Documents published in 2013 : Scipedia

«Autor, realitat i ficció en la narrativa de Jordi Sarsanedas»
C. Gregori i Soldevila

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (2), 17

Abstract
L’article analitza el tractament de la figura de l’autor real en els reculls de narracions de Jordi Sarsanedas. En el primer, «Mites», el prefaci auctorial ha estat interpretat en clau autobiogràfica, a pesar de l’absència de marques explícites, de la ficcionalització amb què s’hi elaboren alguns dels elements i de l’enunciació a càrrec d’un jo que es projecta fantasmagòricament en els narradors autodiegètics de les narracions de ficció. En el darrer, «Una discreta venjança», l’estatus del prefaci auctorial és ambigu perquè es confon amb la metaficcionalitat dominant en el recull, sobretot a causa de l’ús de la metalepsi de l’autor. També s’hi analitza el tractament de la figura de l’autor ficcional en la novel·la «El Martell».
Abstract
L’article analitza el tractament de la figura de l’autor real en els reculls de narracions de Jordi Sarsanedas. En el primer, «Mites», el prefaci auctorial ha estat [...]
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«La representació del col·loquial mediatitzat. Aproximació a un model de quatre constituents»
D. Paloma

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (2), 14

Abstract
L’article ofereix un model de representació del col·loquial mediatitzat que es defineix i es concreta en el marc de les sèries de televisió. Partint d’una dotzena desèries emeses per Televisió de Catalunya, tant de producció pròpia com de producció aliena, d’humor i no d’humor, es presenta un model que visualitza les relacions entre la llengua col·loquial, la llengua col·loquial normativa, la llengua col·loquial avalada pels llibres d’estil dels mitjans de comunicació i, finalment, la llengua col·loquial que ni és normativa ni és avalada pels llibres d’estil. L’article se centra en el lèxic que s’utilitza en les sèries de televisió sense renunciar a exemples singulars de fonètica i de morfosintaxi. Les diferents formes que identifiquen el col·loquial mediatitzat ajuden a veure la textura d’aquesta modalitat lingüística i, sobretot, la relació entre els quatre constituents que en conformen el model.
Abstract
L’article ofereix un model de representació del col·loquial mediatitzat que es defineix i es concreta en el marc de les sèries de televisió. Partint d’una dotzena [...]
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«(Des)obediències de la reducció vocàlica en el català de Mallorca»
C. Pons-Moll

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (2), 21

Abstract
En el català de Mallorca, el procés de reducció vocàlica de les vocals mitjanes de la sèrie anterior a e neutra en posició àtona no opera (o subaplica) en determinades circumstàncies: (a) en formes derivades productives amb una vocal àtona situada a la síl·laba esquerra o inicial del radical i alternant amb e tancada o e oberta en el radical de la forma primitiva; (b) en formes verbals amb una vocal àtona situada a la síl·laba esquerra o inicial del radical i alternant amb e tancada en una altra forma verbal del mateix paradigma flexiu; (c) en manlleus i paraules apreses amb una vocal àtona e situada, també, a la síl·laba esquerra o inicial del radical i generalment precedida d’una consonant labial. En aquest treball, argumentem que hi ha dos factors que conspiren perquè això sigui d’aquesta manera: (a) tal com ja s’ha fet notar en treballs anteriors, la voluntat d’aquestes vocals d’assemblar-se a les vocals corresponents que apareixen en mots del mateix paradigma derivatiu o flexiu, i, en el cas de la derivació, sobretot quan la relació derivativa és productiva; (b) l’estatus privilegiat de la síl·laba situada a l’esquerra o a l’inici del radical. Per donar compte del primer factor, proposem una nova interpretació dels fets emmarcada en la Teoria de la Correspondència Transderivacional i el model dels Paradigmes Òptims. Per donar compte del segon factor, que ha passat desapercebut en aproximacions anteriors a les mateixes dades, partim de la Teoria de la Fidelitat Posicional i de la Teoria del Marcatge Posicional.
Abstract
En el català de Mallorca, el procés de reducció vocàlica de les vocals mitjanes de la sèrie anterior a e neutra en posició àtona no opera (o subaplica) en determinades [...]
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«Èpica llatina per a Jaume I: el poema "Triumphus Valentinus" del "novator" valencià Josep Ignasi Barberà»
A. Biosca i Bas

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (2), 19

Abstract
El poema «Triumphus Valentinus» del valencià Josep Ignasi Barberà, obra encara inèdita i poc coneguda, està format per més de cinc mil hexàmetres llatins que narren la presa de Valencia per part del rei Jaume I. Es tracta d’un poema de principi del segle XVIII, amb característiques pròpies del gust neoclàssic i preil·lustrat, on coincideixen l’interès per la història valenciana, la tradició clàssica grecoromana i el reflex del canvi dinàstic a la corona hispànica. El model estètic seguit per l’autor és clarament l’«Eneida» de Virgili, tant per forma com per contingut. Malgrat l’interès mostrat per autors coetanis com Gregori Maians, l’obra ha passat pràcticament desapercebuda.
Abstract
El poema «Triumphus Valentinus» del valencià Josep Ignasi Barberà, obra encara inèdita i poc coneguda, està format per més de cinc mil hexàmetres llatins que narren [...]
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«Notícia d'unes "Exclamacions sobre la Passió de Crist" (BC, MS. 473) i la seva relació amb l'"Arbor" d'Ubertí de Casale»)
L. Cabré, M. Ferrer

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (2), 16

Abstract
En aquest treball es publiquen unes inèdites «Exclamacions sobre la Passió de Crist» procedents del manuscrit 473 de la Biblioteca de Catalunya, probablement confegit a Sant Jeroni de la Murtra a finals del segle xv. Les Exclamacions es relacionen literalment amb un text català ja conegut, inclòs a la «Vita Christi» d’Eiximenis i al manuscrit 451 de la Biblioteca de Catalunya, i al seu torn inspirat en l’«Arbor vitae crucifixae Jesu» d’Ubertí de Casale i en les «Meditationes vitae Christi». Sembla que les «Exclamacions» són en substància una amplificació retòrica d’aquest text català, que transmetia ja un esquema de contemplació basat en les parts del cos de Crist en braços de la Verge. Les «Exclamacions», en canvi, aprofiten aquest esquema al llarg de la Passió, hi afegeixen altres motius i una llarga secció sobre les set paraules de Crist a la creu.
Abstract
En aquest treball es publiquen unes inèdites «Exclamacions sobre la Passió de Crist» procedents del manuscrit 473 de la Biblioteca de Catalunya, probablement confegit [...]
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La representació conceptual del gènere. Una revisió crítica
M. Cortès-Colomé

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 4

Abstract
Des de la perspectiva psicolingüística, diversos treballs s’han preguntat si el gènere es representa a nivell conceptual. En el marc de les noves interpretacions de la hipòtesi del relativisme lingüístic, s’ha proposat que les diferències de gènere (masculí o femení) influencien la conceptualització. Aquest article fa una anàlisi d’alguns dels estudis de referència i argumenta que a partir d’aquests estudis no es pot concloure que el gènere tingui efectes en el pensament no lingüístic. La revisió feta indica que el gènere és una propietat lexicosemàntica dels noms i que es representa lingüísticament, la qual cosa és compatible amb la hipòtesi del Pensar per Parlar. Tanmateix, es defensa que a efectes del relativisme lingüístic aquest àmbit de la llengua no és pertinent perquè, a diferència del sexe, no té una base semàntica. Se suggereix que el debat es pot haver generat des de la representació semàntica de parlants de llengües que no tenen flexió de gènere.
Abstract
Des de la perspectiva psicolingüística, diversos treballs s’han preguntat si el gènere es representa a nivell conceptual. En el marc de les noves interpretacions de la [...]
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Els «criteris de visibilització de les dones» en català: límits sintacticosemàntics i discursius
N. Nogué Serrano

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 3

Abstract
L’objectiu d’aquest article és analitzar els principals criteris que les guies d’estil recomanen per a visibilitzar les dones —o per fer un ús no sexista del llenguatge— des de dos punts de vista: el sintacticosemàntic i el discursiu. Des del punt de vista sintacticosemàntic, s’estudien bàsicament els fenòmens relacionats amb la coordinació, la concordança i la repetició o elisió d’elements (per exemple, especificadors del nom), i la manera com les diferents opcions afecten el significat oracional. Des del punt de vista discursiu, s’analitzen els fenòmens relacionats amb la coreferència; és a dir, la relació entre les diferents maneres d’expressar un mateix referent per mitjà d’elements nominals al llarg del text, i l’efecte que provoquen en el text en conjunt. Amb aquest objectiu, l’estudi analitza des d’un punt de vista qualitatiu les dades proporcionades per un corpus de textos procedents de tres àmbits (polític, administratiu i educatiu) en què s’apliquen sovint aquesta mena de criteris.
Abstract
L’objectiu d’aquest article és analitzar els principals criteris que les guies d’estil recomanen per a visibilitzar les dones —o per fer un ús no sexista del llenguatge— [...]
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El gènere en les llengües romàniques: quan el gènere expressa el nombre i el femení és neutre
X. Lamuela

