No. 09 (2020)

The aim of this paper is carry out the study and edition of a singular new pamphlet focus on the Mariana of Austria’s arrival to Spain. The anonymous writer takes a Gongora’s romance and make his own poem, which is more poetic than extensive. This study has three goals: first, analize the new pamphlet and its relation with the original poem. Second, find out the potential causes that make the autor choose this particular poem. Finally, we offer the transcription and annotation of the complete poem.

We analyse the long streak of chained tiercets known as Vida del Pícaro, traditionally attributed to Pedro Liñán de Riazza, and conclude, through several lexical contrasts, that is a work by Mateo Alemán. We also analyse a sonnet that can be attributed to a young Francisco de Quevedo following the same methods and criteria.

Along with the circumstances and characteristics of the Seville edition of 1666, the article analyses the compositional, structural and generic features of the poem, to conclude with the exploitation of its pragmatic values in the context of Seville's immaculate fervour, in the same years that Murillo composed his celebrated iconography. It is from this perspective that the analysis of the characteristics that the poet introduces into the biographical genre is oriented, in order to put it at the service of his devotional interests with a marked rhetorical value oriented towards the movere. The selection and composition of the subject matter are related to him, with his particular adaptation of the laws of the genre in a very marked historical and cultural moment.

The aim of this paper is to complete the catalogue of Perrey’s identified engravings. We include 47 engravings signed from all around the world, and a brief account of the allegorical meaning of the designs is provided.Nicolas Perrey was an engraver who developed his career in Naples approximately between 1619 and 1670. The artistic relevance of Perrey lies in his connections to the service of ministers and high-up personnel of the Spanish viceregal administration, as well as to clerics belonging to the Neapolitan Catholic Church. He can be considered a fundamental artist involved in the building and consolidation of the image of both political and religious powers during the 17th century.

This study, based on previous hypotheses of Benedetto Croce, Menéndez Pelayo and current specialists, about the common author of the Cuestión de amor and the Dechado de amor "Vasquirán", identifies him as the printer Juan de Villaquirán. He also attributes to Juan del Enzina the authorship of a poem that satirizes the Dechado de amor.

After a brief introduction to the Spanish old books of the Royal Library of Copenhagen, this article focuses on the articles in which Emil Gigas unveiled an important collection of Spanish loose sheets of the seventeenth century preserved there, a tour of the scarce Spanish bibliography that mentions them and, finally, they are described in bibliographic corpus.

This work explains how dedications of the poetic works printed in Seville are used as a paratextual space, in the search of patronage. For this purpose, 54 poetic works are analyzed: including both broadsheets and poems printed in Seville between 1649 and 1682. Also, the editorial strategies followed by the poets to obtain the favor of the patron through the printing press are described. After studying dedications from the literary and material perspective, we observe that there is a tendency to aspire a patronage linked to the local authorities.

Through an analysis of the general structure of El curioso y sabio Alejandro, juez y fiscal de vidas ajenas (1634), by Alonso Jerónimo de Salas Barbadillo, we will approach the importance of painting as a pretext of the organizing framework of narrative material and as a sumptuous component of baroque material culture. If, on the one hand, the paintings and their biographical epitomes make up the gallery-framework of the work and visually reinforce the current social situation; on the other, there will be a relation with artistic collecting of the time, a common practice among the rich of Madrid, and which, as will be explained, could also relate directly to King Felipe IV. Starting from the king’s art collector’s passion, we will also try to demonstrate Alejandro’s correspondence with the monarch and his collection of portraits with the galleries of the time.

Peace, a common theme in the specula principis and books of loci communes, could not be missing from a work that combines both genres, the Emblemata centum regio politica (Madrid, 1653) by the jurist Juan de Solórzano Pereira. It is also present in the vulgar summary version made by the Jesuit Andrés Mendo titled Príncipe perfecto y Ministros ajustados (Salamanca, 1657; Lyon, 1662). This paper aims to analyze the literary and graphic sources of Juan de Solorzano’s emblem XCIV, Pacis Commoda, and its reply, Andrés Mendo’s document XLIX, to clarify the work methodology of this author and to determine his compositional and conceptual innovation with respect to the Latin prototype.

After Fernando de Herrera's death (1597) and the loss of a part of his work, his figure became object of honour and vindication for some of his friends and close ones. Among those: Francisco Pacheco and Pablo de Céspedes, as we can read in a Pacheco's epistle to Céspedes, and in the fragment of a poem by Céspedes reproduced in Pacheco's Libro de retratos. The analysis of both texts will make us conclude that at the beginning of the seventeenth century there were some authors who felt the need to publish a posthumous edition of Herrera's verses and therefore declare the decisive role of the master in the evolution of Spanish cultismo from 1580 on. 

The article analyses the school adaptation of Lazarillo, by José Escofet, in 1914, by focusing on its characteristics as well as on the main differences with the original text. At the same time, its connection with other adaptations and versions is also studied, while evaluating its possible influence in the current reception of the said picaresque novel.

In this paper we comment on the Moorish romances published by Lasso de la Vega in the Primera parte del Romancero (1587) and in the Manojuelo (1601). Our starting point is twofold: firstly, we believe that the Moorish ballads forks into a maurophilic and a satirical side. Second, we believe that his style differs from Lope's archetypal model. On this basis, we give and justify the list of those romances of his that we consider Moorish.

