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Este trabajo examina unos modismos del tópico de la descriptio puellae en textos de Góngora y Lope. Concretamente, estudia la imagen de la dama como atractivo palacio, que desarrolla un célebre soneto gongorino («De pura honestidad templo sagrado») y varios textos lopescos: el soneto 64 de las Rimas («Yo vi sobre dos piedras plateadas»), unos pasajes de De cosario a cosario (antes de 1619), de El caballero de Olmedo (c. 1621) y, especialmente, de La Circe (1624). Tras repasar algunos elementos del tópico de la descriptio puellae, y en particular las metáforas arquitectónicas, examinamos el soneto gongorino y las fuentes que propone la crítica, a las que sumamos el Cantar de los cantares. A continuación, estudiamos descriptiones puellarum en Lope, tanto las no arquitectónicas como, especialmente, las que sí que lo son, y en concreto las que usan la metáfora de la columna: para hablar del cuello de la dama, según el canon petrarquista, o para hablar de sus piernas, según una atrevida pero difundida tradición de literatura erótica que recoge el soneto 64 de las Rimas. Por último, y en la parte central del trabajo, examinamos estas metáforas en el Lope de senectud, cuya Circe las lleva a un refinamiento que podemos comparar con el gongorino.

Le terme desengaño traverse toute la production littéraire de Góngora, depuis sa première apparition en 1583 jusqu'à sa dernière, en 1626. Cet article examine toutes les modalités configurées à partir de ce concept par les vers du Cordouan, aussi bien dans les pièces courtes que dans les œuvres dites majeures (Solitudes, Panégyrique au duc de Lerma), en se concentrant sur trois aspects principaux : le désabusement amoureux, le désabusement de la cour et le désabusement existentiel.

The article builds on some theoretical and analytical considerations about Luis de Góngora's satirical-burlesquepjoetry; it then sets out to highlight the convergence of a critical attitude with a playful posture, of a satirical intent with a burlesque tone in three sonnets from the same collection in order to reflect upon the meaning behind the hybridising mechanism connecting these two strands in Góngora's poetry and its formal repercussions. [ABSTRACT FROM AUTHOR]

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En su edición de El Parnaso español de Francisco de Quevedo, Ignacio Arellano, además de la reproducción y anotación de sus 554 poemas, ofrece una novedosa teoría que denomina doble lectura, basada en su visión del conceptismo. En este artículo-reseña se ofrecen algunas observaciones sobre su planteamiento teórico.

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This article analyses several examples of poetic imitation that Salcedo Coronel included in some of his most famous compositions. The identification of the models (classical and Italian) that spurred the creativity of the erudite poet from Seville has a singular origin, since it was the gongorine commentator himself who collected such glosses among his annotations to the Soledad primera.

In 1996 Antonio Alatorre published an extensive review of the Soledades [The Solitudes] edited by Robert Jammes (Madrid, Castalia, 1994). The review celebrates the rigorous and passionate work of the French Góngora scholar; there Alatorre examines each aspect of the introductory study, making comments and additions that represent important contributions which complement Jammes’edition. Jammes appreciated Alatorre’s study: he responded to each one of the suggestions and objections in a letter that very clearly shows his ability to be self-critical, his work ethic, his openness to sophisticated academic dialogue —in short, all of the qualities that characterized the great critic and scholar Robert Jammes.

The article examines three sonnets in which Góngora combines the autobiographical motif of the bad trip with that of the contempt of court in the light of his possible Italian models: the capitoli of Francesco Berni and the Berneschi, and the Satire of Ariosto. The motif of the bad lodging, as well as the use of specific rhetorical devices, refers to the former; to the latter, the Horatian motif of the frugal meal and the poet's perspective of abandoning the place. If, on the one hand, this reading suggests Góngora's literary affiliation to the theme of the journey (which could imply a change of date in one of the sonnets), on the other hand, it confirms the sentimental vision of Spain that, as Robert Jammes pointed out, Góngora draws throughout his poetry.

Góngora’s fondness for music is beyond doubt because, in addition to his own affirmations, we have evident proof in the indisputable musicality of his verses, as well as in the use of musical principles as the basis of his poetic inspiration. It should not be surprising, therefore, the early and abundant musicalization of his romances and letrillas by composers of diverse training and employment, nor that they were used repeatedly in theatrical works of different genres and periods. Being considered Calderón the most gongorist author of the Golden Age authors, it is common for him to repeatedly include some of these poems in his own works. This is the case of the romance «Guarda corderos, zagala», reused in works as different as a corral comedy (El maestro de danzar), two palatial plays (Los tres afectos de amor y Fieras afemina amor) and a sacramental auto (El pastor fido). In this article I will try to decode and understand the expressive and structural use of the song in each of them. In addition, the way in which it is reused in works so different and far apart in time allows us to observe how the function of music in them evolved, as well as the progressive mastery of the author when using it.