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 8

Abstract
L’etiqueta de gènere s’aplica a nocions gramaticals diverses: la distinció de classes convencionals de noms, la distinció de diverses categories semàntiques (particularment, els inanimats i el sexe dels animats) o la caracterització de pronoms referits a persones o a coses en general. Aquest article repassa el funcionament del gènere gramatical en les llengües romàniques. Comença per fenòmens coneguts en aquestes llengües, tals com les menes de distribució de les marques, l’existència d’una classe de noms ambígena en algunes llengües, la variació en l’atribució de gènere i els casos de concordança. En acabat, s’ocupa de manera especial de l’anomenat neutre de matèria, i també de l’oposició entre els pronoms referits a persones o a coses en general. Pel que fa als noms femenins col·lectius i al neutre de matèria, s’hi mostra com morfemes que són aparentment marques de gènere s’utilitzen per a expressar l’oposició entre comptable i no comptable, associada habitualment al nombre. Respecte a l’oposició entre els pronoms referits a persones i a coses en general, es dóna una explicació de l’ús de formes de femení amb pronoms que tenen valor de neutre.
Abstract
L’etiqueta de gènere s’aplica a nocions gramaticals diverses: la distinció de classes convencionals de noms, la distinció de diverses categories semàntiques (particularment, [...]
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Gènesi i evolució de la categoria de gènere en indoeuropeu
I. Adiego

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 6

Abstract
Hi ha indicis, tant comparatius com interns, que el sistema de tres gèneres gramaticals (masculí, femení, neutre) present en la majoria de les llengües indoeuropees antigues és fruit d’un desenvolupament recent (en termes de cronologia relativa). No obstant això, els detalls d’aquest desenvolupament i la contribució de les llengües indoeuropees de la branca anatòlica al seu estudi són encara objecte de controvèrsia. En aquest article es traça un estat de la qüestió i s’intenta suggerir diferents escenaris per a la gènesi i evolució de la categoria de gènere en indoeuropeu.
Abstract
Hi ha indicis, tant comparatius com interns, que el sistema de tres gèneres gramaticals (masculí, femení, neutre) present en la majoria de les llengües indoeuropees antigues [...]
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Introducció
N. Nogué Serrano, M. Cortès-Colomé

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 11

Abstract
Introducció al monogràfic.
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Cervantisme català i traducció: anàlisi d'adaptacions infantils i juvenils
R. Agost

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 9

Abstract
Al voltant de 2005, quart centenari de la publicació de la primera part del Quixot, hem constatat l’aparició de vint adaptacions i versions al català per a joves i infants d’aquesta obra cervantina. La dada resulta especialment significativa si tenim en compte que durant els tres segles anteriors únicament se’n van editar set. En aquest article oferirem una relació i una anàlisi descriptiva que integra text i imatge, de totes les reescriptures derivades de l’obra original adreçades al públic infantil i juvenil, amb referència especial a aquelles publicades entre 2004 i 2005. Així mateix, analitzarem les dades obtingudes de l’anàlisi des d’una perspectiva holística que ens permet descriure alguns factors del context comunicatiu, especialment determinats aspectes sociològics de les adaptacions, estudiar la importància de determinats elements paratextuals i sistematitzar algunes estratègies i tècniques de traducció que s’han fet servir.
Abstract
Al voltant de 2005, quart centenari de la publicació de la primera part del Quixot, hem constatat l’aparició de vint adaptacions i versions al català per a joves i infants [...]
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Denominacions del crepuscle en llengua catalana
M. Massanell i Messalles, J. Torruella

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 7

Abstract
En aquest article d’orientació geolingüística i diacrònica, basat fonamentalment en dades de l’Atles lingüístic del domini català (ALDC) i del Corpus Informatitzat del Català Antic (CICA), s’analitzen més de vuitanta denominacions catalanes del crepuscle. D’una banda, se’n proporciona una doble classificació per criteris morfosintàctics, primerament, i motivacionals, després. De l’altra, se n’estudia la distribució geogràfica actual per lexemes, que s’ofereix cartografiada, i quan és possible, es ressegueixen les traces històriques de les diverses denominacions.
Abstract
En aquest article d’orientació geolingüística i diacrònica, basat fonamentalment en dades de l’Atles lingüístic del domini català (ALDC) i del Corpus Informatitzat [...]
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Quan el traductor és sobretot escriptor: el cas de la traducció d'«El guepard» de Tomasi di Lampedusa
C. Briguglia

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 5

Abstract
Aquest article exposa, en primer lloc, les relacions entre l’escriptor sicilià Tomasi di Lampedusa i el mallorquí Llorenç Villalonga. L’anàlisi de les afinitats i les divergències estilístiques entre els dos autors té com a objectiu l’estudi descriptiu de la traducció catalana de la novel·la Il Gattopardo, a fi de destacar les estratègies adoptades pel traductor Villalonga i els canvis que suposen en comparació amb l’original. L’estudi intenta buscar les raons dels canvis en la poètica pròpia del traductor i arriba a la conclusió que, en la traducció de Il Gattopardo, va tenir un pes notable el diferent plantejament estilístic entre els dos autors: gras i barroc, Lampedusa; prim i essencial, Villalonga. Aquesta diferència porta l’escriptor mallorquí a adaptar l’obra mestra lampedusiana a l’estil propi, rebutjant i escurçant els excessos de l’escriptor sicilià.
Abstract
Aquest article exposa, en primer lloc, les relacions entre l’escriptor sicilià Tomasi di Lampedusa i el mallorquí Llorenç Villalonga. L’anàlisi de les afinitats i [...]
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Poder i submissió a la lírica cortesa medieval provençal, catalana i valenciana
M. Coderch

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 10

Abstract
La qüestió dels orígens i el desenvolupament de la lírica cortesa a les corts occitanes durant les últimes dècades del segle xi i al llarg del xii continua ocupant la crítica literària. Alguns dels estudis que s’hi han dedicat han identificat les claus de l’èxit d’aquesta lírica amb alguns aspectes que consideren innovadors per al públic de l’època, com ara l’exaltació de l’amor humà i la posició de poder en la qual apareix la dona. Aquest argument resulta poc convincent per dues raons: d’una banda, no considera la varietat de la casuística amorosa que presenta la lírica trobadoresca; d’una altra banda, no té en compte que aquests motius ja eren presents en altres manifestacions líriques. En aquest article mostrem que l’atractiu de la lírica cortesa per a la seva audiència no raïa en aquests trets, sinó en altres aspectes exclusius d’aquesta manifestació i, per tant, innovadors. També afirmem que la sobirania que s’ha atribuït a la dona en la lírica cortesa és, en realitat, fictícia. Il·lustrem aquests arguments amb textos dels trobadors provençals i dels poetes catalans i valencians dels segles xiv i xv que van donar continuïtat a la tradició trobadoresca.
Abstract
La qüestió dels orígens i el desenvolupament de la lírica cortesa a les corts occitanes durant les últimes dècades del segle xi i al llarg del xii continua ocupant la [...]
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La variable sexe en les llengües del món
M. Junyent

Caplletra. Revista Internacional de Filologia (2013). Vol. 28, (1), 2

Abstract
El sexe és una de les variables més freqüents en els diferents recursos lingüístics per a identificar els interlocutors en les llengües del món. El fet que s’hagi confós el gènere gramatical (procediment de classificació dels substantius) amb el sexe, i la consegüent inclusió dels elements identificadors en la categoria «gènere», ha provocat una certa confusió sobre la naturalesa d’aquests fenòmens. En l’article es proposa una classificació en quatre tipus dels mecanismes per a la identificació dels interlocutors en la llengua, per bé que tots poden ser entesos com a part d’un continu que va des dels elements gramaticals obligatoris fins als lectes específics per a homes i dones. Entremig, s’analitzen els recursos semàntics i els díctics. A banda dels aspectes estrictament lingüístics, es recorden alguns treballs històrics que permeten situar els diferents enfocaments dins de la història de la lingüística.
Abstract
El sexe és una de les variables més freqüents en els diferents recursos lingüístics per a identificar els interlocutors en les llengües del món. El fet que s’hagi [...]
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Lauer, A. R. (ed.), P. Calderón de la Barca, «El tesoro escondido», Pamplona/Kassel, Universidad de Navarra/Reichenberger, 2011. ISBN 978-3-937734-95-8
A. Sánchez Jiménez

ACal (2013). Vol. 6, (1), 33
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González, A., Serafín González, S. y L. von der Walde Moreno (eds.), «Cuatro triunfos áureos y otros dramaturgos del Siglo de Oro», México, El Colegio de México/Universidad Autónoma Metropolitana/Asociación Internacional de Teatro Español y Novohispano de
J. Castro Rivas

ACal (2013). Vol. 6, (1), 21
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Galar Irurre, E. (ed.), P. Calderón de la Barca (atribución insegura), «El convite general», Pamplona / Kassel, Universidad de Navarra/Reichenberger, 2010. ISBN: 978-3-937734-78-1
D. Rodríguez Ortega

ACal (2013). Vol. 6, (1), 9
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The Sun-King as a Dramatic and Scenic Element of Court Theatre by the Time of Felipe IV, Exemplified by the Loa Preceding Fieras afemina Amor
J. Vélez Sainz

ACal (2013). Vol. 6, (1), 40

Abstract
The present article analyzes the scenic and dramatic functions of the Sun-King myth. A number of uses of the myth within texts of praise of the Habsburg monarchy are employed to extrapolate possible uses within court theatre. The article uses the Aristotelian analytic differentiation between ergon and parergon and exemplifies it in the loa at the beginning of Calderón’s Fieras afemina amor. This loa makes use of the Sun-King myth to perform the theatrical praise of Mariana de Austria on the stage, at court and within the entire cosmos.
Abstract
The present article analyzes the scenic and dramatic functions of the Sun-King myth. A number of uses of the myth within texts of praise of the Habsburg monarchy are employed [...]
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A Courtier Playwright’s Activity in Times of Mourning (1665-1671): Calderón and Pseudo Matos Fragoso
A. Ulla Lorenzo

