and conclude that both parts belong to this author, and that its ideological and doctrinal content is to be adscribed to the Protestant Reformation, of which Enzinas was the most salient Spanish example, since he was a pupil to Melanchton and friend to Calvin and Bucer.
_________________________________________________________________________
This essay deals with a number of the rare and unusual printed news pamphlets that formed part of the private library of Juan Pérez de Guzmán y Boza, Duke of T'Serclaes de Tilly, as well as others that came from the collection of Henry Huth. The article seeks to reconstruct their textual, typographical and publishing history with a view to establishing the various different ways in which news stories were produced, transmitted and circulated across Europe in the early modern period.
_________________________________________________________________________
In the first part of the present work, I examine imprese and emblems where signs appear decontextualized, part of an omitted whole. The moral, civil, worldly, political or religious message is cryptically delivered either by one or a few items, or by fragments of objects isolated in a context alien to them. Even though their own postulates and intentions differ, they have often be connected with the deconstructive ways of surrealism. In the second part, I describe the modifications of signifier and signified in the process of transference, substitution, obliteration of one or many main or minor elements in the arrangement, with regard to their usual place and function within the iconographic or historic-narrative tradition.
_________________________________________________________________________
The habit of adding an index, more commonly called a table, began in the middle of the Sixteenth Century. It was usually placed at the end of the volume as a reading guide and consisted of a few unnumbered pages. By the middle of the Seventeenth Century, however, the tables began to evolve into bulky summaries about what a book contained, or in some cases, what might be termed “short moral dictionaries”, as in volume V of the complete works of Juan de Palafox y Mendoza, 1665. While many were stark, there were cases of narrative tables, such as the one that appears in the work of Juan Bautista Poza [1647]. In fact, in Arte de predicar la palabra de Dios (The art of preaching the word of God) [1667] a way to create them is provided. In this article a moralizing editorial judgment of the Baroque Spanish press can be seen, starting from the time of selecting the content to be indexed, without the table continues to be, as it is today, a useful place that facilitates the search for a topic.
_________________________________________________________________________
Within the gallery of texts annotated by Quevedo, the treatise De’ veri precetti della pittura is the unique reading of a book that deals with precepts in painting. The introductory comments of this article deals with the purpose of Armenini’s text and its Spanish reception. It follows with the detailed examination of Quevedo’s three annotations, which are in dialogue with the pictorial Parnassus drafted by the poet in two poems (“El pincel” y “Matraca de los paños y sedas”). The annotations confirm Quevedo’s preference for Italian painting and specially the Venetian school, adding some information on his interest in sculpture.
_________________________________________________________________________
This article aims to provide two unpublished manuscripts by Jesuit Gil de la Mata, dating back to the first contact of Christianity in Japan from century XVI, and includes historical contributions about the Martyr Damian Yamaguchi. These documents, also translated into Portuguese by Luís Fróis in his History of Japam, narrate interesting anecdotes about the life of this character in his murdered years before. His ability to preach and to convert his countrymen, including his singular craft of unknown exorcist came to impact many authors who narrated some events of this unusual man. This essay offers another vision of Brother Damian, blind catechist for a long period, who had to replace the Jesuits expelled upon precept daimyo Hideyoshi.
_________________________________________________________________________
The relationship between woman and music in the Golden Age is not easy to address as a study objective due to the shortage of sources. Literary testimonies are a rich vein, especially the –a priori- most realistic genres like picaresque. This paper compares the models provided by some novels of the Golden Age and the traces left in historical documents from Seville, with the objective of knowing the profiles of female musical practice and the public and private spheres where it placed.
