In this work the author identifies, analyses, and frames, within the larger Baroque concepts of political prudence and caution, some of the most representative direct and indirect references in Francisco de Quevedo’s Primera parte de la vida de Marco Bruto to the notion of duplicity in all of its variations (simulation / dissimulation). Additionally, and using as a starting point the ideas of Alessandro Martinengo and other researchers, the author tries to prove that the references to duplicity in the final section of the book, the «Suasorias», are critical to understand the connection between this part and the other two main ones, the «Discursos» and the «Cuestion politica», where this topic is absolutely key. In fact, it is believed that it would not be an exaggeration to describe Primera parte de la vida de Marco Bruto primarily as a political manual on prudence, caution, and, very much in particular, duplicity.
在这部作品中，作者识别、分析和框架，在更大的巴洛克政治审慎和谨慎的概念中，弗朗西斯科·德·克维多(Francisco de Quevedo)的《Primera parte de la vida de Marco Bruto》中一些最具代表性的直接和间接参考，以其所有变体(模拟/伪装)的双重概念。此外，以Alessandro Martinengo和其他研究人员的观点为出发点，作者试图证明书中最后一节“Suasorias”中提到的两面三刀对于理解这一部分与其他两个主要部分之间的联系至关重要，“Discursos”和“question politica”，这个话题是绝对关键的。事实上，人们认为，将《马尔科·布鲁托的生活之初》主要描述为一本关于谨慎、谨慎，特别是关于表里不一的政治手册并不夸张。
{"title":"La \"Primera parte de la vida de Marco Bruto\" de Francisco de Quevedo como manual político de prudencia, cautela y duplicidad","authors":"R. Iglesias","doi":"10.15581/017.23.35-66","DOIUrl":"https://doi.org/10.15581/017.23.35-66","url":null,"abstract":"In this work the author identifies, analyses, and frames, within the larger Baroque concepts of political prudence and caution, some of the most representative direct and indirect references in Francisco de Quevedo’s Primera parte de la vida de Marco Bruto to the notion of duplicity in all of its variations (simulation / dissimulation). Additionally, and using as a starting point the ideas of Alessandro Martinengo and other researchers, the author tries to prove that the references to duplicity in the final section of the book, the «Suasorias», are critical to understand the connection between this part and the other two main ones, the «Discursos» and the «Cuestion politica», where this topic is absolutely key. In fact, it is believed that it would not be an exaggeration to describe Primera parte de la vida de Marco Bruto primarily as a political manual on prudence, caution, and, very much in particular, duplicity.","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42117709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Garzelli, Beatrice, Traducir el Siglo de Oro: Quevedo y sus contemporáneos, New York, IDEA / IGAS, 2018, 167 pp. (ISBN: 978-1-938795-44-2)","authors":"D. Corsi","doi":"10.15581/017.22.29141","DOIUrl":"https://doi.org/10.15581/017.22.29141","url":null,"abstract":"","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42555552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Quevedo, Francisco de, «Melpómene», musa tercera de El Parnaso español, ed. Jacobo Llamas Martínez, Pamplona, Eunsa (Anejos de La Perinola, 32), 2017, 252 pp. (ISBN: 978-84-313-3241-9)","authors":"Iria Pin Moros","doi":"10.15581/017.22.29142","DOIUrl":"https://doi.org/10.15581/017.22.29142","url":null,"abstract":"","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41733648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The poem number 682 by Quevedo («Anilla, dame atencion») consists of a series of classical-mythological episodes —as well as a Biblical one, about Samson— seen in the ambiguous light of the veras and burlas (in Gonzalez de Salas’ traditional terminology), all dealing with Anilla, whose avarice is censured as much as her subversive and irresistible charms are praised. The series ends with Paris, a third-rate judge, who is nevertheless able to suggest a kind of mock-heroic poetics, of which Anilla herself is the emblem.
