Pub Date : 2017-11-06DOI: 10.5325/CALIOPE.10.1.0055
Howard B. Wescott
Few exercises illustrate the shattering of imperial aristocratic confidence brought on by the scientific revolution of the sixteenth and seventeenth centuries so well as a comparison between Garcilaso de la Vega’s eclogues, and the sonnet “A una muger que se afeitaba y estaba hermosa,” attributed to one of the Argensola brothers, usually Lupercio. Taken together these two works reveal clearly the trust in a vision of a well-ordered cosmos that unified Garcilaso’s world, and the extent to which the Baroque aesthetic reflects a cosmic vision founded on ideas of deceit and deception. Two Italians, Castiglione and Galileo, play important roles in this transition and this study seeks also to illuminate their influence on the course of Spanish poetry in the Siglo de Oro. Until the last two decades of the twentieth century many Garcilaso interpreters read his works, especially the eclogues, as poemes a clef, autobiography disguised in pastoral dress. Most recently this problem, which is also one of “sincerity,” has been discussed clearly and thoroughly by Daniel Heiple, who locates the poetic yo in a Petrarchan rhetoric of emotion rather than in the person of the poet (3-27). In spite of dedicating his attention primarily to Garcilaso’s sonnets, Heiple observes of the eclogues, “Garcilaso’s late poems show a self-awareness of style and a conscious distancing of the authorial voice . . . the poet consciously removes the poetic voice from the person who suffers to that of a disinterested narrator” (23).
很少有研究能像加尔西拉索·德拉维加(Garcilaso de la Vega)的牧歌和十四行诗《a una muger que se afeitaba y estaba hermosa》(被认为是阿根索拉兄弟之一，通常是卢珀西奥)之间的比较那样，说明16世纪和17世纪的科学革命所带来的帝国贵族信心的破灭。把这两件作品放在一起，清楚地揭示了对一个有序的宇宙的信任，这个宇宙统一了加尔西拉索的世界，以及巴洛克美学在多大程度上反映了建立在欺骗和欺骗思想基础上的宇宙视野。两个意大利人，Castiglione和Galileo，在这一转变中发挥了重要作用，本研究也试图阐明他们对Siglo de Oro西班牙诗歌进程的影响。直到二十世纪的最后二十年，许多加尔西拉索的诠释者读他的作品，尤其是牧歌，作为诗歌，谱曲，自传伪装在田园服装。最近，丹尼尔·海普尔(Daniel heple)清楚而透彻地讨论了这个问题，这也是“真诚”的问题之一，他将诗意的yo定位于彼特拉克式的情感修辞，而不是诗人本人(3-27)。尽管他的注意力主要集中在加尔西拉索的十四行诗上，但海普尔观察到牧歌，“加尔西拉索的晚期诗歌表现出对风格的自我意识和对作者声音的有意识的疏远……诗人有意识地把受苦的人的诗意的声音移开，变成一个无私的叙述者的声音”(23)。
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Pub Date : 2017-11-06DOI: 10.5325/CALIOPE.11.2.0111
Bradley J. Nelson
A s is the case with many undergraduate Spanish programs, the teaching of Golden Age poetry at Concordia University is combined with that of Golden Age theater. Although this arrangement severely limits what one can do with either of these significant and vast cultural phenomena, the traditional rationale for this type of program is solid, as the concentrated study of poetic forms, themes, imagery, and topics in the more manageable texts of sonnets and canciones prepares students for the formal, conceptual, and intertextual complexities that make Renaissance and Baroque drama so endlessly challenging. The purpose of this paper, however, is to describe what can happen when one inverts the terms of this relationship and focuses on the theatricality of Golden Age poetry rather than the lyricism of Golden Age theater. Theatricality, of course, is a very complex concept which has produced a quiet unmanageable theoretical and critical corpus; so for this course I settled on four distinct yet interrelated approaches to theatricality which were introduced