In 1928, Borges published his third book of essays, El idioma de los argentinos [The Language of the Argentines]. There he dedicates an essay to discussing what he supposes to be Góngora’s poetics: because of their historiographical context, Borges associates them with the misnamed culteranismo, which is the title of the essay. The analysis of this early text shows that, despite its paradoxical criticism, Borges «saves» the tools of Baroque poetry: metaphor, mythology, the return to Latin. These tools will constitute the axis of Borges’ own poetic construction when he returns to poetry with El hacedor [The Maker, sometimes also translated as Dreamtigers] in 1960.

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Copyright of Atalanta: Revista de las Letras Barrocas is the property of Atalanta Revista de las Letras Barrocas 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.)

Las Soledades de Góngora podrían suponer, en el marco de la enseñanza y aprendizaje del Español como Lengua Extranjera (ELE), una importante herramienta para el desarrollo de la competencia discursiva del alumnado. En base a lo anteriormente expuesto, aplicaremos esta teoría al aprendizaje de la obra de Góngora, Soledades, mediante la combinación de actividades de recepción y lectura, comentario, composición de textos, reflexión, con el objeto de sistematizar progresivamente el aprendizaje de las claves y estrategias discursivas en este contexto de enseñanza-aprendizaje de lenguas. Cabe señalar, por tanto, los aspectos más característicos de la poesía de Góngora como un importante instrumento para expresar su significado y estructura conceptual, dado su potencial didáctico y valor literario. El trabajo sobre vocabulario, sintaxis, y las tareas de comprensión de la lectura de la estrofa, versos 69-80, de la Soledad Segunda, de dicho autor, constituye la vía para la consecución de dicho objetivo.

El presente artículo procura arrojar luz sobre veintisiete loci critici de la Soledad primera (1613) de Góngora: vv. 117-120, 153-162, 167-168, 171-175, 182-189, 212-221, 263-266, 291-296, 321-328, 344-349, 374-375, 461-464, 500-502, 573-579, 580-584, 585-589, 598-601, 623-629, 667-668, 701-704, 705-708, 810-811, 812-817, 866-871, 872-878, 895-896, 943 y 1012-1013. A partir de la formidable edición de Robert Jammes (1994), releemos aquí un puñado de lugares de la silva de los campos acerca de los cuales el filólogo confesó que le asaltaban dudas. Acudimos para ello a los gongoristas antiguos (Almansa y Mendoza, Jáuregui, el Abad de Rute, Díaz de Rivas, el anónimo antequerano, Pellicer, Salcedo Coronel, Vázquez Siruela) y también a los modernos (Reyes, Spitzer, Alonso, Orozco, Pabst, Alatorre, Carreira, Sinicropi, Molho, Ly, Poggi, Cancelliere, Romanos, Sánchez Robayna, Lara Garrido, Yoshida, Blanco, Mazzocchi, Micó, Roses, Pérez Lasheras, Ponce Cárdenas, Collins, Tenorio, Matas Caballero, Chemris, Osuna Cabezas, Palomares, Castaldo, Román Gutiérrez, Tanabe, Rojas Castro, Conde, Sandoval...), sin orillar la tradición clásica, la emblemática y el diálogo con el resto del corpus poético de don Luis.

Este estudio plantea la posibilidad de un nuevo sentido del título Soledades en el poema de Góngora, referido a la “soledad” como requisito de toda lectura. Se aprecia en que uno de los objetivos del vate cordobés es enseñarnos a leer su obra y el mundo que la rodea. Para ello, don Luis modeliza intratextualmente el perfil del receptor de su obra que debe actuar como el peregrino del poema, es decir, debe valerse de la capacidad hermenéutica de su mirada, en la que se funden los sentidos y el intelecto, para alcanzar el sentido de la obra. De ahí que, tras largos años de inmanentismo estructuralista, se proponga una lectura de las Soledades de Góngora desde las modernas teorías filosóficas, literarias y psicológicas que se han ocupado del análisis de las obras literarias desde la perspectiva de la recepción, las cuales destacan la importancia de la interacción texto-lector y de la integración de sujeto y objeto textual. Nos referimos a la fenomenología de Husserl y su discípulo Ingarden, que se relaciona con la filosofía de Hegel y la hermenéutica de Gadamer, y a los presupuestos de la estética de la recepción de la escuela alemana de Constanza, encabezada por Jauss e Iser, quien se basa asimismo en la fenomenología de Ingarden, en la psicología de la percepción de Gombrich y en el pensamiento visual de Arnheim, que enlaza con la Gestalt, lo que es de especial relevancia para nuestro estudio por el protagonismo que Góngora concede a las imágenes.

