DSpace Collection:https://hdl.handle.net/10171/181402024-03-28T22:41:54Z2024-03-28T22:41:54ZQuevedo en los siglos. Presentaciónhttps://hdl.handle.net/10171/636762022-06-17T01:04:11Z2011-01-01T00:00:00ZTitle: Quevedo en los siglos. Presentación2011-01-01T00:00:00ZQuevedo en Alemaniahttps://hdl.handle.net/10171/360442020-03-04T02:45:25Z2011-07-01T00:00:00ZTitle: Quevedo en Alemania
Abstract: En este esbozo de la larga historia de la recepción —casi tres siglos— de la obra de Quevedo, se insistirá en algunos de los momentos más relevantes y particulares de la situación alemana, como son las primeras traducciones del siglo xvii, mediadas por las versiones francesas de Sieur de la Geneste, la divulgación de Quevedo durante la ilustración y el romanticismo, el uso político-religioso que hizo R. Baumstark de la vida de Quevedo en la época de la Kulturkampf y, finalmente, la doble labor de transmisión de la obra del escritor en las dos Alemanias después de la Segunda Guerra Mundial hasta la actualidad. En un segundo paso, se ofrecerá además un breve panorama del estado del quevedismo alemán actual.--------------------------------------------------------------------------------
The following survey of nearly three hundred years of reception of the work of Quevedo in Germany will take into account some of the moments which result most relevant and specific for the German cultural context: the first German translations in the 17th Century which were not based in the original texts but the French versions of Sieur de la Geneste, the transmission of Quevedo’s work during Illustration and Romanticism, the ideological religious instrumentation of his life by R. Baumstark in the times of the Kulturkampf between Bismarck and the Zentrum, and, last but not least, the two-folded transmission of his writings in the two German States after World War Two right up to the present. The second part of the article will give a short overview of the critical labour realized in the academic field of the German Romanic Studies.; The following survey of nearly three hundred years of reception of the work of Quevedo in Germany will take into account some of the moments which result most relevant and specific for the German cultural context: the first German translations in the 17th Century which were not based in the original texts but the French versions of Sieur de la Geneste, the transmission of Quevedo’s work during Illustration and Romanticism, the ideological religious instrumentation of his life by R. Baumstark in the times of the Kulturkampf between Bismarck and the Zentrum, and, last but not least, the two-folded transmission of his writings in the two German States after World War Two right up to the present. The second part of the article will give a short overview of the critical labour realized in the academic field of the German Romanic Studies.2011-07-01T00:00:00ZLa autoría quevediana del prólogo “Al lector” del Buscónhttps://hdl.handle.net/10171/360432022-08-16T08:51:32Z2011-07-01T00:00:00ZTitle: La autoría quevediana del prólogo “Al lector” del Buscón
Abstract: En su edición del Buscón Rey defiende la autoría quevediana del prólogo «Al lector» de la princeps. Este artículo presenta nuevos datos que arguyen a favor de esa hipótesis. En concreto, se trata de: la presencia de posibles marcas lingüísticas del idiolecto de don Francisco en esas líneas, la renovación de la tópica del exordium a través de recursos —ironía, parodia, chistes— usados por Quevedo en varios de sus prólogos burlescos y la emulación paródica en el del Buscón de otros proemios picarescos, especialmente los de Guzmán de Alfarache i. La riqueza y complejidad literarias del breve prólogo a la historia de don Pablos parecen apuntar antes a la responsabilidad de Quevedo que a la del editor Roberto Duport.---------------------------------------------------------------------------------
In his edition of the Buscón Rey defends that Quevedo wrote the prologue «Al lector» to the editio princeps. This essay presents new arguments in support of this hypothesis, which are: some linguistic marks of Quevedo’s language, the subversion of prologal topics using resorts —irony, parody, jokes— which appear in some Quevedo’s burlesque prefaces and, finally, the parody of other picaresque prologues in the Buscón’s one, especially of Guzmán de Alfarache i. The literary complexity of the prologue to the Buscón seems to reveal Quevedo’s authorship.; In his edition of the Buscón Rey defends that Quevedo wrote the prologue «Al lector» to the editio princeps. This essay presents new arguments in support of this hypothesis, which are: some linguistic marks of Quevedo’s language, the subversion of prologal topics using resorts —irony, parody, jokes— which appear in some Quevedo’s burlesque prefaces and, finally, the parody of other picaresque prologues in the Buscón’s one, especially of Guzmán de Alfarache i. The literary complexity of the prologue to the Buscón seems to reveal Quevedo’s authorship.2011-07-01T00:00:00ZDe sene Veronensi: Quevedo, Lope y Góngora ante un epigrama de Claudianohttps://hdl.handle.net/10171/360422020-03-04T03:05:57Z2011-07-01T00:00:00ZTitle: De sene Veronensi: Quevedo, Lope y Góngora ante un epigrama de Claudiano