throughout the thirteen-week semester.1 My goal was to construct a series of dialogues between Renaissance poesia cancioneril and the theater of Encina, the mystical eroticism of Juan de la Cruz and the marketplace humor of Lope de Rueda, the political wit of Gracian, and the political allegories of Calderon, and so on. I began the course with a consideration of the cancionero movement of the early Renaissance. Not only is this witty and enigmatic theatrical in its ritualistic, competitive, and performative aspects, but the central role played by the Spanish nobility in this courtly movement makes the cancionero a compelling stage on which the social, political, religious, and artistic transformations and conflicts of the late Middle Ages and early Renaissance may be played out for students. What was perceived in the Middle Ages as the nobility’s inalienable moral and social superiority, a superiority based, in turn, on a universalizing, cosmological Chain of Being, in the Renaissance becomes theatrical;
与许多西班牙本科课程一样，康考迪亚大学的黄金时代诗歌教学与黄金时代戏剧教学相结合。尽管这种安排严重限制了人们对这些重要而巨大的文化现象的处理，但这种课程的传统理论基础是坚实的，因为在十四行诗和诗行的更易于管理的文本中，对诗歌形式、主题、意象和主题的集中研究为学生准备了形式、概念和互文的复杂性，这些复杂性使文艺复兴和巴洛克戏剧具有无限的挑战性。然而，本文的目的是描述当人们颠倒这种关系的术语并关注黄金时代诗歌的戏剧性而不是黄金时代戏剧的抒情性时会发生什么。当然，戏剧性是一个非常复杂的概念，它产生了一个安静的难以管理的理论和批评语料库;因此，在这门课上，我选择了四种截然不同但又相互关联的戏剧方法，这些方法贯穿了这十三周的学期我的目标是构建一系列的对话，在文艺复兴时期的cancioneril诗歌和恩西纳的戏剧，Juan de la Cruz的神秘情色和Lope de Rueda的市场幽默，Gracian的政治智慧和Calderon的政治寓言，等等。我以文艺复兴早期的cancionero运动作为课程的开始。这种诙谐而神秘的戏剧不仅体现在仪式、竞争和表演方面，而且西班牙贵族在这场宫廷运动中所扮演的核心角色，也使cancionero成为一个引人注目的舞台，在这个舞台上，中世纪晚期和文艺复兴早期的社会、政治、宗教和艺术变革和冲突可能会在学生面前上演。中世纪贵族不可剥夺的道德和社会优越感，这种优越感，反过来，建立在普遍化的宇宙存在链上，在文艺复兴时期变得戏剧化了;
{"title":"Capes and Swords: Teaching the Theatricality of Golden age Poetry","authors":"Bradley J. Nelson","doi":"10.5325/CALIOPE.11.2.0111","DOIUrl":"https://doi.org/10.5325/CALIOPE.11.2.0111","url":null,"abstract":"A s is the case with many undergraduate Spanish programs, the teaching of Golden Age poetry at Concordia University is combined with that of Golden Age theater. Although this arrangement severely limits what one can do with either of these significant and vast cultural phenomena, the traditional rationale for this type of program is solid, as the concentrated study of poetic forms, themes, imagery, and topics in the more manageable texts of sonnets and canciones prepares students for the formal, conceptual, and intertextual complexities that make Renaissance and Baroque drama so endlessly challenging. The purpose of this paper, however, is to describe what can happen when one inverts the terms of this relationship and focuses on the theatricality of Golden Age poetry rather than the lyricism of Golden Age theater. Theatricality, of course, is a very complex concept which has produced a quiet unmanageable theoretical and critical corpus; so for this course I settled on four distinct yet interrelated approaches to theatricality which were introduced throughout the thirteen-week semester.1 My goal was to construct a series of dialogues between Renaissance poesia cancioneril and the theater of Encina, the mystical eroticism of Juan de la Cruz and the marketplace humor of Lope de Rueda, the political wit of Gracian, and the political allegories of Calderon, and so on. I began the course with a consideration of the cancionero movement of the early Renaissance. Not