Pub Date : 2023-04-01DOI: 10.5325/caliope.28.1.0097
Hélio J. S. Alves
ABSTRACT:The seats of Portuguese power emerging from the Restauração right up to the present day were built on confiscated property belonging to the Corte-Real family. Manuel de Faria e Sousa had an early and decisive role in the accursed family’s destiny, when he denounced D. Manuel de Moura Corte-Real as a thief, forgerer, sodomite, and traitor, and when he put his edition of Camões’s Lusiads at the service of those who had made his denunciation successful. As a source of this confrontational discourse, Faria’s interpretations of Camões have sealed high and low fates of men throughout literary history.RESUMEN:Las sedes del poder portugués que surgieron a partir de la Restauração hasta la actualidad se construyeron en propiedades confiscadas a la familia Corte-Real. Manuel de Faria e Sousa tuvo un papel temprano y decisivo en el destino de la familia maldita, cuando denunció a D. Manuel de Moura Corte-Real como ladrón, falsificador, sodomita y traidor, y cuando puso su edición de Os Lusiadas de Camões al servicio de quienes habían hecho triunfar su denuncia. Como fuente de este discurso de confrontación, las interpretaciones de Faria sobre Camões han sellado los destinos altos y bajos de los hombres a lo largo de la historia literaria.
摘要:葡萄牙的餐厅(restauratal)直到今天的权力中心都是建立在Corte-Real家族没收的财产上的。曼努埃尔·德·法利亚·苏萨在这个受诅咒的家族的命运中起了早期的决定性作用，他揭发了曼努埃尔·德·莫拉·科尔特-雷亚尔先生，说他是一个小偷、伪造者、鸡奸犯和卖国贼，他把他的Camões版的《路西亚》献给了那些使他的揭发成功的人。作为这种对抗性话语的来源，法里亚对Camões的解释在整个文学史上都决定了人们的高低命运。简历:Las sedes del poder portugal 外科医生(外科医生)a partipartia de la restauratal . o hasta la actualidad se contryeron en proedades confadas a la familia Corte-Real。曼纽尔•德•法利亚e Sousa tuvo联合国papel temprano y decisivo en el又是de la familia maldita cuando denuncio d·曼努埃尔·德·莫拉Corte-Real科莫ladron, falsificador traidor sodomita y, y cuando puso苏edicion de Os Lusiadas de迷彩服al servicio de谁habian事实triunfar denuncia。Como fuente de este discourse de confrontación, las interpretaciones de Faria sobre Camões than sellado los destinos altos by bajos de los hombres a lo largo de la historia literaria。
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Pub Date : 2023-04-01DOI: 10.5325/caliope.28.1.0184
Sara Pezzini
ABSTRACT:The article explores a lengthy poem about the life of St. Thomas Aquinas written in Lima and published in Spain by the Dominican friar Adrián de Alecio (El Angélico, 1645). It starts by describing the author and his milieu. The following is an evaluation of the extent to which the text takes up and adapts the writing models and hagiographic sources from the centre of the Empire. Finally, the article aims to place the poem in the axis formed by the poetic figures of Lope de Vega and Luis de Góngora.RESUMEN:El artículo se ocupa de un extenso poema poco conocido sobre la vida de Santo Tomás de Aquino escrito en Lima y publicado en España por el fraile criollo Adrián de Alecio (El Angélico 1645). En un primer momento se presenta a su autor y su entorno. A continuación, se evalúa en qué medida el texto acoge y adapta los modelos de escritura y las fuentes hagiográficas provenientes desde el centro del Imperio, para finalmente situarlo en el eje que forman las figuras poéticas de Lope de Vega y Luis de Góngora.
