This article deals with the practice of the “burla” in the court of Austrias (1563–1700) in connection with beings suffering from physical or psychic defects. The study concerns the artistic and mental representations of these “monstrous” beings in some paintings of the Golden century. The figures of the dwarf, the madman and the jester in particular are studied here. This question was approached especially by an esthetic point of view, we propose here an ethical, philosophic and political prospect, on this question of the “burla” in connection with the monstrousness.
{"title":"De la curiosidad como burla a la burla de la curiosidad","authors":"E. Vázquez","doi":"10.1075/rro.18028.mar","DOIUrl":"https://doi.org/10.1075/rro.18028.mar","url":null,"abstract":"\u0000 This article deals with the practice of the “burla” in the court of Austrias (1563–1700) in\u0000 connection with beings suffering from physical or psychic defects.\u0000 The study concerns the artistic and mental representations of these “monstrous” beings in some paintings of the\u0000 Golden century.\u0000 The figures of the dwarf, the madman and the jester in particular are studied here.\u0000 This question was approached especially by an esthetic point of view, we propose here an ethical, philosophic and\u0000 political prospect, on this question of the “burla” in connection with the monstrousness.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"104 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78038977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Las sátiras contra Felipe III y sus ministros fueron una parte fundamental de la poesía del conde de Villamediana, especialmente en los últimos años de su reinado. Su audacia no conoció límites. En uno de sus sonetos mitológicos utilizará el mito de Hércules y Ónfale para acusar a Felipe III de ser un esclavo sin voluntad para reinar, una auténtica capitis deminutio que ponía en duda su condición de rey, cristiano y hombre.
{"title":"La capitis deminutio de un rey","authors":"Julián González-Barrera","doi":"10.1075/RRO.18025.GON","DOIUrl":"https://doi.org/10.1075/RRO.18025.GON","url":null,"abstract":"\u0000 Las sátiras contra Felipe III y sus ministros fueron una parte fundamental de la poesía del conde de Villamediana,\u0000 especialmente en los últimos años de su reinado. Su audacia no conoció límites. En uno de sus sonetos mitológicos utilizará el\u0000 mito de Hércules y Ónfale para acusar a Felipe III de ser un esclavo sin voluntad para reinar, una auténtica capitis\u0000 deminutio que ponía en duda su condición de rey, cristiano y hombre.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"4 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88753778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
José Joaquín Benegasi y Luján (1707–1770) es un escritor de la época postbarroca inclinado a la literatura jocoseria cuya producción teatral (una comedia burlesca y cinco piezas breves) continúa modelos dramáticos del Siglo de Oro. En este trabajo, tras ofrecer unas breves notas sobre su fortuna crítica, se aporta una edición anotada de su baile entremesado El ingenio apurado.
jose joaquin Benegasi y lujan(1707 - 1770)是后巴洛克时期的喜剧作家，他的戏剧作品(一部滑稽剧和五部短剧)延续了黄金时代的戏剧模式。在这本书中，在简要说明了他的关键命运之后，我们提供了一个注释版本的舞蹈entremesado El ingenio apurado。
{"title":"“Estamos hoy en un siglo / fatal para los discretos”","authors":"Carlos Mata Induráin","doi":"10.1075/RRO.18032.MAT","DOIUrl":"https://doi.org/10.1075/RRO.18032.MAT","url":null,"abstract":"José Joaquín Benegasi y Luján (1707–1770) es un escritor de la época postbarroca inclinado a la literatura jocoseria cuya producción teatral (una comedia burlesca y cinco piezas breves) continúa modelos dramáticos del Siglo de Oro. En este trabajo, tras ofrecer unas breves notas sobre su fortuna crítica, se aporta una edición anotada de su baile entremesado El ingenio apurado.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"20 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84104814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article deals with the processes that Castillo Solórzano uses to write serious mythological fables (of Ovidian origin) within the parameters of the aesthetics of the grotesque and deformed, essential ingredients of satirical and burlesque literature. These processes are related to the classic imitatio and the structural disposition of the text, and also related to formal twist, « agudeza verbal » in the words of Gracián, which allow parodying the rococo style of Góngora influence. For a better expository clarity they are exemplified with the Fábula de Adonis, which Castillo Solórzano takes directly from Ovid, and which serves for other similar works of burlesque romances in the seventeenth century.