only is this witty and enigmatic theatrical in its ritualistic, competitive, and performative aspects, but the central role played by the Spanish nobility in this courtly movement makes the cancionero a compelling stage on which the social, political, religious, and artistic transformations and conflicts of the late Middle Ages and early Renaissance may be played out for students. What was perceived in the Middle Ages as the nobility’s inalienable moral and social superiority, a superiority based, in turn, on a universalizing, cosmological Chain of Being, in the Renaissance becomes theatrical;","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78835721","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 : 2017-11-06DOI: 10.5325/CALIOPE.17.2.0035
Jason Mccloskey
In Juan Boscan’s “Capitulo,” the voice of the poem compares the strategy used to express the pain of jealousy to the method employed by a classical artist in a famous mythological painting. In his artwork depicting the sacrifice of Iphigenia, Timanthes concealed the face of the victim’s father, Agamemnon, with a hood. Unfortunately, the complex representation of jealousy in the poem and its relation to Renaissance art theory has also remained covered up. However, recent studies by Steven Wagschal and Javier Lorenzo help to foreground and examine these and other significant aspects of “Capitulo,” such as self-representation and ekphrasis. Drawing additionally on Wayne Rebhorn’s study of Il Cortegiano, this study explores how the poem portrays the myth of Iphigenia in a visually oriented way evocative of precepts expressed by the fifteenth-century Italian art theorist Leon Battista Alberti. I contend that this descriptive strategy produces an emotionally compelling and sympathetic portrait of the lyric voice stricken with jealousy that reflects ideas articulated in Castilgione’s famous treatise. Finally, this reading argues that, despite explicit claims otherwise, “Capitulo” does ironically put a face on jealousy by appealing to the rhetorical device of occultatio. Consisting of 385 lines of terza rima, “Capitulo” expresses the laments of a lover who describes to his beloved the suffering caused by unreciprocated attention and affection. Yet when, after describing a variety of emotions in detail, the uniquely painful experience of jealousy arises, the poetic voice claims only to be able to approximate the effects of such an emotion by analogy. With this comparative
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Pub Date : 2017-11-06DOI: 10.5325/CALIOPE.18.3.0007
Gary Brown
SUMMARY: Lope’s sonnet La calidad elementar resiste and its self-commentary published in La Circe has traditionally been conceived as a pedantic rejoinder to his gongorist critics. But the importance of the sonnet for Lope, witnessed by its publication on three separate occasions, invites a re-reading of the sonnet and its commentary as more than mere posturing against the vogue of gongorism. A closer analysis of the content of Lope’s commentary points to a personal, pyscho-erotic stake veiled in the language of Neoplatonism and the underlying scholastistic conceptions of amor and eros, relying not only on the Heptaplus of Pico della Mirandola but more significantly on Pseudo-Dionysius the Areopagite and Ficino’s translations of Plato.