ACal (2013). Vol. 6, (1), 28

Abstract
It has been traditionally accepted that from 1651 on, when Calderón de la Barca became a priest, the playwright exclusively wrote court plays and autos sacramentales. This idea has to be reviewed with respect to the period of mourning the death of Felipe IV, between 1665 and 1671, a time in which court theatre and autos sacramentales were forbidden. The present article analyses Calderón’s dramatic activity between 1667 and 1670, when the playwright carried out a program of recovery and rewriting of ancient comedies for their representation in the corrales. The copyist Pseudo Matos Fragoso cooperated in that process. He copied several plays by Calderón that were to be represented in the two corrales madrileños by the companies of Manuel Vallejo and Antonio de Escamilla.
Abstract
It has been traditionally accepted that from 1651 on, when Calderón de la Barca became a priest, the playwright exclusively wrote court plays and autos sacramentales. This [...]
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Theatrical Feasts of the Spanish Baroque: Models, Norms and Characteristics
M. Trambaioli

ACal (2013). Vol. 6, (1), 16

Abstract
In spite of many relevant contributions to the Baroque court drama that collect data, gather information and trace the peculiar code of this dramatic genre, numerous critical essays within the sphere of Anglo-Saxon Postmodernism ignore certain aspects of the historical and cultural contextualization of this dramatic genre. In particular, these essays reveal a political interpretation of the myths and a conviction that the tragic genre is compatible with the court feast that are questionable. In accordance with theatrical semiotics, the present work tries to synthesize the main aspects that characterize the court drama as a very peculiar artistic work with specific rules, considering that we have to interpret it within the communicative circuit of the court as the place where it is produced and performed. The court dramas of Lope and Calderón, expressions of two different theatrical visions, allow us to define the code of the Spanish Baroque court drama within its two fundamental stages of development.
Abstract
In spite of many relevant contributions to the Baroque court drama that collect data, gather information and trace the peculiar code of this dramatic genre, numerous critical [...]
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Light, Shadow and Astonishment: Reading La estatua de Prometeo
L. Iglesias Feijoo, A. Vara López

ACal (2013). Vol. 6, (1), 4

Abstract
La estatua de Prometeo clearly illustrates the love of the artificial that Calderón exhibits in his fiestas cortesanas.The elevated style of the play, based on the principles of duality and contrast in various dimensions, aims to focus the audience’s attention on the extraordinary nature of the events presented on stage.The frequent references to the strangeness of the prodigios and portentos, and to the asombro and perturbación they caused the characters to feel, would provoke admiration and surprise in an audience invited to lose themselves in a fantastic universe of appearances and realities, lights and shadows. This paper strives to provide a stylistic and interpretative analysis and of La estatua de Prometeo, in which the symbolism, contrasts and claroscuro technique, along with other key elements such as staging, create a total spectacle.
Abstract
La estatua de Prometeo clearly illustrates the love of the artificial that Calderón exhibits in his fiestas cortesanas.The elevated style of the play, based on the principles [...]
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Reflections of Power: Eco y Narciso by Calderón meets Las meninas by Velazquez
M. Greer

ACal (2013). Vol. 6, (1), 35

Abstract
Calderón’s court spectacle play Eco y Narciso was first performed in 1661 to celebrate the tenth birthday of the princess Margarita, the infanta in the center of Velázquez’s painting Las meninas (1656). Calderón opens the drama with a celebration of the birthday of the shepherdess Echo, thus suggesting an analogy between the mythical nymph and the princess. This analogy, together with the reflections between the characters within the drama, invites us to see in this courtly play, as in Velázquez’s famous painting, a reflection on the nature of subjectivity, desire and monarchical power.
Abstract
Calderón’s court spectacle play Eco y Narciso was first performed in 1661 to celebrate the tenth birthday of the princess Margarita, the infanta in the center of Velázquez’s [...]
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Lope and the Courtly Spectacle: Between Tradition and Innovation
T. Ferrer Valls

ACal (2013). Vol. 6, (1), 23

Abstract
This paper focuses on the period of Lope de Vega’s activity as a playwright in order to reconstruct the theatrical and festive activity related to the court of the Austrias, based on gathering existing information and archival documents. It reviews this tradition of spectacle, on which we have increasing information, as a background that allows us to understand and correctly contextualize the great spectacle-plays that Lope de Vega wrote from early stages of his career until shortly before his death, with the aim of unveiling the transformations that he brought to this tradition.
Abstract
This paper focuses on the period of Lope de Vega’s activity as a playwright in order to reconstruct the theatrical and festive activity related to the court of the Austrias, [...]
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The Imprecise Pattern of Calderón’s Courtly Loas
J. Farré

ACal (2013). Vol. 6, (1), 11

Abstract
This paper analyses the variants found in the courtly loas of Calderón de la Barca according to the generic type of this dramatic genre in the second half of the seventeenth century. The conclusion shows how the imprecise pattern noticed in the Loa de Los tres mayors prodigios (1636) and in the Loa de El golfo de las sirenas (1657) can be explained by taking the rest of Calderon’s plays into account and considering the increasing popularity of the comical within the court theatre at that time.
Abstract
This paper analyses the variants found in the courtly loas of Calderón de la Barca according to the generic type of this dramatic genre in the second half of the seventeenth [...]
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The Labyrinth, a Sacral Motive in the Works of Tirso and Calderón
J. Escudero Baztán, B. Oteiza

ACal (2013). Vol. 6, (1), 41

Abstract
The present article analyses the motive of the labyrinth in two autos sacramentales of the 17th century: El laberinto de Creta by Tirso de Molina and El laberinto del mundo by Calderón de la Barca. It is conceived within the framework of a more amplified study with the aim of uncovering the use of the labyrinth as a nuclear concept of 17th century theatre. A lecture of both texts reveals profound transformations with respect to the allegory’s design, structure, metrics, and usage. The comparative study sheds light on a more skillful dramatization by Calderón, whereas in Tirso a structural decomposition is evident.
Abstract
The present article analyses the motive of the labyrinth in two autos sacramentales of the 17th century: El laberinto de Creta by Tirso de Molina and El laberinto del mundo [...]
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Similarities and Distinctions between Public and Court Theatre
J. Díez Borque

ACal (2013). Vol. 6, (1), 29

Abstract
The plays performed in the palace were not exclusively large spectacular productions but also, and most striking, the same or similar plays as in the public theatres were performed here. In this context, I study the similarities and distinctions between public and court theatre, paying attention to the economic excesses of the court theatre and the protests that they produced.
Abstract
The plays performed in the palace were not exclusively large spectacular productions but also, and most striking, the same or similar plays as in the public theatres were [...]
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Timantes and the Speaking Painting in El mayor encanto, amor
F. de Armas

ACal (2013). Vol. 6, (1), 17

Abstract
El mayor encanto amor includes an enigmatic character that is almost hidden in this spectacle play.Timanthes, who only speaks some twenty lines in the play, represents an onomastic mnemonics, as his name reminds a learned spectator of the famous painter of classical antiquity. Calderón includes him as a character in Darlo todo y no dar nada and alludes to him in other works such as La vida es sueño. Timanthes can be seen as a way to praise Cosimo Lotti, the «painter» or scenographer of the play. But he also refers to the playwright who manipulates the text so as to hide political meanings in a play performed at the palace of the Sun King, Philip IV. Since Timanthes´ most famous painting is The Sacrifice of Iphigenia, where Agamemnon´s facial expression is veiled, we can locate clear parallels with the veiling of Achilles in Calderón’s play. Veiling/concealing errors or defects is Timanthes’ trademark.
Abstract
El mayor encanto amor includes an enigmatic character that is almost hidden in this spectacle play.Timanthes, who only speaks some twenty lines in the play, represents an [...]
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El Templo de Palas» by Francisco de Avellaneda
D. Cruickshank

ACal (2013). Vol. 6, (1), 5

Abstract
Francisco de Avellaneda is one of the less famous dramatists of the seventeenth century: he acted as a censor, and is best known as an entremesista, but he also wrote a zarzuela, El templo de Palas. One of the British Library’s collected volumes of Spanish plays (T.1737) contains a copy of the only known edition (Naples, 1675) of the play, premiered in July 1675, probably in the Coliseo del Buen Retiro. The suelta provides the only known details of this performance, naming the actors who took part in the loa, entremés and mojiganga, and includes a letter from Calderón to Avellaneda, apologising for missing the performance because of his «poor health», thanking Avellaneda for lending him the borrador to read, and assuring him that he was able to imagine the performance from the written text. Avellaneda wrote one of the approbations for Calderón’s Cuarte parte in 1672, but the extent of his friendship with the dramatist is not clear.
Abstract
Francisco de Avellaneda is one of the less famous dramatists of the seventeenth century: he acted as a censor, and is best known as an entremesista, but he also wrote a zarzuela, [...]
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Stage and Iconographic Prototypes in three Productions of the Fable of Andromeda and Perseus: Pio di Savoia, Corneille, and Calderón
T. Chaves