这篇文章讨论了卡斯蒂略Solórzano在怪诞和变形的美学范围内写作严肃的神话寓言(起源于奥维德)的过程，这是讽刺和滑稽文学的基本成分。这些过程与经典的模仿和文本的结构配置有关，也与形式扭曲有关，Gracián的“agudeza verbal”，这允许模仿Góngora的洛可可风格的影响。为了更好地解释清楚，他们以Fábula de Adonis为例，卡斯蒂略Solórzano直接从奥维德那里得到，并为17世纪其他类似的滑稽浪漫作品服务。
{"title":"El mito de Venus y Adonis bajo el prisma deformador de Castillo Solórzano","authors":"Juan Manuel Escudero Baztán","doi":"10.1075/RRO.18029.ESC","DOIUrl":"https://doi.org/10.1075/RRO.18029.ESC","url":null,"abstract":"\u0000This article deals with the processes that Castillo Solórzano uses to write serious mythological fables (of Ovidian origin) within the parameters of the aesthetics of the grotesque and deformed, essential ingredients of satirical and burlesque literature. These processes are related to the classic imitatio and the structural disposition of the text, and also related to formal twist, « agudeza verbal » in the words of Gracián, which allow parodying the rococo style of Góngora influence. For a better expository clarity they are exemplified with the Fábula de Adonis, which Castillo Solórzano takes directly from Ovid, and which serves for other similar works of burlesque romances in the seventeenth century.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"26 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75905228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El trabajo discute algunas interpretaciones de la burla y la magia en la comedia de Ruiz de Alarcón La cueva de Salamanca, negando las implicaciones subversivas de ambos elementos, que han sido advertidas por algunos estudios críticos poco atentos al texto de la obra.
{"title":"Burlas y magia en La cueva de Salamanca de Ruiz de Alarcón","authors":"I. Arellano","doi":"10.1075/RRO.18024.ARE","DOIUrl":"https://doi.org/10.1075/RRO.18024.ARE","url":null,"abstract":"\u0000 El trabajo discute algunas interpretaciones de la burla y la magia en la comedia de Ruiz de Alarcón La\u0000 cueva de Salamanca, negando las implicaciones subversivas de ambos elementos, que han sido advertidas por algunos\u0000 estudios críticos poco atentos al texto de la obra.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"21 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83821501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the function of mockery and laughter in the short novel El celoso hasta la muerte by Alonso de Castillo Solórzano. I interpret this text as a “novela de burlas” or comic novella, a specific type of narrative in which mockery is a central device. The analysis pays close attention to the mechanism of the “canned laughter” that reveals the function of ridicule and the role of both the victim as scapegoat and his victimizers. At the end, this short novel reflects the literary sensitivity of the aristocratic audience to whom it is addressed: a small group of noble families and friends that the author met during his stay in Valencia.
{"title":"Burla y risa en El celoso hasta la muerte de Alonso de Castillo Solórzano","authors":"F. Mansilla","doi":"10.1075/RRO.18026.ROD","DOIUrl":"https://doi.org/10.1075/RRO.18026.ROD","url":null,"abstract":"\u0000This article explores the function of mockery and laughter in the short novel El celoso hasta la muerte by Alonso de Castillo Solórzano. I interpret this text as a “novela de burlas” or comic novella, a specific type of narrative in which mockery is a central device. The analysis pays close attention to the mechanism of the “canned laughter” that reveals the function of ridicule and the role of both the victim as scapegoat and his victimizers. At the end, this short novel reflects the literary sensitivity of the aristocratic audience to whom it is addressed: a small group of noble families and friends that the author met during his stay in Valencia.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"88 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81398096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"De la oscuridad confusa: Observaciones sobre Noruega como motivo poético en la literatura del Siglo de Oro","authors":"C. F. C. Cárdenas","doi":"10.1075/RRO.17008.CAB","DOIUrl":"https://doi.org/10.1075/RRO.17008.CAB","url":null,"abstract":"","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"53 1","pages":"335-351"},"PeriodicalIF":0.2,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45969395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper deals with the model of Renaissance tragedy in Calderon’s first tragedies. In this model, the topic of the changing Fortune is essential in the configuration of the tragic structure of the play. Its use determines, in some of his early works, the possibility of establishing certain and recognizable patterns in the construction of the main characters, through the interaction of two fundamental principles of the public function, with different applications – and located between the limits of the political and moral qualities defined by the social praxis – : the authority and the use of power. Thus, Zenobia, Aurelian and Decio exemplify opposites models in relation of these two principles of political theory.