摘要:这篇文章探讨了圣托马斯·阿奎那生平的长诗，写于利马，由多米尼加修士adrian de Alecio在西班牙出版(El angelico, 1645)。它从作者和他的环境的描述开始。下列is an evaluation of The涵盖面to which The text takes up and adapts The writing models and hagiographic来源from The centre of The帝国。这篇文章的目的是将这首诗放在洛普·德·维加和路易斯·德gongora的诗歌人物所形成的axis中。摘要:这篇文章是关于圣托马斯·阿奎那生平的一首鲜为人知的长篇诗，写于利马，由克里奥尔修士adrian de Alecio (El angelico 1645)在西班牙出版。首先介绍作者和他的环境。本文的目的是评估文本在多大程度上接受和适应了来自帝国中心的书写模式和圣徒传记来源，最终将其置于构成洛普·德·维加和路易斯·德gongora诗歌人物的轴上。
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This paper traces the related, though not uniform images of poetic birth and textual health. From generalized depictions of poems as children (born of the poet directly or of the poet’s soul or wit) to metaphors of hurried or badly written poems as premature births, abortions or miscarriages, ideas of poetic creation often turn to the bodily. The comparisons to childbirth, I suggest, highlight the efforts of writing and claims to literary lineage, while laments of “abortos” (found in Sor Juana, Juan de Jáuregui, and Cristóbal Suárez de Figueroa) evoke the challenges of polishing a poem to perfection and dangers of sending it into the world too soon. Moreover, assessments of good and bad poetry often draw on the language of health and proper bodily proportions. A weak poem might be simply “desmayado,” as Cervantes criticizes twice in the Viaje del Parnaso , but it could also, more graphically, have bodily defects. These deformities could be congenital or acquired due to detrimental edits. For instance, Gabriel Lobo Lasso de la Vega complains that others printed versions of his romances so changed that “unos vienen patituertos.” Even if the idea of the poem as body was commonplace, the specifics of its anatomy and health offered handy tools for criticism and for rendering theory more concrete. Bodily metaphors were hardly limited to poetics, but I find their use in these contexts especially interesting precisely because poems often differed from whole “cuerpos de libros” in terms of circulation and physical heft. of limeño literary scene. the of the on the dynamics of classical culture of the transatlantic book trade stage an intriguing gender(ed) performance designed to on both sides of the Atlantic thematise the transatlantic dynamic itself. reinscribing the possibility of a non-female Discurso us about the literary dynamics of the global Iberian world. This paper examines the poetic language of Soledades and explores how it incorporates the practices of silversmithing and jewelry production. By relating the materiality of Góngora’s language to the material environment of luxury at the court since the sixteenth century, this paper demonstrates how craftsmanship is embedded in the creation of Soledades . At the same time, by turning to Góngora’s commentators such as Martín Vázquez Siruela, author of “Discurso sobre el estilo de don Luis de Góngora” and an enthusiastic antiquarian, I will show how the poet’s seventeenth-century critics interpreted his works as an exquisite craft. Moreover, this paper echoes the discussion on whether the genre of Soledades is bucolic or epic. While Mercedes Blanco has convincingly explained the cultural obsession with epic and the poet’s intention to emulate Tasso, I choose to reconsider the pastoral poetics in Soledades . I argue that the bucolic since Virgil is a mixed genre characterized by exploring language's materiality. Thus defined, the bucolic itself represents an expression of the intimate relationship bet