ACal (2013). Vol. 6, (1), 36

Abstract
The circulation of printed books and engravings containing the texts and the scenes for the staging of Perseus and Andromeda myth in XVII century’s European theatres made possible the creation of stage and iconographic prototypes. Those prototypes were of common and recurrent use in spectacles describing the adventures of such characters. Playwrights and stage designers remade the plot, reusing some dramatic sketches and types of scenes coined at the end of the XVI century, which passed over to the next century on many European courts. Authors such as Pio di Savoia, Corneille and Calderón put on stage their particular interpretations of the myth in collaboration with the Italian stage designers Guitti, Torelli and Del Bianco, who designed the scenes and the machines gene-rating visual effects.PALABRAS CLAVES / KEYWORDS: escenografía, estampas, iconografía, máquinas / scenes, engravings, iconography, machines.
Abstract
The circulation of printed books and engravings containing the texts and the scenes for the staging of Perseus and Andromeda myth in XVII century’s European theatres made [...]
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Amor and Psyche. A Fable of the Figurative Arts and its Hermeneutics in Calderonean Theatre
E. Cancelliere

ACal (2013). Vol. 6, (1), 24

Abstract
The present article focuses on studying the argumentative structure of the fable of Amor and Psyche in Calderón’s play Ni amor se libra de amor. The analysis is based on three aspects: the reference to taxonomies within the iconic tradition; meta-theatre; the iconological dimension with respect to the status of the image.
Abstract
The present article focuses on studying the argumentative structure of the fable of Amor and Psyche in Calderón’s play Ni amor se libra de amor. The analysis is based on [...]
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Mesa redonda sobre la interpretación política de las fiestas calderonianas
S. Fernández Mosquera

ACal (2013). Vol. 6, (1), 12
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Presentación
A. Ulla Lorenzo

ACal (2013). Vol. 6, (1), 42
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Bibliografía calderoniana 2012
A. Sáez

ACal (2013). Vol. 6, (1), 30
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Ruiz Pérez, P., «El siglo del arte nuevo 1598-1691», en «Historia de la literatura española 3», dir. J.-C. Mainer, Barcelona, Crítica, 2010. ISBN: 978-8498-92069-7
F. Antonucci

ACal (2013). Vol. 6, (1), 18
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Gentilli, L. y R. Londero (eds.), «Emocionar escribiendo. Teatralidad y géneros literarios en la España áurea», Madrid/Frankfurt, Iberoamericana/Vervuert, 2011. ISBN: 978-8484-89578-7
L. Hernández González

ACal (2013). Vol. 6, (1), 6
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Fernández Biggs, B., «Calderón y Shakespeare: los personajes en “La cisma de Ingalaterra” y “Henry VIII”», Madrid / Frankfurt, Iberoamericana / Vervuert, 2012. ISBN: 978-8489-673-9 / 978-3-86527-723-7
A. Zúñiga Lacruz

ACal (2013). Vol. 6, (1), 37
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Cruickshank, D.W., «Calderón de la Barca. Su carrera secular», trad. J. L. Gil Aristu, Madrid, Gredos, 2011. ISBN: 978-84-249-204-87
L. Iglesias Feijoo

ACal (2013). Vol. 6, (1), 25
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Calderón de la Barca, P., «La selva confusa. Edición crítica y adaptación», ed. E. Coenen, Kassel, Reichenberger, 2011. ISBN: 978-3-937734-86-6
Z. Vila Carneiro

ACal (2013). Vol. 6, (1), 13
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Checa, J. (ed.), P. Calderón de la Barca, «Amar después de la muerte», Kassel, Reichenberger, 2010. [Teatro del Siglo de Oro. Ediciones críticas, 167]. ISBN: 978-3-937734-66-8
M. Villegas Gerena

ACal (2013). Vol. 6, (1), 1
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Azaustre Galiana, A. y S. Fernández Mosquera (eds.), «Compostella Aurea. Actas del VIII Congreso de la Asociación Internacional Siglo de Oro», Santiago de Compostela, Universidade de Santiago de Compostela, 2011, 3 vols. ISBN: 978-84-9887-555-3
I. Sainz Bariain

ACal (2013). Vol. 6, (1), 31
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Aichinger,W. y S. Kroll (ed.), «“Laute Geheimnisse”. Calderón de la Barca und die Chiffren des Barock», Wien/Berlin, Turia + Kant, 2011. ISBN: 978-3-85132-620-8
A. Schömann-Finck

ACal (2013). Vol. 6, (1), 19
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The Ideological Contribution of Spanish Theatre during the Golden Age Period
C. Strosetzki

ACal (2013). Vol. 6, (1), 7

Abstract
For José Antonio Maravall, the 17th century in Spain is, in contrast to the 16th century, marked by a reestablishment of the absolutist monarchy that is based on an apparatus of repression and domination. In this context, Maravall underlines that the Spanish theatre of the 17th century is made for the emotions of the mass, that it is purely propagandistic and without any ethical dimension, and, finally, that the religious aspect is only marginal. In this article it will be shown that, in the case of Calderón, the situation is essentially different. First, it will be shown that the representation of political reflections, models and arguments is not at all emotional, but rational. Second, ethical questions and pedagogic lessons within the work of Calderon will be made evident. Finally, it will be proved that religious subjects are treated by Calderón according to all their complexity and that Catholicism thus is not just a simple model of emotional identification.PALABRAS CLAVE / CONCEPTS-CLÉS / KEYWORDS: Calderón, Maravall, propaganda, ética, catolicismo, lex divina, lex positiva, lex naturalis / Calderón, Maravall, propagande, éthique, catholicisme, lex divina, lex positiva, lex naturalis / Calderón, Maravall, propaganda, ethics, catholicism, lex divina, lex positiva, lex naturalis
Abstract
For José Antonio Maravall, the 17th century in Spain is, in contrast to the 16th century, marked by a reestablishment of the absolutist monarchy that is based on an apparatus [...]
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“De un efeto dos venganzas”: Cloak and Sword in Calderon’s Hagiographic Plays
J. Rubiera

ACal (2013). Vol. 6, (1), 38

Abstract
This article analyzes and characterizes the presence of cloak and sword episodes or incidents («lances de capa y espada») in the limited corpus of Calderon’s five comedias which have a hagiographic content. The peculiarities of each of the comedias will be observed in relation to the way in which the plot and subplot are constructed from the scheme of the episodes that make the main dramatic conflict, with a religious character, more human and complex.These characteristic elements of the cloak and sword plays, once introduced in a comedia of saints, transform some of its typical aspects: they reduce their comic or playful nature and they are generally driven by divine or infernal forces, like in the two famous scenes with the veiled lady in El mágico prodigioso and the muffled figure in El purgatorio de San Patricio.
Abstract
This article analyzes and characterizes the presence of cloak and sword episodes or incidents («lances de capa y espada») in the limited corpus of Calderon’s five comedias [...]
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Trisected Cloaks and Drawed Swords in Some of Calderon’s Comedies
N. Rodríguez Valle

ACal (2013). Vol. 6, (1), 26

Abstract
In this article, we analyze how Calderon transforms capes, swords and duels into a literary and poetic (rather than scenic) language; moreover, how he uses symbolic elements from the folkloric as well as erudite imagination that belong in the semantic field of capes and swords in order to create specific scenes and ambiences. Within this context, it will be shown that Calderon sublimates some of the genre’s topics and conventions by transforming them into words.
Abstract
In this article, we analyze how Calderon transforms capes, swords and duels into a literary and poetic (rather than scenic) language; moreover, how he uses symbolic elements [...]
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El agua mansa and Rewriting within the Cloak and Sword Plays of Calderon
A. Ontiveros

ACal (2013). Vol. 6, (1), 14

Abstract
This paper analyzes the way Calderon rewrote Cada loco con su tema by Hurtado de Mendoza in order to create El agua mansa. One of the main modifications is that the female characters are constructed in a completely different way. This has central implications for the play, because the dramatic conflict rotates around the transformation of the female characters.
Abstract
This paper analyzes the way Calderon rewrote Cada loco con su tema by Hurtado de Mendoza in order to create El agua mansa. One of the main modifications is that the female [...]
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Letters and Documents in Calderon’s Cloak and Sword Plays: Gender, Intrigue, Suspense
O. Higashi Díaz

ACal (2013). Vol. 6, (1), 2

Abstract
This article attempts to show the different ways letters and documents are used in Calderon’s cloak and sword plays (1627-1635). The aim is to clarify the contribution of both to a definition of genre and to analyze the use of the letter and the document as a scenic convention that, as will be shown, becomes the principal scenic device which organizes the plot and suspense in plays like No hay burlas como el amor or Con quien vengo, vengo.
Abstract
This article attempts to show the different ways letters and documents are used in Calderon’s cloak and sword plays (1627-1635). The aim is to clarify the contribution of [...]
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On Spatial Multiplicity within Calderon’s Cloak and Sword Plays
A. González Pérez

ACal (2013). Vol. 6, (1), 32

Abstract
The present work analyses the presence of multiple scenic spatiality sequences in cloak and sword plays of Calderon. Multiple scenic spatiality is understood as the use of simultaneous and contiguous dramatic spaces, from a simple ingenious circumstance or a comic scene up to a complex situation of space that is the centre or dramatic core of the argument and can also have symbolic values. The article points to some of the functions of multiple scenic spatiality, moreover to the forms of creation and the different types that we find in the work of Calderon.
Abstract
The present work analyses the presence of multiple scenic spatiality sequences in cloak and sword plays of Calderon. Multiple scenic spatiality is understood as the use of [...]
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Reflections on the presence of prisons in Calderon de la Barca’s theatre
P. García Abad