{"title":"El tema de la autoridad y el poder en las tragedias tempranas de Calderón","authors":"J. Baztán","doi":"10.1075/RRO.17006.ESC","DOIUrl":"https://doi.org/10.1075/RRO.17006.ESC","url":null,"abstract":"Abstract This paper deals with the model of Renaissance tragedy in Calderon’s first tragedies. In this model, the topic of the changing Fortune is essential in the configuration of the tragic structure of the play. Its use determines, in some of his early works, the possibility of establishing certain and recognizable patterns in the construction of the main characters, through the interaction of two fundamental principles of the public function, with different applications – and located between the limits of the political and moral qualities defined by the social praxis – : the authority and the use of power. Thus, Zenobia, Aurelian and Decio exemplify opposites models in relation of these two principles of political theory.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"8 1","pages":"318-334"},"PeriodicalIF":0.2,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85420049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Resume The French construction heureusement que shows a que that has been recently analyzed as a very specific relative pronoun, an evidential que, which introduces a proposition considered as having been previously uttered. On the other hand, the pronoun qui – apart from its common use as an anaphoric relative – had a specific function until the end of the 17th century: it could be used with no antecedent, and with an indefinite and suppositive value meaning ‘if one’. The first part of this study draws up a full list of both constructions in French. The second part of the study is mainly diachronic, and explores the origins of these two pronouns in classical Latin, as well as their evolution through Romance languages, namely French, Italian and Spanish.
{"title":"Le que médiatif du français contemporain: Perspectives diachronique et comparée","authors":"J. Anscombre","doi":"10.1075/RRO.16022.ANS","DOIUrl":"https://doi.org/10.1075/RRO.16022.ANS","url":null,"abstract":"Resume The French construction heureusement que shows a que that has been recently analyzed as a very specific relative pronoun, an evidential que, which introduces a proposition considered as having been previously uttered. On the other hand, the pronoun qui – apart from its common use as an anaphoric relative – had a specific function until the end of the 17th century: it could be used with no antecedent, and with an indefinite and suppositive value meaning ‘if one’. The first part of this study draws up a full list of both constructions in French. The second part of the study is mainly diachronic, and explores the origins of these two pronouns in classical Latin, as well as their evolution through Romance languages, namely French, Italian and Spanish.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"10 1","pages":"181-216"},"PeriodicalIF":0.2,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75131883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article examines four hypotheses that have been suggested in the recent discussion on the syntactic status of French short adverbs such as in aller direct and manger gras (Noailly, 1994, Abeille & Godard, 2004, amongst others). According to the first hypothesis (A), short adverbs are not adverbs but adjectives used beside the verb (“adverbal adjectives”). The second hypothesis (B) follows from the commonplace affirmation of adverbal adjectives being invariable (lacking gender and number agreement). The third hypothesis (C) suggests the analysis of one group of adverbal adjectives as complements of the verb instead of verb modifiers. Finally, it has been assumed that the adverbal adjective is a “light constituent” (Hypothesis D). Theses hypotheses are tested against data stemming from the future Dictionnaire historique de l’adjectif-adverbe. The database of this dictionary includes some 17,000 attested examples of short adverb usage. It will be shown that only Hypothesis A can be verified.
{"title":"La structure “verbe + adjectif”: Parler vrai, dire juste, faire simple et compagnie","authors":"M. Hummel","doi":"10.1075/RRO.16021.HUM","DOIUrl":"https://doi.org/10.1075/RRO.16021.HUM","url":null,"abstract":"Abstract This article examines four hypotheses that have been suggested in the recent discussion on the syntactic status of French short adverbs such as in aller direct and manger gras (Noailly, 1994, Abeille & Godard, 2004, amongst others). According to the first hypothesis (A), short adverbs are not adverbs but adjectives used beside the verb (“adverbal adjectives”). The second hypothesis (B) follows from the commonplace affirmation of adverbal adjectives being invariable (lacking gender and number agreement). The third hypothesis (C) suggests the analysis of one group of adverbal adjectives as complements of the verb instead of verb modifiers. Finally, it has been assumed that the adverbal adjective is a “light constituent” (Hypothesis D). Theses hypotheses are tested against data stemming from the future Dictionnaire historique de l’adjectif-adverbe. The database of this dictionary includes some 17,000 attested examples of short adverb usage. It will be shown that only Hypothesis A can be verified.","PeriodicalId":42193,"journal":{"name":"REVUE ROMANE","volume":"212 1","pages":"261-296"},"PeriodicalIF":0.2,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76165387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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