Papers by Laurie Kaplis-Hohwald
Explicacion De Textos Literarios, 1997
Romance Quarterly, 2001
or nearly four hundred years, Mateo AlemAn’s Guzmlin de Alfarache has alternately intrigued and c... more or nearly four hundred years, Mateo AlemAn’s Guzmlin de Alfarache has alternately intrigued and confounded readers with its peculiar mix of knavish adventure and moralizing digression. Critical reacF tion to its seemingly irreconcilable narrative stew has been as varied as GuzmAn’s own contradictory discourse. Beginning with eighteenth-century translators, most notably Alain R e d LeSage, who viewed the digressive commentaries as impediments to the plot and as signs of bad taste, literary historians have gradually come to appreciate the “prtdicas, rnoralitts, [and] rneditaciones te6ricas” (Rico 59) as intrinsically necessary to the book. Whereas criticism in the thirties and forties evaluated the digressive passages as clear examples of Counter Reformation piety (see Herrero Garcia and Moreno Bdez), commentators of the sixties and seventies focused on Mateo Alemin’s stylistic modus operandi: his exploitation of rhetorical modes (Cros, Protke); his manipulation o f point of view in the constant contrasts between Guzmin the penitent galley slave and Guzmanillo the picaro, between the picaro and his protean readership, and between character and author (Rico); and his use of social satire (del Monte). Gonzalo Sobejano has endeavored to present a balanced view of the function and meaning of GuzmAn’s intrusive moralizing, ascribing to it not merely a religious, but an exemplary and didactic purpose: “aquella narraci6n deleita, esta ‘confesi6n general’ edifica” (Sobejano, “De la intencidn” 3 1). Both he and Francisco Rico, in their classic studies of the fragmentation and projection of the narrative voice in the Guzma‘n, paved the way for later analyses written under the influence of full-fledged reception theory, most notably Dario Villanueva’s “Narratario y lectores implicitos en la evoluci6n formal de la novela
Calíope
This essay is a comparative analysis of three texts of major poets of Spain’s Golden Age: Luis de... more This essay is a comparative analysis of three texts of major poets of Spain’s Golden Age: Luis de Góngora, Lope de Vega, and Juan de Jáuregui. The poets worked with a common trope, sharing a worldview that blended themes of Hebrew kingship with the Spanish Habsburg dynasty. The poems are based on the concept of Spanish Solomonism, and are related by inventive, and very different, evocations of the Temple of Jerusalem as the seat of Christian monarchy, holiness, and visual beauty.
An overview of Spain's unique contribution to literary versions of the Psalms, showing the ar... more An overview of Spain's unique contribution to literary versions of the Psalms, showing the artistry and erudition of Spanish Catholic translators to be on a par with their European Protestant contemporaries. It examines translations by major poets such as Juan del Encina, Lope de Vega and others.
Hispanic Review, 2002
... of exegetical material, assimilated by Fray Luis from biblical, patristic, and classical sour... more ... of exegetical material, assimilated by Fray Luis from biblical, patristic, and classical sources and presented as a harmonious work for the delectation and edification not only of his fellow religious, but the great mass of Chris-tian readers. ... Asensio, Eugenio. ... Fray Luis de Leon y la ...
Hispanic review, 2002
... of exegetical material, assimilated by Fray Luis from biblical, patristic, and classical sour... more ... of exegetical material, assimilated by Fray Luis from biblical, patristic, and classical sources and presented as a harmonious work for the delectation and edification not only of his fellow religious, but the great mass of Chris-tian readers. ... Asensio, Eugenio. ... Fray Luis de Leon y la ...
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Papers by Laurie Kaplis-Hohwald