_________________________________________________________________________
The Emblemata (Frankfurt, 1596) of the Calvinist judge D. Lebeus Batillius, book that closes the Golden Age of French Emblematics, are detailed studied for the first time in light of the author’s biography and his relationship with the emblematist Janus Jacobus Boissardus, paying attention to the genesis, the structure and the composition method, the content and the direct and indirect sources; likewise, the significant differences between this editio princeps and the second edition (Heidelberg, 1600) are pointed out. As a brief anthology, we add a selection of emblems, whose analysis reveals the author’s passion for the Classic Antiquity, his preference to the Neostoicism and his cautious and disguised –i.e. characterisctic of a nicodemite– commitment to the Reformed Church.
_________________________________________________________________________
The Physiologus, a collection of Christian allegories drawn from the natural properties attributed to certain animals and plants, real or fantastic, composed in Greek language somewhere in the Eastern Mediterranean -Alexandria or Syria- between the second and fourth centuries of our era, has generated a vast literature since the late 19th century around its origin, authorship and versions in different languages. However, except for a few honorable exceptions, had not yet been addressed in depth the influence that this booklet was able to exert on the literary-visual genre of books of emblems from the 16th century on. Usually considered by critics as major source of the bookish Emblematics animalistic side, in this paper we aim to address in detail the true impact of the Physiologus reached both in pictures and allegorical interpretations of the emblems which, a priori, seem to keep some kind of thematic relationship with the primitive Christian text.
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Providencia de Dios, obra de madurez de Francisco de Quevedo (1580-1645), fue escrita en los años 1641-1642, mientras el escritor sufría prisión en el Convento Real de San Marcos de León. La obra se estructura en dos tratados (sobre la inmortalidad del alma, y sobre la providencia divina) que consideran los principales temas de la apologética del siglo XVII. Con esta obra Quevedo pretende demostrar que es un profesional capaz de acometer asuntos propios de la oratoria sagrada, diferentes a aquellos por los que es más conocido (de índole satírica y burlesca).
Esta es la primera edición crítica de Providencia de Dios, con profusa anotación y precedida de un amplio y detallado estudio (90 p.) donde se contextualiza la obra, se analiza su estructura, los aspectos retóricos y estilísticos, la erudición, el desarrollo argumentativo, la transmisión textual, fuentes y filiación. Se acompaña de apéndices con detallada descripción de fuentes manuscritas e impresas, aparato crítico, índice de voces y conceptos anotados, bibliografía y abreviaturas.
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The object of this article is the edition of the unpublished manuscript of the relacion of the Auto de fe” celebrated in Granada in 1615, and includes an introductory text contextualizing the Auto in the mark of the history of the Spanish Inquisition, especially of the inquisitorial court of Granada, including la transcription of the manuscript. The manuscript is parti of a volume hold in the Biblioteca de la Facultad de Derecho de la University of Seville and it responds, in general lines, to the model more generalized of these chronicles, which contains the description of the ephemeral architecture (podiums, stands, decoration of the streets and squares), quality, composition and number of the participants in the different processions, the public reading of the sentences and the description of the execution, in this case, of a single woman delivered to the secular arm.
153 pp. ISBN: 978-84-125391-1-0.
ISBN: 978-84-9749-853-1, 382 páginas.
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Review of Tirso de Molina's La santa Juana. Tercera parte edited by Isabel Ibáñez, Blanca Oteiza and Cristina Tabernero, the first critical and annotated edition of the third comedy that Tirso de Molina dedicated to the Franciscan nun Juana de la Cruz.
ISBN: 978-1-952399-04-6
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Review of the book by Adrián J. Sáez, Desde Italia con amor. Aretino en la poesía española del Siglo de Oro.
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Review of Felipe B. Pedraza Jiménez, Calderón. El arte del teatro. Ensayos reunidos, Cuenca, Ediciones de la Universidad de Castilla-La Mancha, 2022, 437 págs., ISBN: 978-84-9044-520-4
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Review of Edición y estudio de la “Lira de Melpómene” de Enrique Vaca de Alfaro by M.ª Ángeles Garrido Berlanga.
ISBN: 978-84-472-1975-9
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Review of the volume by Antonio Carreira Nuevos gongoremas, a collection of articles published in the last twenty years on various aspects of the Cordovan poet (language, textual transmission, influence, etc.).