本文追溯了诗歌诞生和文本健康的相关图像，尽管不是统一的图像。从将诗歌概括地描述为儿童(直接由诗人或诗人的灵魂或智慧所生)，到将匆忙或拙劣的诗歌比喻为早产、堕胎或流产，诗歌创作的想法往往转向身体。与分娩的比较，我认为，突出了写作的努力和文学血统的主张，而“流产”的哀叹(发现在Sor Juana, Juan de Jáuregui和Cristóbal Suárez de Figueroa)唤起了将一首诗润泽到完美的挑战和过早将它送到世界的危险。此外，对好诗和坏诗的评价常常以健康和适当的身体比例为依据。一首弱诗可能只是“desmayado”，正如塞万提斯在《Viaje del Parnaso》中两次批评的那样，但它也可能，更形象地说，有身体缺陷。这些畸形可能是先天性的，也可能是由于有害的编辑而获得的。例如，加布里埃尔·洛博·拉索·德拉维加(Gabriel Lobo Lasso de la Vega)抱怨说，他的爱情小说的其他印刷版本变化太大了，以至于“unos vienen patituertos”。即使把诗当作身体的想法是司空见惯的，它的解剖和健康的细节为批评和使理论更加具体化提供了方便的工具。身体隐喻几乎不局限于诗学，但我发现它们在这些语境中的使用特别有趣，正是因为诗歌在流通和物质分量方面往往不同于整个“cuerpos de libros”。limeño文坛。跨大西洋图书贸易的古典文化动态舞台上一个有趣的性别(ed)表演设计在大西洋两岸的主题跨大西洋的动态本身。重新定义了非女性话语的可能性，这是关于全球伊比利亚世界文学动态的。本文考察了Soledades的诗意语言，并探讨了它如何结合银器和珠宝生产的实践。通过将Góngora语言的物质性与16世纪以来宫廷奢华的物质环境联系起来，本文展示了工艺如何嵌入到Soledades的创作中。同时，通过查阅Góngora的评论员，如Martín Vázquez Siruela，他是《关于路易斯的严肃论述Góngora》的作者，也是一位热情的古物学家，我将展示这位诗人的17世纪评论家是如何将他的作品解释为一种精美的工艺的。此外，本文还呼应了关于《单行曲》体裁是田园诗还是史诗的讨论。虽然梅塞德斯·布兰科令人信服地解释了对史诗的文化痴迷和诗人模仿塔索的意图，但我选择重新考虑《Soledades》中的田园诗学。笔者认为，自维吉尔以来的田园文学是一种以探索语言的物质性为特征的混合文学。因此，田园本身代表了自然与劳动之间的亲密关系的表达，以及不同形式劳动之间的流动性。Soledades反对这种田园传统，它的材料不仅指的是珍贵的材料，还指的是使用它们的工艺。本文探讨了Manuel de Faria e Sousa如何在他早期(被忽视的)诗集《Divinas y Humanas Flores》(1624)中创造性地与其他作家的诗句结合在一起。它表明了法利亚·索萨是如何引用和暗示不同语言(西班牙语、拉丁语、意大利语、葡萄牙语)的诗歌的，既恭敬又更具挑战性。法里亚·苏萨的诗一般的借用都是为了强调葡萄牙语的伟大，并为葡萄牙历史提供一个积极的视角。本文考察了Ana Caro在她1635年的诗歌编年史中对在塞维利亚圣米格尔教区举行的庆祝活动的史诗话语的使用，该庆祝活动由Salvatierra伯爵组织，以回应法国新教徒于1635年6月在弗拉芒城市Tienen (Tillemont)进行的亵渎行为。安娜·卡罗的《Relación》很少因其文学品质而被单独挑出来，它是对史诗传统的创新回应和参与。许多比喻，如史诗目录和“Überbietung”的各种例子(Curtius)，在诗歌的抒情形式中创造了一种史诗般的宏伟感(silva)。这是一首既“轻快”又“庄重”的歌，正如在序曲中所观察到的那样。本文将把索尔·胡安娜的海王星alegórico置于横跨大西洋两岸的早期现代神话传统中。我所说的神话传统指的是psamrez de Moya, Baltasar de victoria和他们的欧洲同代人(特别是Natale Conti和Francis Bacon)所写的关于异教神的原始百科全书式的论文，以及在早期现代白话诗歌和艺术中对神话人物和主题作为寓言的各种使用。
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Pub Date : 2023-04-01DOI: 10.5325/caliope.28.1.0001
M. Blanco
ABSTRACT:The writers of Góngora’s age found in Ovid the quintessential master of poetic art. This article examines three properties of the Sulmona poet’s writing that could explain his position of supremacy: his wit and humor, his invention of a political fiction that dresses the monarch and his court with the attributes of the Olympian gods, and finally, the elegiac subjectivity that permeates all his creations.RESUMEN:Los escritores de la edad de Góngora encuentran en Ovidio al maestro por excelencia del arte poética. Este ensayo examina tres propiedades de la escritura del poeta de Sulmona que contribuyen a explicar su posición de supremacía: su ingenio y humorismo, su invención de una ficción política que reviste al monarca y a su corte de los atributos de los dioses olímpicos y por último, la subjetividad elegíaca que impregna todas sus creaciones.