{"title":"Anilla o de lo burlesco (BL, núm. 682)","authors":"Alessandro Martinengo","doi":"10.15581/017.22.189-198","DOIUrl":"https://doi.org/10.15581/017.22.189-198","url":null,"abstract":"The poem number 682 by Quevedo («Anilla, dame atencion») consists of a series of classical-mythological episodes —as well as a Biblical one, about Samson— seen in the ambiguous light of the veras and burlas (in Gonzalez de Salas’ traditional terminology), all dealing with Anilla, whose avarice is censured as much as her subversive and irresistible charms are praised. The series ends with Paris, a third-rate judge, who is nevertheless able to suggest a kind of mock-heroic poetics, of which Anilla herself is the emblem.","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48154686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Francisco de Quevedo is the most frequently mentioned Spanish poet by Benito Jeronimo Feijoo, always in a positive way (1726-1760). In his essays, in which Feijoo demonstrates a deep knowledge of the quevedesque work, Quevedo is cited as a canonical author, he appears as a character, as an authority in Feijoo’s controversial writings, as an authority too in his essays of Historical theme, and his work is recurrently cited by Feijoo in the passage of various subjects. In addition, the poetry of Feijoo also manifests the influence of Quevedo, both in their burlesque themes and in their linguistic resources, which constantly refer to different Quevedo passages.
{"title":"Quevedo en los ensayos y la poesía de Feijoo","authors":"Rodrigo Olay Valdés","doi":"10.15581/017.22.459-493","DOIUrl":"https://doi.org/10.15581/017.22.459-493","url":null,"abstract":"Francisco de Quevedo is the most frequently mentioned Spanish poet by Benito Jeronimo Feijoo, always in a positive way (1726-1760). In his essays, in which Feijoo demonstrates a deep knowledge of the quevedesque work, Quevedo is cited as a canonical author, he appears as a character, as an authority in Feijoo’s controversial writings, as an authority too in his essays of Historical theme, and his work is recurrently cited by Feijoo in the passage of various subjects. In addition, the poetry of Feijoo also manifests the influence of Quevedo, both in their burlesque themes and in their linguistic resources, which constantly refer to different Quevedo passages.","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67101232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyses the theatrical production of Francisco de Quevedo’s and Calderon de la Barca’s interludes by comparing one of the most significant points of contact of their respective short dramaturgies: the «entremes de figuras» and its different structural possibilities. It proposes a conceptual problematization of both categories, as well as an examination of its relevance in the development of this dramatic genre of the entremes through the study of the following plays: Los enfadosos, La ropavejera and Los refranes del viejo celoso ‒of doubtful authorship‒ by Quevedo; and the calderonian entremeses Las Jacaras and Las Carnestolendas.
{"title":"Desfile y entremés de figuras en Quevedo y Calderón","authors":"Jéssica Castro Rivas","doi":"10.15581/017.22.85-105","DOIUrl":"https://doi.org/10.15581/017.22.85-105","url":null,"abstract":"This paper analyses the theatrical production of Francisco de Quevedo’s and Calderon de la Barca’s interludes by comparing one of the most significant points of contact of their respective short dramaturgies: the «entremes de figuras» and its different structural possibilities. It proposes a conceptual problematization of both categories, as well as an examination of its relevance in the development of this dramatic genre of the entremes through the study of the following plays: Los enfadosos, La ropavejera and Los refranes del viejo celoso ‒of doubtful authorship‒ by Quevedo; and the calderonian entremeses Las Jacaras and Las Carnestolendas.","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67101301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
espanolLas relaciones personales que Quevedo trabo en la Corte y el modo en que retrato a amigos y conocidos en sus obras no han merecido toda la atencion que debieran. De hecho, apenas tenemos datos de algunas de las figuras relevantes del Madrid de los Austrias que convirtio en personajes de sus textos burlescos. Asi sucede, por ejemplo, con Gaspar Bonifaz, el caballerizo real que llego a ser espia mayor del reino. Con el presente articulo pretendemos contribuir al mejor conocimiento de este destacado hombre del servicio de Felipe IV e intentar determinar las causas por las que Quevedo lo incluyo en tres de sus textos burlescos y el grado de relacion que pudo haber existido entre ambos. EnglishThe personal relationships that Quevedo struck up in the Court of Philip IV and the way that he described their friends and acquaintances in his works have focused less attention of the researchers than they should. In fact, we have scarce information about some relevant figures of the Golden Age Madrid that Quevedo included as characters of his burlesque works. This happens, for instance, with Gaspar Bonifaz, a groom of the royal stable who became the principal spy of the kingdom —el espia mayor del reino—. With the present article, the author tries to contribute to a better knowledge of this servant of His Majesty and we attempt to establish the reasons why Quevedo included him in three of his burlesque works, as well as the relationship that they could have had.
