{"title":"Anilla或de lo Burlesco(BL,第682号)","authors":"Alessandro Martinengo","doi":"10.15581/017.22.189-198","DOIUrl":null,"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":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Anilla o de lo burlesco (BL, núm. 682)\",\"authors\":\"Alessandro Martinengo\",\"doi\":\"10.15581/017.22.189-198\",\"DOIUrl\":null,\"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\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2018-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Perinola-Revista de Investigacion Quevediana\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.15581/017.22.189-198\",\"RegionNum\":2,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE, ROMANCE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Perinola-Revista de Investigacion Quevediana","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.15581/017.22.189-198","RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, ROMANCE","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.