= =地理= =根据美国人口普查，该镇的土地面积为。检查这条三properties of the Sulmona poet ' s writing可explain的position of supremacy: wit和幽默,他的invention of political低俗小说dresses君主和他的法院with the attributes of the Olympian gods and最后,the elegiac subjectivity贯穿整个所有的creations。摘要:贡戈拉时代的作家们在奥维德身上发现了诗歌艺术的卓越大师。本文讨论三个属性的诗人的写作Sulmona至上,有助于解释其立场:他的智慧和幽默,他的发明对君主和他的政治小说奥林匹克众神的属性和法院最后,主体性elegíaca邪气所有创作。
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Pub Date : 2023-04-01DOI: 10.5325/caliope.28.1.0140
Elizabeth Treviño
ABSTRACT:The Floresta latina, culta en honra y alabanza de dos bellísimas plantas y santísimas vírgines Lucía y Petronila (México, Juan Blanco de Alcázar, 1623) is a brief poetic anthology about which very little is known. It is made up of a series of poetic compositions written in Latin and Spanish, all of them from New Spain authors, most of them unknown. This article analyzes aspects about the publication of the volume, the actors involved in the process and, especially, the role of the printer.RESUMEN:La Floresta latina, culta en honra y alabanza de dos bellísimas plantas y santísimas vírgines Lucía y Petronila (México, Juan Blanco de Alcázar, 1623) es una breve antología poética de la cual se sabe muy poco. La conforman una serie de composiciones poéticas escritas en latín y castellano, todas de ingenios novohispanos, en su mayoría, desconocidos. Se analizan aspectos sobre la publicación del volumen, los actores involucrados en el proceso y, especialmente, el papel del impresor.
摘要:《拉丁森林》，culta en honor y alabanza de两种美丽的植物和santismas virgines lucia y Petronila(墨西哥，Juan Blanco de alcazar, 1623)是一本简短的诗集，很少有人知道。It is made up of a series of poetic compositions书面in Latin and西班牙,all of them from New Spain authors, most of察unknown。本文分析了该卷的出版、过程中涉及的行动者，特别是印刷商的作用。摘要:La Floresta latina, culta en honor y alabanza de两种美丽的植物和santismas virgines lucia y Petronila(墨西哥，Juan Blanco de alcazar, 1623)是一本简短的诗集，人们对它知之甚少。它由一系列用拉丁语和西班牙语写的诗歌组成，都是由新西班牙语的天才创作的，大部分都不为人知。分析了该卷的出版、过程中涉及的参与者，特别是印刷商的作用。
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Pub Date : 2023-04-01DOI: 10.5325/caliope.28.1.0159
Luis Rodríguez-Rincón
ABSTRACT:Stark differences have been noted in the ways Sor Juana Inés de la Cruz and Carlos de Sigüenza y Góngora responded in 1680 to the arrival in New Spain of both a new viceroy as well as a great comet. Such comparisons have tended to hinge on the question of which of the two colonial Spanish-American writers was more “modern” versus “traditional.” Such valuative contrasts between Sor Juana and Sigüenza y Góngora implicitly evoke a commonplace but erroneous historical narrative that privileges the advent of modern science at the expense of poetry and myth. It is by acknowledging the shared affective goal of myth and early modern science in regulating human fears of natural forces, as Hans Blumenberg has done, that scholars can better assess the enduring function of Neptune for a poet like Sor Juana in an Age of Enlightenment. This reappraisal of myth’s function permits in turn a more dialogic reading of Sor Juana and Sigüenza y Góngora’s respective arches and their shared Neptunian response to the debates that raged in seventeenth-century Mexico City over flood control efforts and the value of indigenous hydraulic knowledge. In this reading, Neptune represents a European mythographic discourse of power over nature that serves to both assuage criollo fears of flooding while also displacing the