{"title":"Gaspar Bonifaz bajo la óptica de Quevedo","authors":"Sandra Valiñas Jar","doi":"10.15581/017.22.377-410","DOIUrl":"https://doi.org/10.15581/017.22.377-410","url":null,"abstract":"espanolLas relaciones personales que Quevedo trabo en la Corte y el modo en que retrato a amigos y conocidos en sus obras no han merecido toda la atencion que debieran. De hecho, apenas tenemos datos de algunas de las figuras relevantes del Madrid de los Austrias que convirtio en personajes de sus textos burlescos. Asi sucede, por ejemplo, con Gaspar Bonifaz, el caballerizo real que llego a ser espia mayor del reino. Con el presente articulo pretendemos contribuir al mejor conocimiento de este destacado hombre del servicio de Felipe IV e intentar determinar las causas por las que Quevedo lo incluyo en tres de sus textos burlescos y el grado de relacion que pudo haber existido entre ambos. EnglishThe personal relationships that Quevedo struck up in the Court of Philip IV and the way that he described their friends and acquaintances in his works have focused less attention of the researchers than they should. In fact, we have scarce information about some relevant figures of the Golden Age Madrid that Quevedo included as characters of his burlesque works. This happens, for instance, with Gaspar Bonifaz, a groom of the royal stable who became the principal spy of the kingdom —el espia mayor del reino—. With the present article, the author tries to contribute to a better knowledge of this servant of His Majesty and we attempt to establish the reasons why Quevedo included him in three of his burlesque works, as well as the relationship that they could have had.","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67101190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present article presents arguments for the identification of the «Poet of the rogues» who can be seen in the Discurso de todos los diablos along with Luis Quinones de Bevanente, in an attempt to connect some of the textual references to the dances and interludes that belong to the so called «festive language». It also offers some data about the contempt that Quinones suffered from authors like Lope de Vega or Quedevo, to conclude that the «Poeta» bears no relation to Quevedo’s literary disdain but represents the vulgarisation and coarsening of the popular taste of the time.
本文提出了对“流氓诗人”身份的论证，这些人可以在《魔鬼论》(Discurso de todos los diablos)中与Luis Quinones de Bevanente一起看到，试图将一些文本参考与属于所谓“节日语言”的舞蹈和插曲联系起来。它还提供了一些关于奎诺内斯遭受像洛佩·德·维加或奎德沃这样的作家的蔑视的数据，得出的结论是，《诗歌》与奎德沃的文学蔑视无关，而是代表了当时流行品味的庸俗和粗俗。
{"title":"El «Poeta de los pícaros», figurilla quevedesca con trastienda teatral","authors":"A. Madroñal","doi":"10.15581/017.22.167-176","DOIUrl":"https://doi.org/10.15581/017.22.167-176","url":null,"abstract":"The present article presents arguments for the identification of the «Poet of the rogues» who can be seen in the Discurso de todos los diablos along with Luis Quinones de Bevanente, in an attempt to connect some of the textual references to the dances and interludes that belong to the so called «festive language». It also offers some data about the contempt that Quinones suffered from authors like Lope de Vega or Quedevo, to conclude that the «Poeta» bears no relation to Quevedo’s literary disdain but represents the vulgarisation and coarsening of the popular taste of the time.","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43109365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
espanolLa galeria de tipos y situaciones espigados en la prosa, en la poesia y en el teatro quevedescos muestra que el tema de la pobreza se revela como uno de los mas fertiles en relacion con su capacidad creadora — ingeniosa y conceptista— de neologismos y caricaturas. A la vez, depara multiples aspectos que armonizan con la misoginia cultural de la epoca y del propio autor. Como ponen de relieve muchos ejemplos resenados, la figura del mendigo se puede jocosamente asimilar a la de la mujer pediguena, mientras que en la vertiente masculina el pordiosero ambiciona una caridad de naturaleza erotica. En ambos casos, la relacion entre los dos sexos depara, pues, a la pluma satirica corrosiva de Quevedo la oportunidad de adaptar la figura del pobre a una vision rebajada y materialista del tema amoroso. Pero, incluso algunas reflexiones filologicas y morales dan pie a elaboraciones metaforicas ineditas de la figura o de algun accesorio del miserable. EnglishThe series of types and situations present in Quevedo’s prose, poetry and comic theater shows that the motif of poverty is one of the most fertile in relation with the author’s capacity to create both ingenious and witty neologisms and caricatures. At the same time, it offers many features that harmonize with the cultural misogyny of the writer and his time. According to the many examples collected, the beggar’s figure can be assimilated to that of the pediguena, while the beggar is looking for sexual charity. In both cases, the relationship between men and women offers to Quevedo’s satirical pen the opportunity of adapting the poor’s type to a materialistic and degenerated vision of love. Moreover, even some philological and moral comments encourage original metaphors of the type or features of the poor.