ACal (2013). Vol. 6, (1), 20

Abstract
The present article analyses the description of prisons within Calderon’s work, parting from a main distinction between real prisons, where the characters are retained before they are executed, and metaphorical ones, which serve to limit people’s reasoning. Firstly, some elements are identified to explain why some enclosures are chosen to restrain people’s freedom, such as urgency, location and, exposure to public. Then, there has been established a typology of these places, followed by their characterization. It can be concluded that playwrights pay little attention to this subject, which has led me to reflect on the genre itself as it was seen at that time. In an action genre such as this, description lacks importance, since the emphasis is on the farce element in the Baroque theatre. The insistent presence of this phenomenon in this Calderon responds to his worry for man’s freedom.
Abstract
The present article analyses the description of prisons within Calderon’s work, parting from a main distinction between real prisons, where the characters are retained before [...]
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The Cloak and Sword Play in the Mythological Festivals of Calderon
S. Fernández Mosquera

ACal (2013). Vol. 6, (1), 8

Abstract
The cloak and sword play should be directly linked to mythological festivals, not only because of the common plot structures of both, but also because of further important elements from the cloak and sword play that are adopted by mythological comedies with respect to dramatic rhythm, verisimilitude, and closeness to the spectator. Moreover, the cloak and sword play taught the court audiences to appreciate the complex and exotic mythological productions.
Abstract
The cloak and sword play should be directly linked to mythological festivals, not only because of the common plot structures of both, but also because of further important [...]
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Duality and Parallelism in Calderon’s Casa con dos puertas, mala es de guardar
L. Iglesias Feijoo, I. Hernando Morata

ACal (2013). Vol. 6, (1), 39

Abstract
This paper examines the dualities, symmetries and paralelisms of Casa con dos puertas, mala es de guardar, which affect to several aspects of the play, as the argument, the structure, the characters, the spaces and the dialogues. The study of the Calderón’s «perfect mathematics» allows to understand better the shape of this famous cloak and sword play is a better way.
Abstract
This paper examines the dualities, symmetries and paralelisms of Casa con dos puertas, mala es de guardar, which affect to several aspects of the play, as the argument, the [...]
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Conventions of Cloak and Sword Plays in the Decade of 1630: El doctor Carlino, of Antonio de Solís
J. Farré

ACal (2013). Vol. 6, (1), 27

Abstract
This study presents an analysis of the conventions of the cloak and sword play and their parodic inversion in Solís’ El doctor Carlino. In the decade of 1630 the cloak and sword play becomes wittier and this essay studies how Solís experiments with these new ways by mixing the prominence of this false doctor —a character drawn from Gongora—, the treatment of space and time and the generalisation of the comical effect.
Abstract
This study presents an analysis of the conventions of the cloak and sword play and their parodic inversion in Solís’ El doctor Carlino. In the decade of 1630 the cloak [...]
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Generic Dislocations in Calderón. The striking Case of No hay cosa como callar
J. Escudero Baztán

ACal (2013). Vol. 6, (1), 15

Abstract
This paper discusses the genre of a play by Calderon No hay cosa como callar. Critics usually define this play either as comedy or as tragedy. The work is in fact unusual because, under an apparently comical structure, it appears to be a serious work with an ending that leaves all the main characters insatisfied.
Abstract
This paper discusses the genre of a play by Calderon No hay cosa como callar. Critics usually define this play either as comedy or as tragedy. The work is in fact unusual [...]
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The Construction of the Supernatural Lie in La dama duende and El galán fantasma
D. Cazés Gryj

ACal (2013). Vol. 6, (1), 3

Abstract
In Calderon’s La Dama Duende and El Galán Fantasma the main characters are presented in way that might lead other characters to believe that they are supernatural beings. This is not done as an intentional trick but, rather, as the result of the circumstances in which they must operate. This paper explores how the performance and dramatic elements, as well as cultural references, come together and cause this error in the perception of these characters, which becomes the propelling force of actions and entanglements.
Abstract
In Calderon’s La Dama Duende and El Galán Fantasma the main characters are presented in way that might lead other characters to believe that they are supernatural beings. [...]
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‘Love à la mode’ in Mañanas de abril y mayo
Y. Campbell

ACal (2013). Vol. 6, (1), 34

Abstract
Some critics believe that love à la mode is simply a theatrical convention. However, the possibility remains that conventional notions of love and this new conception of relations between man and woman, whose focus was power rather than sentiment or sexual desire, existed side-by-side in seventeenth-century reality. Thus, whilst it is true that Mañanas de abril y mayo is a playful comedy, full of comical instances, whose tangled plot is founded on the contrast between these two types of relations, it is also true that the play is a sign of its times and as such channels the hierarchical conflicts between the men and women in the Spanish Golden Age. A study of the views expressed by contemporary moralists reveals concerns about female behavior that are manifested in the comedy in the free and outspoken characterization of doña Clara. Her scornful disregard for the demands of her lover, and her desire to make him suffer, testify to a feminine desire and determination concern to have the power to choose her own destiny in marriage. In the midst of all the fun generated by jokes, puns, witticisms, and a rapid succession of entrances and exits, concealments and discoveries, therefore, it is possible to observe an underlying conflict which the playwright leaves unresolved.
Abstract
Some critics believe that love à la mode is simply a theatrical convention. However, the possibility remains that conventional notions of love and this new conception of [...]
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Juan Everardo Nithard, Protagonist of Calderon de la Barca’s La estatua de Prometeo
C. Brain

ACal (2013). Vol. 6, (1), 22

Abstract
This article discusses Greer’s controversial interpretation of La estatua de Prometeo’s political text, which argued that the protagonist, the enlightened Prometeo, is a dramatization of the Queen´s enemy, Don Juan José of Austria and that Calderón is suggesting him as the best option for governing the troubled Spanish Empire. This article provides an alternative interpretation that better aligns with the personal and political position of the Queen regarding the political events that are being dramatized and resolves the contradictions that arose from Greer’s interpretations. This, in turn, contributes to our understanding of the level of freedom of expression enjoyed by Golden Age playwrights.
Abstract
This article discusses Greer’s controversial interpretation of La estatua de Prometeo’s political text, which argued that the protagonist, the enlightened Prometeo, is [...]
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Burlesque Poetry as a Dramatic Resource in No hay burlas con el amor
R. Barragán

ACal (2013). Vol. 6, (1), 10

Abstract
Burlesque poetry was a resource that playwrights like Calderon used to renew worn mechanisms of comedies. In this sense, No hay burlas con el amor is a paradigmatic work, since Calderon, apart from creating humor by inverting dramatic formulas, used some resources of burlesque poetry, which, in terms of performance, showed that the work was an artifice and that it provoked laughter within the audience. The aim of this article is, precisely, to show how this process worked through the dialogue that is established between the dramatic text and the spectacular text of the work.
Abstract
Burlesque poetry was a resource that playwrights like Calderon used to renew worn mechanisms of comedies. In this sense, No hay burlas con el amor is a paradigmatic work, [...]
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Men’s Studies and the Siglo de Oro: An Exemplary Reading of The Two Damsels
C. Grünnagel

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 37

Abstract
This article offers an interpretation of Miguel de Cervantes’ exemplary novella The Two Damsels (1613). Its theoretical and methodical basis is informed by the achievements of recent approaches from men’s studies and one of its most important representatives, R. W. Connell’s foundational work on Masculinities (2005). My reading elucidates what pre-modern readers identified as «masculine» in a literary text, particularly in cases where women dressed as men, a literary artifice and social practice which, following Judith Halberstam, I read as an example of pre-modern «female masculinity». I thus show how theories stemming from postmodernity can open up new approaches to interpreting and understanding pre-modern cultural phenomena while insisting on the distance that separates us from these pre-modern conceptions of what «being a man» signified in a long-gone culture and society. Given these twin aims, this article explains historical alterity via a current theoretical model but does so without translating that alterity immediately into concepts that may sound familiar —perhaps deceptively so.
Abstract
This article offers an interpretation of Miguel de Cervantes’ exemplary novella The Two Damsels (1613). Its theoretical and methodical basis is informed by the achievements [...]
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Secrets and Secrecy in Calderón's Comedies and in Spanish Golden Age Culture. Outline of a New Research Focus in Calderonian Studies
W. Aichinger, S. Kroll

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 27

Abstract
The public enactment of secrecy is part of the Spanish Golden Age culture. This article presents a research project, which pursues three objectives:  A study of secrecy as a core characteristic of Spanish Golden Age culture, on the basis of historiographical studies, sources and cultural theories of secrecy.  A study of Calderonian comedies of secrecy in the context of Golden Age theatre.  A case study of the comedy El secreto a voces, including a critical edition that also explores the aesthetics of secrecy and the history of early staging in Madrid and Vienna.  With this threefold approach we aim at a deeper understanding of both Calderón’s originality and of the secret patterns of Baroque culture.
Abstract
The public enactment of secrecy is part of the Spanish Golden Age culture. This article presents a research project, which pursues three objectives:  A study of secrecy [...]
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Berganza and Pedro de Urdemalas, Two Cervantin Characters Walk on the Stage
A. González Puche

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 34

Abstract
The author as a theatre director, compares Pedro de Urdemalas, the principal hero of Cervante’s comedy, with Berganza, from the Converstaion of the Dogs. In the parallel of these two meta-theatrical works, he establishes some differences between the dramatic and the phililogical analysis.
Abstract
The author as a theatre director, compares Pedro de Urdemalas, the principal hero of Cervante’s comedy, with Berganza, from the Converstaion of the Dogs. In the parallel [...]
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Juan C. González Maya, «Entremeses nuevos» (1643), Newark, Juan de la Cuesta, 2012, ISBN 978-1-58871-214-1
I. Arellano

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 33

Abstract
Book's review
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Table of contents
Á. Baraibar