challenge posed by indigenous hydraulic knowledge to Spanish intellectual hegemony in New Spain in part by replacing the Mexica god Tlaloc with Neptune.RESUMEN:Se han notado grandes diferencias entre sor Juana Inés de la Cruz y Carlos de Sigüenza y Góngora en sus respuestas a la llegada en Nueva España de tanto un gran cometa como un nuevo virrey en 1680. Tales comparaciones entre los dos autores coloniales suelen implicar la valorización de uno como más “moderno” que el otro denominado más “tradicional.” Estos contrastes se basan en una narrativa histórica común pero equívoca que privilegia el ascenso de la ciencia moderna sobre la función intelectual de la poesía y los mitos. Es al reconocer la meta colectiva de tanto la ciencia como los mitos de modular el miedo humano de las fuerzas naturales, como indica Hans Blumenberg, que se puede mejor entender la función del dios Neptuno para sor Juana. Una reevaluación de la función de los mitos permite una lectura más dialógica de los arcos triunfales de Sor Juana y Sigüenza y Góngora y su compartida respuesta neptuniana a los debates del siglo XVII sobre la prevención de inundaciones y el valor del conocimiento hidráulico del pueblo indígena mexicano. En esta lectura, Neptuno representa un discurso mitográfico europeo de poder sobre la naturaleza que alivia el miedo de las inundaciones a la vez que desplaza la amenaza del conocimiento hidráulico indígena para la hegemonía intelectual española al remplazar el dios mexica Tlaloc con Neptuno.
摘要:1680年，胡安娜·因萨梅斯·德拉克鲁斯和卡洛斯·德·西格扎伊·Góngora对新西班牙总督和大彗星的到来有着截然不同的反应。这样的比较往往取决于这两位殖民时期的西班牙裔美国作家，哪一位更“现代”，哪一位更“传统”。索尔·胡安娜和西格扎伊Góngora之间的这种有价值的对比，含蓄地唤起了一种普通但错误的历史叙述，即以诗歌和神话为代价，为现代科学的出现提供特权。正如汉斯·布鲁门伯格(Hans Blumenberg)所做的那样，只有承认神话和早期现代科学在调节人类对自然力量的恐惧方面有着共同的情感目标，学者们才能更好地评估海王星在启蒙时代对索尔·胡安娜(Sor Juana)这样的诗人的持久作用。这种对神话功能的重新评估，反过来又允许我们对索尔·胡安娜和西格扎伊Góngora各自的拱门，以及他们对17世纪墨西哥城围绕防洪努力和本土水利知识价值的激烈辩论的共同海王星式回应，进行更具对话性的解读。在这篇阅读中，海神尼普顿代表了欧洲神话中关于自然力量的话语，它既缓解了克里奥罗人对洪水的恐惧，又取代了土著水力知识对新西班牙西班牙知识霸权的挑战，部分原因是用海神尼普顿取代了墨西哥神塔拉克。简历:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历上写着:我的简历。故事比较中心的los dos autores colonales suelen隐含的是valorización de uno como más“现代”que el otro denominado más“传统”。Estos对比了我们的故事histórica común pero equívoca，我们的特权和进步，我们的现代科学，我们的知识分子，我们的知识分子poesía，我们的知识分子。他还发现了一个新的集体，一个科学的集体，一个人类的集体，一个自然的集体，一个人类的集体，一个自然的集体，一个人类的集体，一个人类的集体，一个自然的集体，一个人类的集体，一个人类的集体，一个人类的集体，一个人类的集体，一个人类的集体，一个人类的集体，一个人类的集体，一个人类的集体，一个人类的集体，一个人类的集体，一个人类的集体。1 . reevaluación de la función de de los mitos permit a lecture más dialógica de de los arcos trunfales de Juana y sigenza y Góngora y . compartida respuestana a los。在这次讲座中，海王星代表了一种论述:mitográfico欧洲关于自然的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识和生命的知识。
{"title":"“Ícaros de discursos racionales”: The Comet of 1680–1681, Sor Juana’s Neptuno alegórico, and the Enduring Function of Myths in an Age of Enlightenment","authors":"Luis Rodríguez-Rincón","doi":"10.5325/caliope.28.1.0159","DOIUrl":"https://doi.org/10.5325/caliope.28.1.0159","url":null,"abstract":"ABSTRACT:Stark differences have been noted in the ways Sor Juana Inés de la Cruz and Carlos de Sigüenza y Góngora responded in 1680 to the arrival in New Spain of both a new viceroy as well as a great comet. Such comparisons have tended to hinge on the question of which of the two colonial Spanish-American writers was more “modern” versus “traditional.” Such valuative contrasts between Sor Juana and Sigüenza y Góngora