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Review of the detailed study of ‘relaciones de sucesos’ (printed news pamphlets, mainly in Spanish and Italian) concerning natural disasters in the 17th century: in particular, the floods in Seville and Salamanca in 1626, the eruption of Vesuvius in 1630, and the earthquake, with its origins in Malaga, in 1680.
ISBN 978-3-631-86528-6
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A review of Francisco de Rojas Zorrilla, Obras completas, vol. VIII…, edición crítica y anotada del Instituto Almagro de teatro clásico, dirigida por Felipe B. Pedraza Jiménez y Rafael González Cañal; vol. coordinated by Milagros Rodríguez Cáceres, Cuenca, Ediciones de la Universidad de Castilla-La Mancha, 2021.
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Review of Navidad de Zaragoza of Matías de Aguirre. Volumen I and II, ed. Sánchez Laílla, M.ª Pilar, Larumbe. Textos Aragoneses, 103, Prensas de la Universidad de Zaragoza, Instituto de Estudios Altoaragoneses, Instituto de Estudios Turolenses, Gobierno de Aragón, Zaragoza, 2020, pp. 1080, ISBN: 978-84-1340-148-5 (v. 1), 978-84-1340-149-2 (v. 2) y 978-84-1340-201-7 (o. c.).
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Review of Guazzo, Esteban, La conversación civil, traducción de Joseph Gerardo de Hervás, edición crítica, introducción y notas de Giuseppe Marino, estudio preliminar de Jesús Gómez, Madrid, Iberoamericana-Vervuert, 2019, 600 págs. ISBN: 978-84-9192-026-7/978-3-95487-951-9.
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Review of the volume that brings together several articles by the author that seek to trace the context in which the discourse Arte nuevo de doing comedias, by Lope de Vega, was born; its origin and meaning, the academic framework in which it was conceived, its editorial vicissitudes, the precise scope of its title, its relationships with other works by the author, etc. The book also includes a critical edition of the text, pointing out the variants of all the preserved testimonies.
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Review of the book Festina lente. Augusta empresa correr a espacio. Studia in honorem Sagrario López Poza, A Coruña, Universidade da Coruña, Servizo de Publicacións, 2019.
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Review of: Antonio Enríquez Gómez, Cuatro obras políticas: Inquisición de Lucifer. Luis, dado de Dios. Mártir y rey de Sevilla, san Hermenegildo. El rey más perfeto, edición crítica y anotada de Felipe B. Pedraza Jiménez y Milagros Rodríguez Cáceres, Cuenca, Ediciones de la Universidad de Castilla-La Mancha, 2020
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Review of the book of Tibor Monostori that recounts the years 1640-1646 of the life of Saavedra Fajardo as a diplomat in the Congress of Münster before concluding the Peace of Westfalia.
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Review of Leandro el Bel, ed. Stefano Bazzaco, Universidad de Alcalá, Alcalá de Henares, 2020.
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Review of the book "Juan Enríquez de Zúñiga y su perrita", by Luis Gómez Canseco.
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Review of Carmen Rivero's book "Humanismus, Utopie und Tragödie".
ISBN 978-2-36783-113-8, 573 páginas.
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Review of the monograph "Le cheval au théâtre dans l'Espagne du Siècle d'Or" by Marie-Eugénie Kaufmant.
ISBN 978-84-09-07700-7, 561 páginas.
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This article recompiles for the first time the dispersed causes of the Spanish classical authors’ stage abandonment during the decade of the ’70s, their gradual recovery throughout the ’80s and the ’90s, and their artistic and social consolidation since the turn of the millennium. This paper discusses the reasons that influenced this process of recovery and takes stock of the theatre listings, from 1975 to the present, in order to highlight the current boom of Baroque theatre in Spain.