在quevedescos的散文、诗歌和戏剧中，西班牙的类型和情况的画廊表明，贫穷的主题是最丰富的，因为它的创造性能力-独创性和概念-新词和漫画。与此同时，它发现了许多与当时的文化厌女症和作者本人相协调的方面。正如许多评论的例子所强调的那样，乞丐的形象可以被滑稽地同化为乞丐的女性形象，而在男性方面，乞丐渴望一种色情性质的慈善。在这两种情况下，两性之间的关系为克维多具有破坏性的讽刺笔提供了一个机会，使穷人的形象适应对爱情主题的贬低和唯物主义的看法。但是，即使是一些语言学和道德上的思考，也会导致对这个人物或某个悲惨人物的一些配件进行前所未有的隐喻阐述。克维多的散文、诗歌和喜剧戏剧中所呈现的一系列类型和情形表明，贫穷的原因是最富有成效的原因之一，这与作者创造巧妙而巧妙的新词和漫画的能力有关。At the same time, it offers多的特写,harmonize with the cultural misogyny of the writer and time。to the许多范例中,the乞丐’s can be assimilated to that of the pediguena性,而乞丐是寻找慈善机构。在这两种情况下，男女之间的关系为克维多的讽刺pen提供了一个机会，使穷人的类型符合一种物质主义和堕落的爱情观点。此外，甚至一些语言学和道德评论也鼓励穷人的类型或特征的原始隐喻。
{"title":"Figuras de la pobreza en la escritura quevediana","authors":"Marcella Trambaioli","doi":"10.15581/017.22.325-345","DOIUrl":"https://doi.org/10.15581/017.22.325-345","url":null,"abstract":"espanolLa galeria de tipos y situaciones espigados en la prosa, en la poesia y en el teatro quevedescos muestra que el tema de la pobreza se revela como uno de los mas fertiles en relacion con su capacidad creadora — ingeniosa y conceptista— de neologismos y caricaturas. A la vez, depara multiples aspectos que armonizan con la misoginia cultural de la epoca y del propio autor. Como ponen de relieve muchos ejemplos resenados, la figura del mendigo se puede jocosamente asimilar a la de la mujer pediguena, mientras que en la vertiente masculina el pordiosero ambiciona una caridad de naturaleza erotica. En ambos casos, la relacion entre los dos sexos depara, pues, a la pluma satirica corrosiva de Quevedo la oportunidad de adaptar la figura del pobre a una vision rebajada y materialista del tema amoroso. Pero, incluso algunas reflexiones filologicas y morales dan pie a elaboraciones metaforicas ineditas de la figura o de algun accesorio del miserable. EnglishThe series of types and situations present in Quevedo’s prose, poetry and comic theater shows that the motif of poverty is one of the most fertile in relation with the author’s capacity to create both ingenious and witty neologisms and caricatures. At the same time, it offers many features that harmonize with the cultural misogyny of the writer and his time. According to the many examples collected, the beggar’s figure can be assimilated to that of the pediguena, while the beggar is looking for sexual charity. In both cases, the relationship between men and women offers to Quevedo’s satirical pen the opportunity of adapting the poor’s type to a materialistic and degenerated vision of love. Moreover, even some philological and moral comments encourage original metaphors of the type or features of the poor.","PeriodicalId":42708,"journal":{"name":"Perinola-Revista de Investigacion Quevediana","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45766433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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