implicitly evoke a commonplace but erroneous historical narrative that privileges the advent of modern science at the expense of poetry and myth. It is by acknowledging the shared affective goal of myth and early modern science in regulating human fears of natural forces, as Hans Blumenberg has done, that scholars can better assess the enduring function of Neptune for a poet like Sor Juana in an Age of Enlightenment. This reappraisal of myth’s function permits in turn a more dialogic reading of Sor Juana and Sigüenza y Góngora’s respective arches and their shared Neptunian response to the debates that raged in seventeenth-century Mexico City over flood control efforts and the value of indigenous hydraulic knowledge. In this reading, Neptune represents a European mythographic discourse of power over nature that serves to both assuage criollo fears of flooding while also displacing the challenge posed by indigenous hydraulic knowledge to Spanish intellectual hegemony in New Spain in part by replacing the Mexica god Tlaloc with Neptune.RESUMEN:Se han notado grandes diferencias entre sor Juana Inés de la Cruz y Carlos de Sigüenza y Góngora en sus respuestas a la llegada en Nueva España de tanto un gran cometa como un nuevo virrey en 1680. Tales comparaciones entre los dos autores coloniales suelen implicar la valorización de uno como más “moderno” que el otro denominado más “tradicional.” Estos contrastes se basan en una narrativa histórica común pero equívoca que privilegia el ascenso de la ciencia moderna sobre la función intelectual de la poesía y los mitos. Es al reconocer la meta colectiva de tanto la ciencia como los mitos de modular el miedo humano de las fuerzas naturales, como indica Hans Blumenberg, que se puede mejor entender la función del dios Neptuno para sor Juana. Una reevaluación de la función de los mitos permite una lectura más dialógica de los arcos triunfales de Sor Juana y Sigüenza y Góngora y su compartida respuesta neptuniana a los debates del siglo XVII sobre la prevención de inundaciones y el valor del conocimiento hidráulico del pueblo indígena mexicano. En esta lectura, Neptuno representa un discurso mitográfico europeo de poder sobre la naturaleza que alivia el miedo de las inundaciones a la vez que desplaza la amenaza del conocimiento hidráulico indígena para la hegemonía intelectual española al remplazar el dios mexica Tlaloc con Neptuno.","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79878965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.5325/caliope.27.2.0157
Beatriz Colombi
abstract:This work analyzes the poetry of Sor Juana Inés de la Cruz in the light of court discourse, considering the contributions of Norbert Elias, Barbara Rosenwein, Amedeo Quondam, and Fernando Rodríguez de la Flor, among others. Courtly behaviors, gender, affects, and fortune intersect in romance 36, "Salud y gracia. Sepades". In this text, as in other poems of her production, the Mexican author is inscribed in a courtly tradition and, at the same time, in an anti-courtly one, by identifying herself with courtly regulations, but, also distancing herself from them. This tension reflects the adoption of metropolitan literature, where both modalities coexist, but also reveals its particular place of enunciation, on the margins of the Spanish empire. The poem goes over the stereotypes regarding female representation through three courtly figurations: the