REV - La Perinola - 2018, Núm. XXII

Permanent URI for this collectionhttps://hdl.handle.net/10171/53261

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    De la burla a la doctrina. Francisco de Quevedo como autor de sermones
    (Servicio de Publicaciones de la Universidad de Navarra, 2018) Cerezo-Soler, J. (Juan)
    The literature of Francisco de Quevedo has been traditionally studied from a position of preference towards its playful side. The reason is because readers and editors have left unattended the most theological part of his literature. By fortune, current critics know that this kind of studies are, actually, a serie of topics that has awaken the correct and true comprehension of the whole of Quevedo’s texts. In this sense, we propose an approach to the most ascetic fraction of Quevedo’s literature, closely connected to the sacred baroque oratory, through the analysis of three homiletic writings.
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    Figuras de la pobreza en la escritura quevediana
    (Servicio de Publicaciones de la Universidad de Navarra, 2018) Trambaioli, M. (Marcella)
    The series of types and situations present in Quevedo’s prose, poetry and comic theater shows that the motif of poverty is one of the most fertile in relation with the author’s capacity to create both ingenious and witty neologisms and caricatures. At the same time, it offers many features that harmonize with the cultural misogyny of the writer and his time. According to the many examples collected, the beggar’s figure can be assimilated to that of the pedigüeña, while the beggar is looking for sexual charity. In both cases, the relationship between men and women offers to Quevedo’s satirical pen the opportunity of adapting the poor’s type to a materialistic and degenerated vision of love. Moreover, even some philological and moral comments encourage original metaphors of the type or features of the poor.
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    Anilla o de lo burlesco (BL, núm. 682)
    (Servicio de Publicaciones de la Universidad de Navarra, 2018) Martinengo, A. (Alessandro)
    The poem number 682 by Quevedo («Anilla, dame atención») consists of a series of classical-mythological episodes —as well as a Biblical one, about Samson— seen in the ambiguous light of the veras and burlas (in Gonzalez de Salas’ traditional terminology), all dealing with Anilla, whose avarice is censured as much as her subversive and irresistible charms are praised. The series ends with Paris, a third-rate judge, who is nevertheless able to suggest a kind of mock-heroic poetics, of which Anilla herself is the emblem.
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    De Nebrija a Quevedo: vida y fortuna del término "figura"
    (Servicio de Publicaciones de la Universidad de Navarra, 2018) García-Valdés, C.C. (Celsa Carmen)
    This article examines the lexicographical treatment of the lemma figura in the lexicographical tradition before and during Quevedo’s time, in order to compare this tradition with the use of the term figura and its lexical family in the works of the writer. To that effect, the author offers a compilation of the texts where these uses appear, concluding that most are not registered in the lexicographical tradition. The use of the term in Quevedo responds to the meaning of the etymological root (fingere) transmitted by Latin writers and to the extraordinary individual genius of Quevedo.
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    «Perder respeto a ley severa» en la poesía argentina de Gelman y Lamborghini
    (Servicio de Publicaciones de la Universidad de Navarra, 2018) Cotarelo-Esteban, L. (Lucía)
    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.
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    Pablos de Segovia ilustrado por Luis García-Ochoa: un caso de retrato-robot
    (Servicio de Publicaciones de la Universidad de Navarra, 2018) Marigno, E. (Emmanuel)
    From the vantage point of a reading guide that connects to a narratological and semiotic critical apparatus, the author tries to show the relations both complementary and paradoxical between Quevedo’s narrative strategy in his Buscón and the genre of portraiture as practiced by Ochoa, an illustrator of this picaresque novel. To what extent can this postmodern representation of Pablos’ figure be considered a modernization of the picaresque figure? To what extent does Pablos’ portrait by Ochoa work as a sort of rewriting of Quevedo’s rhetorical image? How to estimate the degree of originality and the meaning of this enigmatic rogue figure in the context of the 20th and 21st centuries?
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    Figuras y reminiscencias quevedianas en las "Aguafuertes" de Roberto Arlt
    (Servicio de Publicaciones de la Universidad de Navarra, 2018) Rodríguez-Mansilla, F. (Fernando)
    This article is an initial exploration on the presence of Quevedo in Roberto Arlt’s Aguafuertes as well as in others of his texts. Arlt’s works follow the model of the «figura», as developed by Quevedo in his Buscón and his satirical proses. According to this influence, Arlt applies a satirical perspective toward society that relies on stylistic devices, topics and references taken from Quevedo. Arlt depicts an image of Buenos Aires’ society that resembles the infernal representation of society in Los sueños.
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    Esbozos de retratos en las cartas de Francisco de Quevedo
    (Servicio de Publicaciones de la Universidad de Navarra, 2018) Pérez-Cuenca, I. (Isabel)
    Reading Quevedo’s correspondence gives us the opportunity of looking at his literary production from a new perspective, which completes and helps defining its many different facets. The point of departure in this occasion is his letters. Based on them we study the portraits of persons represented there. Their presence in the letters aims at very different objectives, depending on the person depicted and the addressee of the letter. Very often, these portraits are only sketches, made out of a few strokes, which need an intelligent reading by the addressee to be fully understood. This can explain why some of these portraits seem to us dark and too short: probably, they are supposed to be clear only to the person to whom they are addressed.