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 41

Abstract
Table of contents
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Linguistic Norms at the Crossover: The Verbal Tenses and Modes, and the Structure of the Predicate in «Libro decimosexto» from Comentarios de erudición by Bartolomé Jiménez Patón
J. Monterrubio Prieto

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 36

Abstract
This study examines verb modes and tenses as well as the predicate structure in «Libro decimosexto» of Bartolomé Jiménez Patón’s Comentarios de erudición in an effort to demonstrate how the text straddles the line between Medieval and Golden Age norms. Jiménez Patón, thus, combines traits already considered archaic at the time, due perhaps to his solid training in grammar and his linguistic awareness, with those modern solutions which, towards the end of the 1500’s, were forging the new Spanish language (that of the «plain style», which he championed), one that was gradually being refined in order to take its place as the language of culture.
Abstract
This study examines verb modes and tenses as well as the predicate structure in «Libro decimosexto» of Bartolomé Jiménez Patón’s Comentarios de erudición in an effort [...]
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Diego de Aguilar y Córdoba. «El Marañon». Estudio, edición y notas de Julián Diez Torres. Madrid / Frankurt, Iberoamericana / Vervuert, 2010. 422 pp.
L. Sancho

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 35

Abstract
Book's review
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A María Teresa León’s Fictional Biography: Cervantes, el soldado que nos enseñó a hablar
M. Vinatea

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 30

Abstract
Our purpose is to study the limits between reality and fiction in the central chapters of the story of the foundation of the Convento de la Encarnación of Lima by Father Antonio de la Calancha. The convent was founded in 1556 by Leonor de Portocarrero and her daughter Doña Mencía de Sosa, widow of the crown’s traitor Francisco Hernández Girón. Despite the chronicles are consider a «hybrid genre» between literature and history by contemporary critics, Father Calancha’s story is basically historic as it follows the model of humanist histography of the XVI century. We argue that in this model aesthetic values are functional to the interpretation.
Abstract
Our purpose is to study the limits between reality and fiction in the central chapters of the story of the foundation of the Convento de la Encarnación of Lima by Father [...]
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The Evil Trinity: a Real Devil in Three Different Speeches
R. Pérez Martínez

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 31

Abstract
This article provides an analysis of the Devil as a character in three genres of discourse. The Devil appears in different guises, according to the specific persuasive purpose of each genre. Thus it is possible to infer the existence of at least three different devils brought to New Spain. A malevolent devil, the son of European Manichaeism, is useful in judicial discourses, as a character to be identified with pre-Hispanic gods, justifying the persecution of idolatry. A poetic devil appears in panegyric discourses, such as the chronicles of religious orders, where he introduces the supernatural into the writing of history. Finally, a devil who collaborates with God is present in deliberative discourses, such as some Jesuit sermons. His fate is active participation in evangelization and the reforma de costumbres.
Abstract
This article provides an analysis of the Devil as a character in three genres of discourse. The Devil appears in different guises, according to the specific persuasive purpose [...]
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Animal World and Rhetorical Devices in Jornadas náuticas by Fray Jacinto de Carvajal
J. de Navascués

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 32

Abstract
Jornadas náuticas (1647). Carvajal was a dominic friar and he was integrated in the expedition leaded by captain Ochagavía with the objective of discovering the union between Apure and Orinoco rivers. His chronicle brings a very rich information about animals, flora and customs of the natives. Animal world is described with rethorical strategies which are habitually learned at universities and seminars of Spain and America. Besides, I suggest that Carvajal writes for an implied reader living in America.
Abstract
Jornadas náuticas (1647). Carvajal was a dominic friar and he was integrated in the expedition leaded by captain Ochagavía with the objective of discovering the union between [...]
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Laud and Satire of the Authority during Peruvian Viceroyalty: the Loa al corregidor Valdivieso, an Unknown Piece from the City of Piura (1775)
M. Prendes Guardiola

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 38

Abstract
The present work states the existence of a short theatrical piece represented in 1775 during the celebrations for the coming to power of Matías de Valdivieso as corregidor (crown official) of Piura. Prior to the transcription of the text, it summarizes and comments its contents, and identifies its features as typical of the post-Calderon courtier loa (introductory piece) gender, conceived not as a laudatory discourse but as a «miniature comedy». Also, it conducts an approximation to the circumstances in which the loa was represented and which explain its conservation in records of a judicial process because of insults against in Piura’s authorities.
Abstract
The present work states the existence of a short theatrical piece represented in 1775 during the celebrations for the coming to power of Matías de Valdivieso as corregidor [...]
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The Power of Darkness: the Devil and his Troops in Baroque Festivals
G. Torres

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 26

Abstract
This paper examines the images of Devil in the baroque festivals. The Devil is a familiar figure in these festivals and shows strong inclination to assume comic, ridiculous and grotesque forms, becoming target of popular mockery, perhaps with the aim of provide a remedy against the terrifying vision that appears at other occasions and genres.
Abstract
This paper examines the images of Devil in the baroque festivals. The Devil is a familiar figure in these festivals and shows strong inclination to assume comic, ridiculous [...]
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About the Inconstancy of Fortune: the Presence of the Grotesque in Constante Florinda by Gaspar Pires de Rebelo
S. Augusto

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 24

Abstract
Reading the Infortúnios Trágicos da Constante Florinda of Gaspar Pires de Rebelo (divided in two parts published respectively in 1625 and 1633, in Lisbon), causes a remarkable impression on the reader, even on the most prudent one. This work aims to show how this impression results from the application of the grotesque to the universe of the Portugueses exemplary novels, and it also tries to explain the contours and the results of this situation within the context of Baroque literature.
Abstract
Reading the Infortúnios Trágicos da Constante Florinda of Gaspar Pires de Rebelo (divided in two parts published respectively in 1625 and 1633, in Lisbon), causes a remarkable [...]
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Alternative Stages: The Language of Puppets in Cervantes’ Fiction
E. Fernández Rodríguez

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 25

Abstract
Don Quixote’s fascination with Master Peter’s puppet show has spurred artists and stage directors from the 19th century to the present, creating and recreating a definitive repertoire of adaptations for puppets based on Cervantes’ works. As might be expected, in terms of sheer numbers the Don Quixote itself leads off the list of marionette performances on national and international stages. This article, however, focuses on the staging of Manuel de Falla’s opera Master Peter’s Puppet Show (1923) and the Eduardo Vasco’s sole dramatic adaptation of the epic poem Journey to Parnassus (2005). Moreover, this study investigates the aesthetics of puppetry through a close reading of these two creations, broadening the cultural and artistic legacy of Cervantes during the 20th and 21st centuries.
Abstract
Don Quixote’s fascination with Master Peter’s puppet show has spurred artists and stage directors from the 19th century to the present, creating and recreating a definitive [...]
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El pastor Quijótiz by Camón Aznar and Unamuno
E. Fernández Rivera

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 40

Abstract
In El pastor Quijótiz (1969), Camón Aznar resorted to the antagonism ideal vs. reality, characteristic of many recreations of Cervantes’ masterpiece, to explore the problem he had in combining the ideas of his freethinking youth with his later role as an active intellectual under Franco. El pastor Quijótiz is an attempt at saving the liberal intellectuals’ utopianism of the early 20th century by transforming it into a form of private spirituality that serves as a comforter in the face of the surrounding social injustice. Camón Aznar builds upon the figure of the rebellious Don Quixote created by Unamuno, who he had admired in his youth. However, he changes the figure by adding a resigned victimization of Stoic- Christian origin.
Abstract
In El pastor Quijótiz (1969), Camón Aznar resorted to the antagonism ideal vs. reality, characteristic of many recreations of Cervantes’ masterpiece, to explore the problem [...]
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Arellano, Ignacio, «El ingenio de Lope de Vega. Escolios a las “Rimas humanas y divinas del licenciado Tomé de Burguillos”», Nueva York, IDEAS/IGAS, 2012. (ISBN: 978-1-938795-84-8)
F. Rodríguez Mansilla

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 28

Abstract
Book's review
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From Politics to Dogma during Colonial Mexico Festivities: Notes on Coloquios Esperituales by Fernán González de Eslava
B. Mariscal Hay

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 23

Abstract
An important part of the dramatic representations that took place during the Colonial period in Mexico (New Spain) was meant to explain religious dogmas. In this paper, I address the relationship between the representation of dogma and politics in two of Fernán González de Eslava’s Coloquios Espirituales: the Coloquio Quinto, De los Siete Fuertes que el Virrey don Martin Enríquez mandó hacer… and the Coloquio Doce, De la Batalla Naval que el Serenísimo príncipe don Juan de Austria tuvo con el Turco.
Abstract
An important part of the dramatic representations that took place during the Colonial period in Mexico (New Spain) was meant to explain religious dogmas. In this paper, I [...]
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Calderón faces himself: The Devotion of the Cross and The Purgatory of Saint Patrick
A. Sáez

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 22

Abstract
The Devotion of the Cross and The Purgatory of Saint Patrick are a good example of the continuous exercise of the interest that Calderón shows for auto-rewriting and use of own materials. Certainly, these two religious comedies share the turn to repentance from a sinner, the central presence of the symbol of the cross, the miracle of the soul that does not abandon the body and allows the salvation and the design of the comic agent. In short, it is a case that reveals some of the dramatic keys of the poet and his effort of perfection between different works.
Abstract
The Devotion of the Cross and The Purgatory of Saint Patrick are a good example of the continuous exercise of the interest that Calderón shows for auto-rewriting and use [...]
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Table of contents
Á. Baraibar