ladies, the Fortune, and the enunciator herself.resumen:En este trabajo analizamos la poesía de sor Juana Inés de la Cruz a la luz del discurso cortesano, para lo que tenemos en cuenta los aportes de Norbert Elias, Barbara Rosenwein, Amedeo Quondam, y Fernando Rodríguez de la Flor, entre otros. Tomamos como caso de estudio el romance 36, "Salud y gracia. Sepades," donde se entrecruzan la representación de conductas cortesanas, el género, los afectos, y la fortuna. Sostenemos que, en este texto, como en otros de su producción, la autora mexicana se inscribe en una tradición áulica y, a la vez, antiáulica, al identificarse con las normativas cortesanas, pero, al mismo tiempo, tomar irónica distancia de las mismas. Esta tensión refleja la adopción de la literatura metropolitana, donde ambas modalidades coexisten, pero también revela su particular lugar de enunciación, en los márgenes del imperio español. Sugerimos que el poema revisa estereotipos respecto a la representación femenina a través de tres figuraciones cortesanas: las damas, la Fortuna, y la propia enunciadora.
本文从法庭话语的角度分析了索尔·胡安娜·因萨梅斯·德拉克鲁斯的诗歌，并考虑了诺伯特·埃利亚斯、芭芭拉·罗森温、阿梅迪奥·昆达姆和费尔南多·Rodríguez德拉弗洛尔等人的贡献。恭敬的行为、性别、情感和财富在浪漫中交织在一起。Sepades”。在这篇文章中，就像在她创作的其他诗歌中一样，墨西哥作家被铭写在一个宫廷传统中，同时，在一个反宫廷的传统中，通过将自己与宫廷规定联系起来，但同时也与它们保持距离。这种张力反映了大都会文学的采用，两种形式并存，但也揭示了它在西班牙帝国边缘的特殊位置。这首诗通过三个宫廷形象:女士们，命运女神和说话者自己，来克服关于女性代表的刻板印象。简历:通过对胡安娜·伊萨斯·德拉克鲁斯的调查和对科尔特萨诺的调查，通过对诺伯特·埃利亚斯、芭芭拉·罗森温、阿梅迪奥·昆达姆、费尔南多·Rodríguez德拉弗洛尔的调查和分析，获得了poesía关于胡安娜·伊萨斯的报告。Tomamos como caso de eststudio el romance，《向你致敬》。最后，“donde se entrereczan la representación de conductas cortesanas, el gassnero, los afectos, y lucky”。Sostenemos que, en este texto, como en otros de su producción, la autora mexicana se in刻字en una tradición áulica y, a la vez, antiáulica, all identiidentiid con las normativas cortesanas, pero, al mismo timempo, tomar irónica距离de las mismas。Esta tensión refleja la adopción de la literatura metropolitana, donde ambas modalidades共存，pero tamamicasten revela su particular lugar de enunciación, en los márgenes del imperio español。《关于诗歌的建议》修订了关于representación妇女问题的传统观念和关于妇女问题的传统观念:《妇女》、《财富》和《宣言》。
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Pub Date : 2022-10-01DOI: 10.5325/caliope.27.2.0133
S. Carneiro
abstract:During the early modern period, the flight and fall of the hero, encrypted in figures such as Icarus and Phaethon, represented not only excessive recklessness and its fatal outcome, but also the value of audacity whose reward would be immortal fame. This article examines the development of this mnemic image in cantos XIX and XX of La Araucana by Alonso de Ercilla (Segunda parte, Madrid, 1578) and cantos V and VI of Arauco domado by Pedro de Oña (Lima, 1596). The importance of allusive art and figurative culture in the invention of these fragments is highlighted.resumen:En los albores de la modernidad, el vuelo y la caída del héroe, cifrados en figuras como Faetón e Ícaro, representaron no solo la temeridad excesiva y su desenlace funesto sino también el valor de una audacia cuya recompensa sería la fama inmortal. Este artículo aborda la reelaboración de esta imagen mnémica aplicada a los guerreros araucanos en los cantos XIX y XX de La Araucana de Alonso de Ercilla (Segunda parte, Madrid, 1578) y los cantos V y VI de Arauco domado de Pedro de Oña (Lima, 1596). Se destaca el relieve del arte alusivo y de la cultura figurativa en la invención de estos fragmentos.