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Francisca Moya del Baño presents in this extensive study her work of many years, in which she was dedicated to the identification of texts and editions of classical authors mentioned by Quevedo in the works he composed since the beginning of the seventeenth century until his death in 1645. Her observations and analyses will certainly renew the work of specialists who have been studying and interpreting Quevedo’s vast corpus in the last decades.
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This paper sets forth the relation established between two Digital Humanities projects: FactGrid, a database for Historians, and PhiloBiblon, a biobibliographical database created in the 1970s. The technical details of both projects are specified as well as their use of DH for development. In addition, it updates the steps that have been taken to integrate all PhiloBiblon data in the FactGrid environment. The future is attractive and promising for the relation between both HD projects.
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Víctor Infantes (1950-2016), with evident autobiographical traits, affirmed that "the bibliophile is momentarily cured by the accumulated pieces, which are like therapeutic doses, and at the end of his life one can say that he has been happier if more doses he has consumed" (2016: 12). But he was unable, like no other bibliophile of the past (or of the future), to ingest "the universal bibliographic pharmacopoeia"; in fact, in one of his last works he lamented having had "a thorn in his side" for decades, that of not having seen the face of the photographer and bibliophile José Sancho Rayón (1830-1900), one of the figures to whom he devoted many years of study. This note-tribute recalls this vital search and symbolically settles this bibliographical debt with the identification of the only photograph of Sancho Rayón known to date.
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In this research I aim to revise the list of editions of the Spanish Golden Ages recipe book by Francisco Martínez Montiño, removing two ghosts editions and adding an edition from Valencia.
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Raul Mordenti is a prominent scientific, intellectual and political Italian figure who has lived and contributed to shape three epistemic transformations across the XX and XXI centuries: one political, one in education and literary research, and the last that we may define, for brevity, as digital. This paper summarizes the vitality of his intellectual reflections and his “scientific imagination” – the heart of which was the practical and theoretical idea of revolution. His contribution focuses in particular on the epistemological revolution in humanities, which gravitates around the field of digital humanities that Mordenti himself helped to found, trying to find the meaning of the text in a world colonized by digitalization. Algorithmic and platform societies have made the connections between philology and textual criticism, technologies and global geopolitical interests more evident: applications, media and algorithms have become the editors of our lives, promoters and masters of texts that group and connect facts, stories, words and people: a totalitarian body that requires a cognitive decolonization to catalyze a new political, social and anthropological revolution.
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The cervantine encomium of Venice in The licenciate Vidriera is a small corography that includes a comparison with Mexico, according to a similarity forged in a chain of Indian chronicles. So, this passage constitutes a good example of Cervantes’ interest of America and its historiographical tradition, while it allows to explain the offered image of the city in contrast of other negative contemporary opinions.
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In this note, reference is made to the paintings of the Dutch artist Frans Francken II, or the Young, on the themes of Fortune and Occasio-Opportunity, and a summary is given of the present state of the discussion on the interpretation of the motifs of the pictures on the latter subject, and notice is given of a new work in that series, not considered until now by those who have dealt with this matter.
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At first, this article seeks to explain our work related to the critical edition of an unpublished text with philological criteria. We refer to the work of the chronicler Gonzalo Fernández de Oviedo entitled Relación de lo suscedido en la prisión del Rey de Francia. From the description of our work, we try to reflect on the difficulties that the editor of a codex unicus faces. Also, we present a series of editorial strategies at our disposal from various critical points in the text of Oviedo.
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This article analyzes the staging of El alcalde de Zalamea directed by José Luis Alonso Mañes for the Compañía Nacional de Teatro Clásico (CNTC) in 1988. The director's approach, the reception of criticism or aspects such as the diction of verse, the acting and the scenography are studied here in order to understand why this performance has become a point of reference of contemporary staging of the classics.
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Note on the trajectory of Jose María Pozuelo Yvanco and his latest publication La invención literaria (2014), which brings together his articles in discussing our classics (Garcilaso, Góngora, Cervantes, Quevedo and Gracian) from the Classical Rhetoric and the theoretical neo-rhetoric model.