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 10

Abstract
Table of contents
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Lourenço, A. Apolinário y Usunáriz, Jesús M.ª, (eds.), Poderes y autoridades en el Siglo de Oro: realidad y representación, Pamplona, Eunsa, 2012, 352 pp. ISBN: 978-84-3132-889-4
A. Zúñiga Lacruz

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 4

Abstract
Book's review
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Ignacio Arellano y Carlos Mata, Vida y obra de Lope de Vega, Madrid, Homolegens (Bibliotheca Homolegens, 63), 2011, 334 pp. ISBN: 978-84-92518-72-2.
B. Belloni

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 20

Abstract
Book's review
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Álvaro Cubillo de Aragón, El invisible príncipe del Baúl, ed. Francisco Domínguez Matito, Vigo, Editorial Academia del Hispanismo, 2012, 228 pp. ISBN 978-84-15175-09-4
I. Arellano

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 21

Abstract
Book's review
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Pedro Calderón de la Barca, La vida es sueño. Edición crítica de las dos versiones del auto y de la loa de Fernando Plata Parga, Kassel/Pamplona, Edition Reichenberger/Universidad de Navarra, 2012. 287 págs. ISBN: 978-3-944244-01-3
H. Acevedo González

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 15

Abstract
Book's review
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Metrical forms, spaces and structures in ¿De cuándo acá nos vino? of Lope de Vega
M. Vitse

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 11

Abstract
The article examines the role of the metric in the structural design of the comedy ¿De cuando acá nos vino? by Lope de Vega, highlighting its importance, related, but not subordinated to the spatial changes and other criteria. The careful analysis of the metrical organization allows to note the elaborate technique of Lope, which maintains a remarkable consistency in the scenic, geographic, chronological, theatrical and metric criteria, in the step from one to another macrosequences established in the analysis.
Abstract
The article examines the role of the metric in the structural design of the comedy ¿De cuando acá nos vino? by Lope de Vega, highlighting its importance, related, but not [...]
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The Art of Conversation: A Virtuous or Inmoral Delight?
C. Strosetzki

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 3

Abstract
Recent linguistic pragmatics has emphasized that talking is acting. Action, however, belongs to the field of ethics. Hence, of what nature is the relationship that exists between the norms of ethics and the rules of conversation? The question is easy to answer on particular cases, for example, when asking about the permissibility of lying and deception. The matter, however, becomes more complex, when comparing the field of ethics to the rules of conversation, so it will be studied first. Then, the forms of regulated existence in society and conversation are correlated with those in politics and state. This raises the question of the extent to which the society that comes together in sociable conversation is to be seen in analogy to the society of state, so that parallels between the political theory and the theory of sociability can be found. Due to the special significance of Aristotle and Thomas Aquinas in the Late Scholasticism of the Spanish Golden Age, we take the Aristotelian ethics and politics as the starting point for this investigation.
Abstract
Recent linguistic pragmatics has emphasized that talking is acting. Action, however, belongs to the field of ethics. Hence, of what nature is the relationship that exists [...]
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Marmosets, Raree shows and Pulcinelle: an Analysis and Edition of a Hitherto-Unpublished Carnival Play by Antonio de Zamora
F. Plata

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 19

Abstract
This paper is an analyisis, annotation and edition of the Mojiganga del mundinovo (‘The raree show, a carnival play’) by Antonio de Zamora. The play was performed in 1698 Madrid by the troupe of Carlos Vallejo, along with the sacramental one-act play El templo vivo de Dios (‘The living temple of God’). The hitherto unpublished text is based on the only two extant manuscripts, located in archives in Madrid. Despite the play’s title, my analysis argues that the novelty in this play is not so much the raree show, a contraption popularized four decades earlier in Golden Age theater, as the marmosets. The death of two marmosets and the ensuing desolation of their owner, Ms. Estupenda, both trigger the play and provide it with a plot. The marmosets, too, point to a changing mentality in late 17th-century society, regarding the possession among ladies of marmosets and other monkeys as pets.
Abstract
This paper is an analyisis, annotation and edition of the Mojiganga del mundinovo (‘The raree show, a carnival play’) by Antonio de Zamora. The play was performed in 1698 [...]
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Burlesque Authority and Modernity in Baroque Short Theater
A. Guijarro-Donadiós

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 13

Abstract
The purpose of this article is to study how the trends of diversion and consumption determined the comic elements of the short plays through the analysis of the comic Mayor within the urban space. I focus on several interludes where commerce and the use of new products and habits are the principal means of making fun of the rural authority figure in the emerging new society of consumers in the 17th century.
Abstract
The purpose of this article is to study how the trends of diversion and consumption determined the comic elements of the short plays through the analysis of the comic Mayor [...]
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Comicality and devotion: festive laugh in Lope de Vega’s hagiographical comedia
N. Fernández Rodríguez

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 7

Abstract
Taking into consideration Lope de Vega’s corpus of hagiographical comedia, we value how the typical comicality of arte nuevo became compatible with that pious sense which was essential to hagiographical plays. We discuss the different roles played by festive laugh in a dramatic subgenre which intended to lead the audience to devotion. The aim of this article is to deepen into the strategies through which comedias de santos contributed to a double prospect, festive and pious.
Abstract
Taking into consideration Lope de Vega’s corpus of hagiographical comedia, we value how the typical comicality of arte nuevo became compatible with that pious sense which [...]
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The Deified Courtier: Pagan Spectacles in El burlador de Sevilla
F. de Armas

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 14

Abstract
This essay looks at pagan disguises utilized in plays and courtly entertainments of the Golden Age, focusing on El burlador de Sevilla. Don Juan and all those who surround him, turn to mythology, pretending to be deities and thus reflecting the theatrical culture of the court where the nobility often assumed such pagan guises. When he metamorphoses himself into Jupiter, don Juan reminds us that this particular guise was common in most European courts of the times were courtiers and kings imagined themselves as abiding in a new Olympus. Don Juan, then, defies society, utilizing the same symbols of power that served to exalt the Habsburgs. Don Juan’s power of metamorphosis is seen most clearly in Tisbea and Isabela who both play the part of Europa to the god/bull.
Abstract
This essay looks at pagan disguises utilized in plays and courtly entertainments of the Golden Age, focusing on El burlador de Sevilla. Don Juan and all those who surround [...]
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Power relationships and conflicts between families and individuals: Lope de Vega’s Los enemigos en casa
F. Antonucci

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 8

Abstract
Los enemigos en casa is a comedy written by Lope de Vega that has been scarcely studied. The plot focuses on the enmity among two sevillian families and the serious problems it causes to a couple of lovers belonging to the rival families. The article examines how Lope dramatizes intergenerational discord, showing paternal authoritarism’s excess, and most of all, the way it states the improper idea of familiar honor that’s displayed by paternal uncles, along the same lines of the arcaical role of patruus.
Abstract
Los enemigos en casa is a comedy written by Lope de Vega that has been scarcely studied. The plot focuses on the enmity among two sevillian families and the serious problems [...]
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El niño caballero’s interlude and the burlesque rewriting of Romances of Chivalry
M. Aguilar Perdomo

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 1

Abstract
In the second half of the XVII century, Spanish romances of chivalry continued providing the theater and courtly festivities with characters, topic and motifs. Antonio de Solís y Ribadeneira’s interlude, El niño caballero, picks up a number of motifs from the heroic archetype that characterizes the knight, and he rewrites them in a burlesque tone. Also, the theatrical interlude stages a play of dances that the actors, among them, the famous «Juan Rana» present to the public. The article is accompanied by the critical edition of the text.
Abstract
In the second half of the XVII century, Spanish romances of chivalry continued providing the theater and courtly festivities with characters, topic and motifs. Antonio de [...]
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Towards the burlesque novella: Salas Barbadillo, Castillo Solórzano, and Tirso’s Los tres maridos burlados
F. Rodríguez Mansilla

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 17

Abstract
This article draws attention to a type of XVIIth century novella that has been neglected or simply studied as a derivation of other literary manifestations. My objective is to define the main characteristics of a short narrative that we can name «burlesque novella». I define it as a short story (the regular extension of the baroque novella) containing in the heart of its plot an elaborate trick with an exemplary purpose. From this perspective, the burlesque novella is a show organized by noblemen for noblemen, composed by educated writers, that incorporated ridiculous characters on stage. The burlesque novella —founded by Salas Barbadillo, and continued by Castillo Solórzano and Tirso de Molina— is a narrative genre still misunderstood and in need of further exploration. Tirso’s Los tres maridos burlados is a paradigmatic literary piece from this genre.
Abstract
This article draws attention to a type of XVIIth century novella that has been neglected or simply studied as a derivation of other literary manifestations. My objective is [...]
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The academies as a social celebration of the Baroque: Their reflection in Antonio Enriquez Gomez
M. Rodríguez Cáceres

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 5

Abstract
Academias morales de las musas (1642) by Antonio Enríquez Gómez is one of those miscellaneous works that make use of academia’s narrative artifice in order to compile poems, plays and other loose works. They are articulated upon the concurrence of several interlocutors who expound their ideas and feelings through compositions with different degrees of elaboration. In those verses, Antonio Enríquez Gómez pours his concerns about a life shaken by the persecution he suffered at the hands of the Inquisition because of his crypto-Judaism. Although he covers diverse themes, he is mainly concerned with providing moral reflections, and with the pessimist recreation of neo-stoic topics.
Abstract
Academias morales de las musas (1642) by Antonio Enríquez Gómez is one of those miscellaneous works that make use of academia’s narrative artifice in order to compile [...]
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«Being absent Carlos, / what difference do the festive voices applauding him make if he hears nothing?»: Sor Juana’s loas for King Carlos the Second’s birthday
R. Rice

