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Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper focuses on the image of the Thirty Years War as it was depicted in Francisco de Quevedo's only play, Cómo ha de ser el privado. The antagonism between Protestants and Catholics, one of the main conflicts of the Thirty Years War is illustrated through two of the main opposed characters of the play, the Transylvania ambassador and the prince of Denmark. Moreover, this article aims at demonstrating how Quevedo's ideology, already expressed in previous works, has an impact on the events presented by the author in his play, creating a highly propagandistic ensemble. [ABSTRACT FROM AUTHOR]

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper intends to analyse one of the trajectories followed by the love's metaphysic of the acclaimed Quevedo's poem «Amor eterno más allá de la muerte»: the one which results in Juan Gelman and Leónidas Lamborghini poems, written during the 1976 Argentina's dictatorship. This requires, first of all, an overview of baroque and quevedesque influences on the Argentine literature; secondly, a study of the assimilation and re-elaboration process made by both Gelman and Lamborghini. Ultimately, these creations show the current importance of this poem torn cosmology. [ABSTRACT FROM AUTHOR]

This paper analyses the theatrical production of Francisco de Quevedo's and Calderón de la Barca's interludes by comparing one of the most significant points of contact of their respective short dramaturgies: the «entremés de figuras» and its different structural possibilities. It proposes a conceptual problematization of both categories, as well as an examination of its relevance in the development of this dramatic genre of the entremés through the study of the following plays: Los enfadosos, La ropavejera and Los refranes del viejo celoso -of doubtful authorship- by Quevedo; and the calderonian entremeses Las Jácaras and Las Carnestolendas. [ABSTRACT FROM AUTHOR]

This paper will analyze the figure of the old man -a character amply rooted in literature and folklore- in Francisco de Quevedo's interludes. Contrary to the perception of old age as a time of experience and wisdom, proper to other Quevedo's works, in these texts the passing of time is primarily a reason for mockery. The presence of the old man amounts to that of a caricatured nincompoop. Compared to his female counterpart, however, the satire of the old man is toned down. We can even gather an authorial intention to show sympathy towards this impaired character, whose misfortunes are often, in fact, caused by a woman. The old man can be traced back to similar counterparts from interludes by Lope de Rueda and Cervantes. Although Quevedo does not add new or particular attributes to the character, he does present a peculiar and parodic roster of old codgers afflicted by myriad faults and frailties, and taunted not only by their own kin but also by society at large. [ABSTRACT FROM AUTHOR]

In this paper we present the fundamental concepts of the theory of privanza developed by Francisco de Quevedo in Discurso de las privanzas (1606-1608) and Política de Dios (1616-1621) and dramatised in the comedy Cómo ha de ser el privado (1623-1624, 1628-1629). We intend to show how the historical-political circumstances of the composition of the respective works, the intention that leads the author to write them and his knowledge of the political thought of that period influenced the evolution of his attitude towards the privado. We also analyze how Quevedo uses this theory to build the main character of the play and determine the limits of his role in the government of the monarchy. [ABSTRACT FROM AUTHOR]

This paper presents a study of the quotation from La pícara Justina inserted in the princeps of Quevedo's Sueños from a three-fold perspective: attending to the context where it is located in the book of López de Úbeda, to its relationship with the creative techniques of the usus scribendi in the Siglo de Oro, and from the point of view of the physical document where it was printed. The information obtained points to Quevedo as the author of this variant for a number of reasons: it probably contains a witty and burlesque allusion to Guzmán de Alfarache --already present in Úbeda's novel--, it is a technique known to be used by the baroque writers to create concepts by inserting texts from other authors, and it does not seem to be a casual intervention of the editor. [ABSTRACT FROM AUTHOR]

This paper examines the scenic mechanisms used by Quevedo to provoke laugh in his interludes. These mechanisms involve not only verbal wit, but elements of staging (paralinguistic, movements, gesticulation, costumes, objects?) used to build an aesthetic of the grotesque with important theatrical dimensions. [ABSTRACT FROM AUTHOR]

This paper intends to show the Quevedian mechanisms of (rewriting and the complex relationships with Góngora, Jáuregui, or Lope, or, rather, with his stylistic proposals. A romance about the myth of Orpheus becomes a poetic proposal outside the Gongorism and the Castilian tradition claimed by Lope, which is the Quevedian answer to treatment of myth as serious poetic material, its authors and the controversy where they were inmersed. The Orpheus descent into hell shows the dissolution of the loving subject, loss of symbolic power of mythical elements and a metric-stylistic degradation that leads to indignity of mythology as valid element for a serious poetic expression. [ABSTRACT FROM AUTHOR]

In this paper the author studies a romance of Quevedo applying the method of traditional philology and neo-lachmannian for the fixation of his text. He provides two main sources that the author used: a passage from Leandro by Juan Boscán and the first romance of El caballero de Olmedo, also published in the Primavera y flor de los mejores romances (Madrid, 1621). He even suggests a date for the romance of Quevedo putting it in relation with another sonnet #171;En crespa tempestad del oro undoso». [ABSTRACT FROM AUTHOR]

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)