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El presente artículo procura arrojar luz sobre veintisiete loci critici de la Soledad primera (1613) de Góngora: vv. 117-120, 153-162, 167-168, 171-175, 182-189, 212-221, 263-266, 291-296, 321-328, 344-349, 374-375, 461-464, 500-502, 573-579, 580-584, 585-589, 598-601, 623-629, 667-668, 701-704, 705-708, 810-811, 812-817, 866-871, 872-878, 895-896, 943 y 1012-1013. A partir de la formidable edición de Robert Jammes (1994), releemos aquí un puñado de lugares de la silva de los campos acerca de los cuales el filólogo confesó que le asaltaban dudas. Acudimos para ello a los gongoristas antiguos (Almansa y Mendoza, Jáuregui, el Abad de Rute, Díaz de Rivas, el anónimo antequerano, Pellicer, Salcedo Coronel, Vázquez Siruela) y también a los modernos (Reyes, Spitzer, Alonso, Orozco, Pabst, Alatorre, Carreira, Sinicropi, Molho, Ly, Poggi, Cancelliere, Romanos, Sánchez Robayna, Lara Garrido, Yoshida, Blanco, Mazzocchi, Micó, Roses, Pérez Lasheras, Ponce Cárdenas, Collins, Tenorio, Matas Caballero, Chemris, Osuna Cabezas, Palomares, Castaldo, Román Gutiérrez, Tanabe, Rojas Castro, Conde, Encarnación…), sin orillar la tradición clásica, la emblemática y el diálogo con el resto del corpus poético de don Luis.

From the researches of Alessandro Martinengo on the scientific culture in Quevedo's work, this article aims to trace the presence of astrological images contained in it that are derived from Góngora. In particular, the author purposes an analysis of three love sonnets and one of religious nature which reveal how Quevedo uses these images to create a kind of conceptual dialectics with the famous chronographies of the Cordoban poet. [ABSTRACT FROM AUTHOR]

The article aims at investigating the contribution of Luis de Góngora and Francisco de Quevedo to the satirical literary tradition against nuns. Starting from the collation of a minimum corpus of poems that both authors dedicated to mock the nuns --alluding to their reprehensible behaviors--, we intend to demonstrate the different approach, tone and purpose that characterize their respective approaches to the subject. [ABSTRACT FROM AUTHOR]

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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.)

El presente estudio examina un pasaje de la Soledad primera a la luz de las prácticas de la imitatio. En el análisis del símil de la rosa se identifica el modelo subyacente (una comparación engastada en un soneto laudatorio de Torquato Tasso) así como algunos procedimientos de ocultamiento y potenciación expresiva característicos de la praxis gongorina.

Desde el ángulo de la imitatio, el presente artículo estudia la importancia de los modelos gongorinos en la configuración de la Segunda selva dánica del conde Bernardino de Rebolledo, prestando especial atención a las Soledades. Para ello, tras analizar algunos rasgos de género perceptibles en el poema y la estructura global de la composición, el trabajo se centra en tres grandes aspectos: el paradigma adjetival que sustenta varias descripciones de elementos naturales, las écfrasis de lienzos cetreros y los principales rasgos elocutivos que conforman la obra.

Este artículo analiza un pasaje inserto en el epitalamio de las Soledades de Luis de Góngora (I, 815-817), atendiendo a la recepción de motivos literarios greco-latinos en la literatura neolatina y vernácula. La mención de la figura mítica de Níobe en un fragmento del coro nupcial asume la función oratoria de un exemplum a contrario, ya que si bien exalta la fecundidad de la reina de Tebas, al mismo tiempo previene a la novia contra los riesgos de la soberbia, la impiedad y la jactancia. Para iluminar el sentido ejemplar que asume aquel personaje femenino, se examinan de cerca varios epigramas y emblemas sobre el mismo motivo, atendiendo a la advertencia moral que portan.

Cet article a pour but d’aborder la question concernant les voces nuevas, extranjeras y peregrinas, dénominations par lesquelles était connu aux Siècles d’Or ce que nous désignons aujourd’hui comme cultismo, ainsi que de voir leur rélation avec la polémique gongorine. De cette façon, et dans une perspective diachronique, nous tracerons un itinéraire qui va de la caractérisation linguistique actuelle du concept de cultismo à la perspective existente sur celui-ci à l'époque de Góngora. Finalement, nous ferons allusion à l'attention qui a été portée au cultismo dans l'œuvre même de Góngora.