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 9

Abstract
Starting in 1650, Calderón de la Barca assigned a new role to the ‘loa’, elevating it artistically to the level of the ‘auto’. In America, Sor Juana Inés de la Cruz followed the Spaniard’s example by aggrandizing the panegyric loa and including the essential elements: allegorical characters, hermetic fragments, emblematic reminiscences and a sensorial setting. These loas are pieces that adhere to certain templates to glorify power and exalt authority. These templates are constituted of compositional paradigms that structure the design, in part or as a whole, of the stylistic and argumentative architecture, as Arellano correctly asserts about the Auto Sacramental but also applicable to Sor Juana’s last half of the 17th century panegyric loas. I propose an analysis of the five loas that the nun composed for Carlos the Second’s birthday that consists in identifying and comparing the compositional paradigms, to be able to formulate a three act structure based on the functional identification of the paradigms.
Abstract
Starting in 1650, Calderón de la Barca assigned a new role to the ‘loa’, elevating it artistically to the level of the ‘auto’. In America, Sor Juana Inés de la Cruz [...]
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Sacred Celebration and Political Power: Iconography of the Austrians as Advocates of the Eucharist and the Immaculate Conception in Latin America
Á. Pascual Chenel

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 2

Abstract
In a Catholic monarchy, it is to be expected that religion played a transcendentally important role. Not just from a spiritual standpoint, however, but far beyond that, it came to be one of the basic premises of the political and dynastic identity of the Habsburgs. Based upon this, a complex theological conception of politics was constructed, and all the available means of rhetoric and persuasion in Baroque society were mobilized for propagandistic dissemination. In particular, art at the service of faith became a useful instrument as the «broadcaster» of all visually transmitted ideology. In this respect, the two pillars that supported the Pietas hispanica —distinctive signs and mystic unifying agents— carried special importance: Eucharistic and Immaculist devotion professed by the monarchs of the House of Austria. By this means, the political-confessional and propagandistic complex discourse that irradiated from the heart of the Monarchs to American territory was articulated. This article will look at some of the most significant images in relation to this theme, integrating them into the political-religious discourse of the time.
Abstract
In a Catholic monarchy, it is to be expected that religion played a transcendentally important role. Not just from a spiritual standpoint, however, but far beyond that, it [...]
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Aspects of authority and power illustrated by the Portuguese canonization celebrations of Ignatius of Loyola and of Francis Javier Cristina Osswald Universidade Nova de Lisboa
C. Osswald

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 18

Abstract
The canonization of the founder of a Catholic religious order constitutes a milestone in the affirmation of authority by that order. As concerns to the Society of Jesus, it was a double canonization. Such an uncommon fact as this, clearly both demonstrates the power the Society had at the time at the Curia, and explains its intention of celebrating the auto-glorification. Its scenography, thus, aimed more to praise the triumph of the Society of Jesus through the use of allegorical figures such as Religion, Fame, Honour or Pomp, than anything else. The iconography of such festivities framed the first Jesuits saints within the history of the Society. Thus, the Portuguese jesuits paid homage, by means of the staging, to the beatified ones, the first jesuits and the martyrs. Moreover, the set pointed out its main devotions, characteristics and activities such as missionary work and teaching activities. Often canonizations of a certain figure were intimately related to political power in Early Modern Time. Therefore, Portuguese Jesuit festivities exalted, with a great vigour, feelings of nationalism during the Iberian Union’s time. In order to transmit the various aims, the organizers did not hesitate to use all Baroque celebrative resources (poetry, theatre, dance, music and visual arts). In other words, particularly luxurious and grandiose celebrations, including light, sound, colour, and odour spectacles or events (reference be made to the vases with perfume inside the churches) took place by that time.
Abstract
The canonization of the founder of a Catholic religious order constitutes a milestone in the affirmation of authority by that order. As concerns to the Society of Jesus, it [...]
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Cuevas ludens. Rhetorical and graphic games in Homage to Quevedo (1969)
E. Marigno

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 12

Abstract
From Homage to Quevedo (1969) of the Mexican artist Jose Luis Cuevas, I present the question of the game in Francisco de Quevedo, and, especially, in the illustrations that have inspired J. L. Cuevas. I put special attention in the rewritings of Quevedo’s universe in the drawings of J. L. Cuevas. I use critical and methodological references inspired in structuralism, formalism and constructivism, to that I add the contributions of Hans Belting, George Didi-Hubermann, W. J. T. Mitchell, and of the philosophers of postmodernism like G. Deleuze or J. Derrida.
Abstract
From Homage to Quevedo (1969) of the Mexican artist Jose Luis Cuevas, I present the question of the game in Francisco de Quevedo, and, especially, in the illustrations that [...]
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Sonnets, Litanies and Praise in three Festivities in honor of the Virgin of Guadalupe (1601-1602)
B. López de Mariscal

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 6

Abstract
When relating his journey, Friar Diego de Ocaña describes two festivities celebrated in Villa de Potosí, both dedicated to the enthronement of images of the Virgin painted by himself. The festivities included processions as well as literary pieces to honor the Virgin. Ocaña notes that among the poetic texts composed in veneration and praise of the Virgin, there were also prayer-like compositions that were sung during the processions, at the end of the Eucharistic celebration, during the Salve Regina, or during those moments when the image was placed upon the altar. In the present article particular attention is given to various texts, specifically to those which accompanied the festivities that took place with the same pomp and circumstance as those ceremonies celebrated for the feast of Corpus Christ.
Abstract
When relating his journey, Friar Diego de Ocaña describes two festivities celebrated in Villa de Potosí, both dedicated to the enthronement of images of the Virgin painted [...]
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Aparición de la página "Semanas del jardín: Cervantes-Boccaccio un año en la vida de dos escritores"
M. Colón Calderón, A. Rodríguez de Ramos

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 39

Abstract
Se da noticia de la aparición de la página web "Semanas del jardín: Cervantes-Boccaccio un año en la vida de dos escritores".
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Una biografía novelada de María Teresa León: «Cervantes, el soldado que nos enseñó a hablar»
C. Perugini

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (2), 29

Abstract
En la biografía novelada se juntan, aparentemente contradictorios, el aspecto documental y científico de la historia con el subjetivismo y lo imaginativo de la ficción.Las cinco biografías noveladas de María Teresa León son, en el orden: El gran amor de Gustavo Adolfo Bécquer (Buenos Aires 1946); Rodrigo Díaz de Vivar el Cid Campeador (Buenos Aires 1954); Doña Jimena Díaz del Vivar. Gran señora de todos los deberes (Buenos Aires 1960); Menesteos, marinero de abril (México 1965); Cervantes, el soldado que nos enseñó a hablar (Madrid 1978). Llaman la atención inmediatamente dos elementos comunes: el haber sido escritas todas en el exilio, incluso la de Cervantes, última obra de la autora todavía exiliada en Roma, y su dedicación a figuras marcadas por un destino malhadado y heróico, y, cada una a su manera, ejemplares.La atención hacia los clásicos, y hacia Cervantes en particular, fue una constante en la generación de intelectuales que salieron de España después de la derrota. En la biografía de María Teresa se nota una fuerte compenetración entre escritores, la moderna y el antiguo, que llegará hasta la invención de detalles existenciales del biografiado, al que la autora ofrece su voz, su manera de pensar, sus ideales.Palabras clave: María Teresa León, biografía novelada, Cervantes
Abstract
En la biografía novelada se juntan, aparentemente contradictorios, el aspecto documental y científico de la historia con el subjetivismo y lo imaginativo de la ficción.Las [...]
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Presentación
V. Roncero

Hipogrifo. Revista de literatura y cultura del Siglo de Oro (2013). Vol. 1, (1), 16

Abstract
Presentación de Hipogrifo.
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Congresos y seminarios
L. Suárez

International Journal of Natural Disasters, Accidents and Civil Infrastructure (2013). Vol. 13, (1)

Abstract
Congresos y Seminarios
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Manejo de elementos finitos para modelar estructuras de paviemnto en o cerca de la falla usando un método de módulo volumétrico constante
C. González, M. Santiago

International Journal of Natural Disasters, Accidents and Civil Infrastructure (2013). Vol. 13, (1)

Abstract
Hoy día se requiere que ingenieros militares implementen metodologías de diseño capaces de predecir el rendimiento de los pavimentos basado en información de campo limitada. Investigadores del U.S. Army Engineer Research and Development Center (ERDC) han desarrollado un método de modelaje simplificado, el cual se ha implementado en los criterios de diseño. En este método se asume que los materiales mantienen un módulo volumétrico constante mientras que el módulo de elasticidad y la razón de Poisson varían a medida que el elemento se aproxima a la falla. Estas suposiciones previenen el colapso de los elementos a medida que se aproximan a la falla, forzando al material a fallar en cortante. Este artículo resume el método técnico, incluyendo la validación del procedimiento usando simulaciones de pruebas de laboratorio conducidas en materiales de pavimento y pruebas de campo conducidas en secciones de pavimentos de aeropuertos de escala real. Las predicciones de rendimiento de pavimentos usando este método proveyeron una conformidad razonable con los esfuerzos observados bajo cargas de aviones en el campo. Basado en los resultados de este estudio, este método será utilizado para desarrollar criterios nuevos de diseño de pavimentos militares.
Abstract
Hoy día se requiere que ingenieros militares implementen metodologías de diseño capaces de predecir el rendimiento de los pavimentos basado en información de campo limitada. [...]
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