摘要:洛普的十四行诗《基本抵抗》及其发表在《Circe》上的自我评论传统上被认为是对他的工歌主义批评者的迂腐的反驳。但是，这首十四行诗对洛佩的重要性，从它在三个不同场合的出版中可以看出，这首十四行诗和它的评论不仅仅是为了反对贡贡主义的流行而摆出的姿态，这就要求人们重新阅读这首十四行诗和它的评论。对Lope注释内容的进一步分析指出，在新柏拉图主义的语言中隐藏着一种个人的、心理的、情欲的利害关系，以及潜在的经院哲学的爱情和爱欲概念，不仅依赖于Pico della Mirandola的七重加，更重要的是依赖于伪狄奥尼修斯和菲西诺对柏拉图的翻译。
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Pub Date : 2017-11-06DOI: 10.5325/caliope.19.1.0007
E. Bergmann
{"title":"In Memoriam: Elias L. Rivers (September 19, 1924–December 21, 2013)","authors":"E. Bergmann","doi":"10.5325/caliope.19.1.0007","DOIUrl":"https://doi.org/10.5325/caliope.19.1.0007","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":"2017-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83142319","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 : 2017-11-06DOI: 10.5325/CALIOPE.17.1.0097
Matthew Warshawsky
Antonio Enriquez Gomez, prolifico dramaturgo, poeta y ensayista de la Espana aurea, se destaco de la mayoria de sus contemporaneos literarios debido a su condicion de converso, es decir, de catolico bautizado proveniente de una familia de linaje judio. Aunque tal identidad no suponia necesariamente que fuera criptojudio o, en el vocabulario de la Inquisicion, judaizante, el ser judeo-converso influyo profundamente en el curso de su vida y el contenido de sus escritos. Nacido en Cuenca en 1600 o 1601, Enriquez Gomez trabajo como comerciante de telas en una carrera con varios altibajos; se caso con una cristiana vieja, una mujer cuya etnia estaba libre de las manchas de sangre judia o mora; vio la detencion inquisitorial de su padre por herejia judaizante y la confiscacion subsecuente de los bienes familiares; se exilio a Francia por 14 anos, aunque no por motivos religiosos; regreso a Espana, donde vivio en Sevilla bajo varios seudonimos; y en 1660 fue detenido alli por la Inquisicion, en cuya carcel murio en 1663.1 La inestabilidad e inquietud que caracterizaron estas y otras experiencias explican por que sus textos estan poblados, en unos casos, por peregrinos que viajan de lugar a lugar lamentando los vicios de mundos alegoricos y, en otros, por personajes historicos y biblicos que encarnan la virtud y la fidelidad a la conciencia personal contra la intolerancia y la injusticia. Tanto el aspecto autobiografico de los escritos de Enriquez Gomez como su copiosidad y calidad abren una ventana a la cosmovision de alguien que simultaneamente estaba adentro y afuera, luchando por conseguir un espacio en la escena literaria espanola de mediados del siglo XVII. Este ensayo tratara de la perspectiva conversa que informa tres textos del exilio frances, no para buscar indicios de que el autor
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Pub Date : 2017-11-06DOI: 10.5325/CALIOPE.14.2.0087
E. Rivers, Paul Carranza
The prologue to Sor Juana Ines de la Cruz s Primero Sueno is a clearly delimited unit of 150 lines, entitled “Noche y sueno del cosmos” in the Sabat-Rivers edition (pp. 435-39). It begins with a baroque scientific evocation of night as the shadow, shaped like an Egyptian pyramid or group of obelisks, that is cast by the dark side of the Earth upon the Moon and into stellar space by a revolving Ptolomaic Sun. The narrative focus quickly shifts from astronomy to the sub-lunar world of our Earth, where nocturnal birds and bats still flit in growing silence as fish and animals and birds everywhere go to sleep. The 146 hendecasyllables and heptasyllables in silva form, with their complex syntax and run-on lines, lead up to these four simple lines, without enjambment, that serve as a remate or coda:
索尔·胡安娜·伊内斯·德·拉·克鲁兹的《Sueno的序曲》的序言是一个明确划分的150行的单元，在sabatrivers版(第435-39页)中以“Noche y Sueno del cosmos”为题。它以巴洛克式的科学唤起夜晚的影子，形状像埃及金字塔或一群方尖碑，由地球的黑暗面投射到月球上，由旋转的托勒密太阳投射到恒星空间。故事的焦点很快从天文学转移到了我们地球的月下世界，在那里，夜行的鸟类和蝙蝠仍然在越来越安静的环境中飞翔，而各地的鱼类、动物和鸟类都去睡觉了。这首诗有146个十六音节和七音节，语法复杂，有连续的行，引出了这四行简单的句子，没有连接，作为余音或结尾:
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Pub Date : 2017-11-06DOI: 10.5325/caliope.14.2.0091
Electa Arenal