摘要:在现代早期，英雄的飞行和堕落，以伊卡洛斯和费厄森等人物加密，不仅代表了过度的鲁莽及其致命的结果，而且也代表了大胆的价值，其回报将是不朽的名声。本文考察了阿隆索·德·埃西拉(Alonso de Ercilla)的《阿劳卡纳》(La Araucana，第二部分，马德里，1578)和佩德罗·德ona (Pedro de ona，利马，1596)的《阿劳科domado》第五和第六章中这一记忆形象的发展。= =地理= =根据美国人口普查，这个县的面积为。摘要:在现代性的黎明，英雄的飞行和坠落，用费厄同和伊卡洛斯等人物来描述，不仅代表了过度的鲁莽及其灾难性的结局，也代表了大胆的勇气，其回报将是不朽的名声。本文讨论了阿隆索·德·埃西拉(Alonso de Ercilla)的《阿劳卡纳》(Araucana，第二部分，1578年，马德里)的第十九章和第二十章以及佩德罗·德·ona (Lima, 1596年)的《阿劳科·多玛多》(Arauco domado)的第五章和第六章中对阿劳卡尼战士的记忆形象的重新阐述。在这些碎片的发明中，典雅艺术和具象文化的重要性尤为突出。
{"title":"Vuelo y caída del héroe en la épica de Arauco: constancia y metamorfosis de una imagen mnémica / Flight and Fall of the Hero in the Epic of Arauco: Constancy and Metamorphosis of a Mnemic Image","authors":"S. Carneiro","doi":"10.5325/caliope.27.2.0133","DOIUrl":"https://doi.org/10.5325/caliope.27.2.0133","url":null,"abstract":"abstract:During the early modern period, the flight and fall of the hero, encrypted in figures such as Icarus and Phaethon, represented not only excessive recklessness and its fatal outcome, but also the value of audacity whose reward would be immortal fame. This article examines the development of this mnemic image in cantos XIX and XX of La Araucana by Alonso de Ercilla (Segunda parte, Madrid, 1578) and cantos V and VI of Arauco domado by Pedro de Oña (Lima, 1596). The importance of allusive art and figurative culture in the invention of these fragments is highlighted.resumen:En los albores de la modernidad, el vuelo y la caída del héroe, cifrados en figuras como Faetón e Ícaro, representaron no solo la temeridad excesiva y su desenlace funesto sino también el valor de una audacia cuya recompensa sería la fama inmortal. Este artículo aborda la reelaboración de esta imagen mnémica aplicada a los guerreros araucanos en los cantos XIX y XX de La Araucana de Alonso de Ercilla (Segunda parte, Madrid, 1578) y los cantos V y VI de Arauco domado de Pedro de Oña (Lima, 1596). Se destaca el relieve del arte alusivo y de la cultura figurativa en la invención de estos fragmentos.","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73496084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.5325/caliope.27.2.000v
Martina Vinatea
{"title":"Calíope en el Nuevo Mundo / Calliope in the New World","authors":"Martina Vinatea","doi":"10.5325/caliope.27.2.000v","DOIUrl":"https://doi.org/10.5325/caliope.27.2.000v","url":null,"abstract":"","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88076802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.5325/caliope.27.2.0269
Isabel Torres
{"title":"Trevor J. Dadson (1947–2020)","authors":"Isabel Torres","doi":"10.5325/caliope.27.2.0269","DOIUrl":"https://doi.org/10.5325/caliope.27.2.0269","url":null,"abstract":"","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82381220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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