Abstract: El presente artículo estudia la pervivencia de un epigrama del poeta latino Claudio Claudiano (De sene Veronensi o El anciano de Verona) en las letras del Siglo de Oro. El influjo del complejo escritor alejandrino se analiza a través de la huella que una composición breve dejara en los escritores más brillantes de nuestro Barroco: Quevedo, Lope y Góngora. El estudio de las versiones de la imitatio arroja diversos datos acerca de los intereses y criterios de los tres autores. Así, Francisco de Quevedo presenta una equivalencia genérica exacta, ya que el soneto A un amigo que retirado de la corte pasó su edad se plantea como correspondiente vernáculo del epigrama. Por su parte, Lope de Vega reescribe el texto tardo-antiguo y lo inserta en el monólogo de un orgulloso personaje rústico (Juan Labrador), protagonista de la comedia El villano en su rincón. Finalmente, Luis de Góngora engasta varios versos del epigrama en el discurso en estilo directo que el peregrino errante pronuncia en la Segunda Soledad.This paper examines the survival of an epigram by the Latin poet Claudius Claudian (De sene Veronensi or The old man of Verona) in the letters of Spanish Golden Age. The influence of the Alexandrian writer is analyzed through the traces left in the works of most brilliant writers of Hispanic Baroque: Quevedo, Lope and Góngora. The study of the versions of the imitatio provides important data about the interests and stylistic criteria of these three authors. Thus, Francisco de Quevedo presents an exact generic equivalent, as the sonnet To a friend who retired from the court passed its age is raised vernacular equivalent of the epigram. For its part, Lope de Vega rewrites late-antique text and inserts it into the monologue of a proud rustic character (Juan Labrador), main character of the comedy El villano en su rincón. Finally, Luis de Góngora encrusted several verses of the epigram in a speech in a direct style pronounced by the wandering Pilgrim in the Soledad segunda.; This paper examines the survival of an epigram by the Latin poet Claudius Claudian (De sene Veronensi or The old man of Verona) in the letters of Spanish Golden Age. The influence of the Alexandrian writer is analyzed through the traces left in the works of most brilliant writers of Hispanic Baroque: Quevedo, Lope and Góngora. The study of the versions of the imitatio provides important data about the interests and stylistic criteria of these three authors. Thus, Francisco de Quevedo presents an exact generic equivalent, as the sonnet To a friend who retired from the court passed its age is raised vernacular equivalent of the epigram. For its part, Lope de Vega rewrites late-antique text and inserts it into the monologue of a proud rustic character (Juan Labrador), main character of the comedy El villano en su rincón. Finally, Luis de Góngora encrusted several verses of the epigram in a speech in a direct style pronounced by the wandering Pilgrim in the Soledad segunda.This paper examines the survival of an epigram by the Latin poet Claudius Claudian (De sene Veronensi or The old man of Verona) in the letters of Spanish Golden Age. The influence of the Alexandrian writer is analyzed through the traces left in the works of most brilliant writers of Hispanic Baroque: Quevedo, Lope and Góngora. The study of the versions of the imitatio provides important data about the interests and stylistic criteria of these three authors. Thus, Francisco de Quevedo presents an exact generic equivalent, as the sonnet To a friend who retired from the court passed its age is raised vernacular equivalent of the epigram. For its part, Lope de Vega rewrites late-antique text and inserts it into the monologue of a proud rustic character (Juan Labrador), main character of the comedy El villano en su rincón. Finally, Luis de Góngora encrusted several verses of the epigram in a speech in a direct style pronounced by the wandering Pilgrim in the Soledad segunda.2011-07-01T00:00:00Z