Aunque el Abencerraje pasa por ser la obra fundacional del género morisco se trata, leída en su literalidad, de la historia de un cautivo en la vieja frontera cristiano-musulmana del XV. Por ese motivo su estructura, edificada sobre el tópico del doble cautiverio –por las armas y el amor– y condicionada por un ambiente de disparidad de cultos y razas, se disipa en los romances moriscos que, no obstante, florecen a su zaga. Será Góngora quien, aprovechando el horizonte referencial que le brinda la nueva frontera con el Turco, alumbre un breve subgénero, los romances africanos, que trasplanta a Orán la estructura y espíritu de la novelita quinientista.

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La métaphore, écrit Ivan Fónagy, est « une communication paradoxale [qui est] la communication effective de contenus occultes ». Les écrits littéraires du Siècle d’or sont riches en contenus occultes, et parmi eux se distinguent les Soledades et leur notoire oscuridad. Nous analysons, dans cet article, certaines métaphores relatives aux mots sacre, baharí, neblí, noms d’oiseaux de vol figurant dans l’épisode de la cetrería qui clôt la Soledad segunda, et il nous est apparu, comme avant nous à Carroll B. Johnson, à Crystal Chemris, à Humberto Huergo Cardoso, qu’elles ouvrent sur les réalités sociales, politiques et culturelles dans lesquelles se mouvait Góngora, au nombre desquelles figuraient en bonne place le débat au sujet de l’expulsion des Morisques et l’émergence d’une nouvelle science, l’orientalisme. Ces métaphores nous entraîneront vers le cercle intellectuel dont était proche le poète, avec ses orientations politiques et scientifiques, puis vers la figure du comte de Niebla. Comme instrument d’un penser plus, comme porte d’accès à des réalités contextuelles occultes, comme potentialité de traer a la palabra el callar, nous considérons que la métaphore est à compter au nombre des outils d’investigation historique.

Our collective imagination of the Golden Age owes a lot to the creations of Picasso: who does not know the slender figure of Don Quixote, the face of Celestine or his fifty-eight variations on the Meninas? It is precisely this "sagacious rereading" of the pictorial and literary artistic production of the Golden Age, that Picasso desecrates and makes resolutely present, that I propose to analyze. I will also draw a parallel between Picasso and an artist whom Cervantes called the "Monster of nature".

El presente estudio arroja nueva luz sobre el debate en torno a la Dedicatoria al duque de Béjar (Luis de Góngora, Soledades, 1613: «Pasos de un peregrino son errante»), sin duda la obertura más ambiciosa del Barroco hispánico. Se procura razonar aquí cómo las lecciones de Andrés Almansa y Mendoza, José de Pellicer y Tovar, García de Salcedo Coronel, el anónimo antequerano (Francisco de Cabrera), Martín Vázquez Siruela y, ya en nuestros siglos, Dámaso Alonso, Herman Brunn, Leo Spitzer, Maurice Molho, Robert Jammes, Antonio Carreira, Nadine Ly, John Beverley, Mercedes Blanco, Joaquín Roses, Juan Matas, Crystal Chemris, Mary M. Gaylord, Gaspar Garrote y Paola Encarnación Sandoval, por orden cronológico, consienten todavía un asedio que nos permite vincular al poeta con el peregrino errante que protagoniza el poema, al dedicatario con el «pastor filósofo» de la Soledad I, los pasos con los versos y, por último, la selva con la silva.

En Nueva España se escribieron varios centones gongorinos, todos dedicados a la Inmaculada Concepción, y todos como parte de certámenes literarios. Aquí se estudia esa muy particular manifestación poética.

The article begins with a commentary on some verses by Luis de Góngora in which the poet quotes a specific passage from the work of Francesco Berni and identifies himself with his burlesque style. Then it reflects on the imitative and intertextual relationship that Góngora maintains with Italian burlesque poetry in some passages of his jocular repertoire. [ABSTRACT FROM AUTHOR]

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Copyright of Atalanta: Revista de las Letras Barrocas is the property of Atalanta Revista de las Letras Barrocas 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.)

Spinoza says very little about art or literature in his work; a fact which partly explains the absence of references to him by the German initiators of aesthetics in the eighteenth century, including Baumgarten, Kant and Hegel. Spinoza's resolute opposition to teleology, however, provides an even more compelling reason for his absence, given the teleological conception of literary and artistic form common to the notion of aesthetics at the time of its emergence. Is it possible to fashion a counter-aesthetics from the materials provided by Spinoza's philosophy? I argue that his reading of the great Spanish Baroque writers, especially Luis de Góngora and Baltasar Gracián (whose works were found in his library), provided him with an alternative conception of literary form based on a rejection of formal coherence and closure in favor of constitutive incompleteness and an opening to the infinite. [ABSTRACT FROM AUTHOR]

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