REV -La Perinola - 2020-2029

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    Nuevos datos sobre una carta histórica relativa al «Buscón» y la difusión manuscrita de esta obra de Quevedo
    (Servicio de Publicaciones de la Universidad de Navarra, 2021) Tobar-Quintanar, M.J. (María José)
    This paper presents new data about a 17th century letter related to the Buscón. The information provided determines undoubtedly the date of the letter and explains the reasons of an enigmatic allusion to the second part of the picaresque novel. Therefore, the doubts about the year of Buscón’s princeps and about the existence of an unknown edition with a different end clear up. Finally, the testimony of the sender is confronted with some objective data about the date and the handwritten transmission of this Quevedo’s work.
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    El texto-tipo moderno del soneto «No me mueve, mi Dios, para quererte». En busca de una versión común
    (Servicio de Publicaciones de la Universidad de Navarra, 2021) Verd-Conradi, G.M. (Gabriel María)
    The sonnet, To Christ Crucified (No me mueve, mi Dios, para quererte) appeared in manuscripts and books from three different sources: Spain, Mexico and Italy, with similar but not completely parallel texts in the first half of the 17th Century. For four centuries, readers and editors were choosing the best variations of primitive texts, thus forming a refined and basically coincident text. So in the Hispanic world there is a version fundamentally very similar, but with differences in the details because of the absence of a text authorized by the author. This study, based on more than three hundred documents from the early 17th century until today, seeks to reveal, in the multitude of editions, that modern, refined and majority text, always in accordance with the sources. By avoiding particular small variations, it could serve as a reference in editions and studies of the sonnet.
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    Sobre «la impresión del grifo». El trasfondo de unos pasajes quevedianos
    (Servicio de Publicaciones de la Universidad de Navarra, 2021) Álvarez-de-Miranda, P. (Pedro)
    Repeatedley (up to four times), Francisco de Quevedo uses, somewhat enigmatically, the sentence «the impression of griffin». For example, he says that an old woman had «a face of the impression of the griffin»; also he wrote of a go-between that «she made a gesture of the impression of the griphon». This expression was rightly explained by Luisa López Grigera as a reference to the image of the griffin which appeared engraved on the title page of the books printed in Lyon by Sébastien Griphe, and whose face was similar in ugliness to the one of an old woman. This article carefully searches the trajectory of this sentence, which was close to becoming lexicalized in our language, and adds to the Quevedo’s examples others unknown.
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    Quevedo «hombre de bajos fondos y altos vuelos». «El alguacil endemoniado» y la voz de sus traductores italianos
    (Servicio de Publicaciones de la Universidad de Navarra, 2021) Garzelli, B. (Beatrice)
    Through a journey across the main modern translations into Italian of El Alguacil endemoniado (Gasparetti, 1959 = GA; Rapisarda, 1988 = Ra; Bajini, 1990 = BA) by Francisco de Quevedo, the study reflects on the ways of translating specific segments involving the presence of rhetorical elements (especially semantic ambivalences and hyper-connoted terms), references to lost historical traditions (e.g. the fashion of «bucarofagia»), and the unquestionable satirical voice. All these aspects make translation a delicate and complex —sometimes almost impossible— task. The aim of the study is to show how translation can be considered a relevant critical contribution to the interpretation of El Alguacil endemoniado. It also highlights the need to suggest translation strategies —sometimes alternative to pre-existing works— in order to better convey the sharp humour, the burlesque charge and the iconographic focus of this Quevedian work. We will therefore try to show that the process of translating literary texts is not a simple transfer from one language to another but a work of deep interaction between lemmas and of mediation between the source and the target cultures, considering also the four-century interval between prototext and metatexts.
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    Quevedo y los gatos en celo: el romance «Habla con enero» (núm. 685)
    (Servicio de Publicaciones de la Universidad de Navarra, 2021) Rodríguez-Mansilla, F. (Fernando)
    This article analyzes the ballad «Habla con enero, mes de la brama de los gatos» through the perspective of Animal Studies. In this poem, Quevedo recreates the feline beyond its traditional use as a mere metaphor of human actions and makes it the protagonist in the context of contemporary Madrid’s everyday life. It is possible that Quevedo’s cat design is developed following a skeptical vision, which considers that animals are not inferior nor superior to humans. This approach would allow the poem’s voice, between humor and seriousness, to invert the hierarchy and put the cat’s figure on the spotlight.  
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    Apostillas al «Teatro completo» de Quevedo
    (Servicio de Publicaciones de la Universidad de Navarra, 2021) Corredoira-Viñuela, J. M. (José Manuel)
    This article provides a series of details proposing explanations for different passages of Quevedo’s theater, completing the editors’ annotation of Francisco de Quevedo’s Teatro completo, Ignacio Arellano and Celsa Carmen García Valdés, Madrid, Cátedra, 2011.
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    El texto de «Origen y difinición de la Necedad», de Francisco de Quevedo, en tres nuevos testimonios manuscritos
    (Servicio de Publicaciones de la Universidad de Navarra, 2021) Azaustre-Galiana, A. (Antonio)
    This article revises the problems of edition of Quevedo’s burlesque work, Origen y difinición de la Necedad, because, until now, we knew about two texts: a manuscript of the 17th Century belonging to the BNE, containing a shorter text, and a copy of the 18th Century of the BMP, which includes a broader text with numerous corrections and amendments. Now, we can improve our readings with the discovery of three manuscripts from the 17th Century, which demonstrate the importance of searching and finding of fontes criticae in the process of edition. One of the manuscripts is the called by me «Codex Contreras», because it was possessed by the bookseller and philologist Fernando Contreras. The other manuscript, whose variants are fundamental, is the manuscript «Traspontina 9», belonging to the Biblioteca Nazionale Centrale «Vittorio Emanuele II» in Rome. The third one is the manuscript 1192, belonging to the Biblioteca Universitaria de Bologna.