Hemos perdido el 7 de mayo de 2008 a una gran figura de la crítica y la academia iberoamericanas, a una gran amiga, maestra, consejera y colega. Desde hacía un año y pocos días había sufrido una hemorragia cerebral que la dejó paralizada y sin habla. Su esposo Elías Rivers la visitaba todos los días. Atenta a todo, Georgina conocía a casi todas las personas y grupos del campo letrado. Había servido, además, en puestos de liderazgo de varias organizaciones y editoriales. Manteniéndose al tanto de las antiguas y modernas corrientes metodológicas y teóricas, con un ritmo de trabajo constante y productivo, esta erudita sin aires llegó a destacarse a nivel internacional. No dejó nunca de compartir el producto de sus esfuerzos. Fue generosa con varias generaciones de hispanistas. Junto a su amado compañero Elías, Georgina ayudó a un sin fin de personas. Recomendaba, aconsejaba, invitaba, escuchaba, informaba, retaba y mimaba. Aún al discrepar mostraba interés y respeto por las ideas de los demás. La profesora Sabat-Rivers fue educadora modelo y guía, en especial pero no exclusivamente de los y las que investigan la época virreinal o
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Pub Date : 2017-11-06DOI: 10.5325/CALIOPE.9.1.0005
P. R. Pérez
No ha sido el siglo XX el mejor de los tiempos para el estudio de los generos literarios. Primero, las corrientes idealistas y formalistas, con el estudio de la obra en si, prescindieron de las relaciones entre los textos. Despues de la semiotica, las corrientes postestructuralistas volvieron a cuestionar las perspectivas sistematicas, hasta alcanzar el paroxismo de la desconstruccion. En el transito al siglo XXI el debate sobre el canon, al situarse en este horizonte, ha acabado remitiendo a la subjetividad del gusto privilegiado cualquier principio de ordenacion. A la dificultad metodologica se suma en el caso de la aproximacion critica a los generos liricos en el periodo aureo1 la inherente al propio objeto de estudio, toda vez que en el discurso clasicista carece de operatividad (y aun de existencia) la nocion de genero, como evidencian los estruendosos silencios de las preceptivas. De manera radical, la ausencia procede de la inexistencia misma de la “literatura”2, concepto historico moderno y vinculado al romanticismo, frente al que solo hallamos las nociones de poetica y retorica, a las que paulatinamente se suman las reglas de la metrica3. Del conjunto brotan unos elementos de codificacion de caracter externo y aprioristico respecto a la propia escritura, sometida a un persistente principio de imitacion en cuyo dominio se consagran (como canonicos y como elementos de modelizacion) los auctores. Convertidos estos en verdaderos dechados, no podemos, sin embargo, identificarlos estrictamente con moldes genericos, si atendemos a la moderna nocion de genero, con su dinamica y su sentido dialectico, frente a la concepcion clasica de la formalizacion textual o, por mejor decir, discursiva. En ese sentido clasico y clasicista de la fabula y de la oratio no falta, como es sabido, el concepto de genus, pero su operatividad es reducida a un sentido retorico, cruzado ademas con nociones como la de estilo y manera, en lo que pesa tanto la herencia medieval4 como la raiz aristotelica. De la logica del Estagirita procede la distincion entre genero y especie, base de toda la clasificacion y definicion ontologicas, todavia aplicadas por Cascales a la jerarquizacion de las formas5, y, sobre todo, en su fragmentaria Poetica y su silencio al respecto arraiga el
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Pub Date : 2017-11-06DOI: 10.5325/CALIOPE.18.1.0042
Carmen Delgado Moral
RESÚMENES: Se analizan algunos de los motivos en la argumentación del Panegírico por la poesía de Fernando de Vera y Mendoza. En la defensa del género el tratado recoge ideas clásicas sobre el origen divino de la poesía, su antigüedad, la alta dignidad de quienes la han cultivado, su relación con la pintura y con otras artes y ciencias, como fllosofía y medicina, para acabar con su proyección en la distinción de géneros poéticos. Se destacan las fuentes de sus argumentos y la relación con la teoría poética vigente en un momento de singular importancia en la poética barroca, cuando su aparición coincide con la muerte de Góngora.
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