This article tries to restore the central figure of doña Catalina de la Cerda, lady-in-waiting of the queen during the first quarter or the 17th Century, consistently mistaken for other noble women of higher social rank. Nevertheless, this lady enjoyed an unparallel celebrity at court, due to her beauty and personality, and became a center of attraction for courtiers and ambassadors at every ceremony, and her appealing figure served as a muse for the greatest poets of her time, such as Góngora, Quevedo, Villamediana, Vélez de Guevara, or Paravicino, among others.

The objective of this article is to explain, from a philological and cultural perspective, the manuscript entitled Copia de un papel que se halló en un escritorio de la reina, nuestra señora doña María Luisa de Borbón de Francia, in principle found in the denunciation and process of the Saint Office of Mexico to the mestizo Ignazio de San Juan Salazar from Puebla de los Ángeles. The investigation led to the finding of 22 copies of the aforementioned manuscript, in different documentary repositories between the Iberian Peninsula and America, of which the majority lack date and signature, as well as paratexts that could elucidated the true author. In addition to publicizing the role and highlighting its importance, in this work it is interesting to unveil some of its most relevant characteristics, expose the arguments for which we consider it a satire, and show how, in a kind of inverted "princess mirror", the unknown author tries to convince María Luisa of the supposed political "virtues" of a queen, but of one that is loyal to her homeland and not to bhe one she governs, which in the eyes of her Spanish subjects the she became a traitor, thus going from being the apparent protagonist of the writing, to the main victim of the supposed political machinations described in it. 

This article aims to show the presence of epic elements in Castilian chivalric romans. As an example, it is analysed the prologue to the Fourth Part of Florisel de Niquea (1551) written by Feliciano de Silva. This work proposes Carlos V is the true tribute in the paratext, and not his daughter Queen María, to whom the book is dedicated. The prologue narrates the Mülhberg´s battle with a heroic tone and a noticeable epic detail in order to create the war scene. Silva makes the entire artistic machinery that seeks to enhance the image of Carlos V as the great Renaissance hero through concepts like the heroic virtue or the monarch's topic such as Miles Christi. Silva achieves his prologue contains the basic ideas of the imperial power´s image´s configuration.

The article shows that the cancionero to Juana of the Rimas de Tomé de Burguillos (1634) conforms to the artistic precepts of the mature Lope about the literary treatment of the comicalness. But, at the same time, those poems imply a renovation of the topics, the language and the characteristics of the speaker in the burlesque poetry of the Golden Age.

The present investigation centres on the main aspects of massive digitalization of texts and the automated recognition of digitalized images thanks to OCR/HTR softwares. Finally, we present an experiment on HTR recognition dealing with XVI Century Spanish Romances of Chivalry and is delivered a model to transcribe in a semi-automated and collaborative way these texts.

This work presents a state of the art of the applications of the Digital Humanities to the Spanish Literature through a historical review of the last 50 years and an overview of the main projects and lines of research in this field. To this end, the emergence and history of the Digital Humanities in Spain is organized in three phases: the origins (1970-2011), towards institutionalization (2011-2015) and consolidation and new challenges (2015-2020). Due to the breadth and variety of existing projects, it aims to offer a significant sample of the most relevant in terms of current events, interest in the study of Spanish literature (with special attention to Golden Age Literature), visibility, and open access, through four key categories: databases, digital libraries, digital editions and quantitative approaches.

This paper looks over the fortune of the Baroque Short Novel on screen from the invention of the cinematographer. Departing from adaptations inspired by Boccaccio’s Decameron (1352), father of the modern novella, detailed information is given about the translation of sixteen of these tales to the screen. Special attention will be paid to Cervantes’s Exemplary Novels (1613). The two latter sections deal with The Impertinent Curious Man, a story included in the first part of Don Quixote (1605) that attracted filmmakers from early on; and with the other Golden Age narrators (Salas Barbadillo, Castillo Solórzano, Lope de Vega y María de Zayas) whose works became TV material thanks to the rise of literary serials during late Francoism and the Spanish Transition.

This article explores the presence of the French Pox in two of Miguel de Cervantes’ Exemplary Novels: The Deceitful Marriage and Dialogue of the Dogs. The first part of this article analyses how the epidemic contributes to consolidate the novels’ verisimilitude according to contemporary medical theories. The second part of this work proposes that these novels offer an image of the French Pox that emphasizes empathy and freedom. This characterization is different from widespread depictions of the epidemic at the time and can be understood as a subtle criticism of the moral orthodoxy prevailing in Habsburg Spain.

The purpose of this paper is to review the contributions of some members of the Generation of ‘27 (in the broadest sense of the term) to the commemoration of Lope in 1935. A great number of commemorative events were organized on this date, and it is presented as a perfect moment for these authors to pay tribute to one of their main masters. Our aim is to detect the different positions that these authors adopted when approaching the Phoenix: what parts of his work and his figure stood out, what united them in front of it and where they disagreed, as well as to check the connection between their interpretations and their own literary productions and with the moment of the celebration.

This study argues that Diego Gracián de Alderete, under the pseudonym Diego de Hermosilla, was the author of the Diálogo de los pajes. The claim is founded on an author’s profile generated from the historical, literary, and social references presented in the text, and it is supported by sources not explored or contrasted before.

This is a review of the critical and annotated edition of the Anacreón castellano, by Francisco de Quevedo, published by SIELAE (2018).

It is a review of the monograph Le cheval au théâtre dans l'Espagne du Siècle d'Or by Marie-Eugénie Kaufmant.

This is a review of Carmen Rivero's book Humanismus, Utopie und Tragödie.