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Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
María de Zayas's dynamic use of intercalated poetry in her Novelas amorosas y ejemplares (1637) and Parte segunda del Sarao y entretenimiento honesto (1647) provides us with a sustained example of ‘poetry in motion’ across hundreds of narrative pages. Over the course of these works, Zayas intersperses lyric forms in her narrative, creating generic contrasts that are integral to the structure of both books and offering evidence for the gradual transformation of her central character, Lisis.
As readers progress through the frame that enfolds and interconnects the twenty novellas of Zayas's two books, they follow the thread of the story of Lisis, the frame narrative's protagonist and, as some critics have suggested, Zayas's alter ego. Lisis first appears at the opening of the Novelas amorosas as a poet, weakened in body and mind because Don Juan has spurned her. As the sarao begins she is lying on her couch, sickened by the sort of early modern ‘amorous jealousy’ Steven Wagschal has defined as ‘a group of emotions, feelings, thoughts, bodily changes, and attitudes that are experienced in relation to guarding the exclusivity of a relationship that one possesses from a rival and/or avenging the loss of that which was possessed’. Through the course of the works as a whole, Lisis makes a systematic conversion from poet to narrator as well as from illness to health. She undergoes these changes in her mental and physical state as she overcomes Don Juan's rejection.
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
The fourteen essays of this volume engage in distinct ways with the matter of motion in early modern Spanish poetics, without limiting the dialectic of stasis and movement to any single sphere or manifestation. Interrogation of the interdependence of tradition and innovation, poetry, power and politics, shifting signifiers, the intersection of topography and deviant temporalities, the movement between the secular and the sacred, tensions between centres and peripheries, issues of manuscript circulation and reception, poetic calls and echoes across continents and centuries, and between creative writing and reading subjects, all demonstrate that Helgerson's central notion of conspicuous movement is relevant beyond early sixteenth-century secular poetics, By opening it up we approximate a better understanding of poetry's flexible spatio-temporal co-ordinates in a period of extraordinary historical circumstances and conterminous radical cultural transformation. Los catorce ensayos de este volumen conectan de una manera perceptible con el tema del movimiento en la poesía española del siglo de oro, sin limitar la dialéctica de la estasis y movimiento a una sola esfera o manifestación única. Entre los multiples enfoques cabe destacar: el cuestionamiento de la interdependencia de la tradición e inovación, de la poesía, del poder y la política, de los significantes que se transforman, de los espacios que conectan y cruzan con los tiempos 'desviados'; análisis de las tensiones entre lo sagrado y lo secular, del conflicto centro-periferia y del complejo sistema de producción, circulación y recepción de los manuscritos; el diálogo con el eco poético a través de los siglos y de los continentes y la construcción creativa del sujeto escritor y/o lector. Al abrir la noción central de Helgerson del "movimiento conspicuo" más allá de la poesía nueva secular, este libro propone un entendimiento más completo de las coordinadas espacio-temporales de la poesía en un periodo de circunstancias históricas extrao. Jean Andrews is Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham. Isabel Torres is Professor of Spanish Golden Age Literature at Queen's University, Belfast. Contributors: Jean Andrews, Dana Bultman, Noelia Cirnigliaro, Marsha Collins, Trevor J. Dadson, Aurora Egido, Verónica Grossi, Anne Holloway, Mark J. Mascia, Terence O'Reilly, Carmen Peraita, Amanda Powell, Colin Thompson, Isabel Torres.
Edited by
Rodrigo Cacho Casal, University Senior lecturer in Spanish Golden Age Culture in the University of Cambridge,Anne Holloway, Lecturer in the University of Glasgow
Leer poesía del Siglo de Oro en términos de su especificidad microrregional y temporal nos permite apreciar en detalle las tensiones entre diversas conceptualizaciones de la naturaleza que las obras transmiten. Lo que es más, prestar atención a las implicaciones filosóficas de estas tensiones nos ayuda a considerar cuáles de los múltiples discursos de la cultura intelectual de esa época llegaron, o no llegaron, a ser conservados o incluso dominantes en años posteriores. La antología de Pedro Espinosa, Flores de poetas ilustres de España de 1605, es reveladora de cómo las jerarquías de gusto e ideología de cada etapa de la crítica influyeron en la historiografía literaria y el establecimiento del canon poético español. En estas páginas ofrezco una reconsideración de la singularidad de la poesía de Luis de Góngora en Flores, dentro del contexto de la educación y la cultura poética de Antequera y con un enfoque específico en el concepto de naturaleza presente en la antología. Los poemas tempranos de Góngora y los de poetas de la escuela antequerano-granadina incluidos por Espinosa exhiben marcadas diferencias en cómo conciben la relación entre el poeta y el mundo material. Por ejemplo, encontramos una idea de naturaleza creativa en los sonetos preliminares de la antología y en las piezas de otros miembros de la escuela antequerano-granadina, en particular las del principal poeta Luis Martín de la Plaza, que deshace la separación entre la conciencia subjetiva del poeta y su objeto poético. Ello también enfatiza la interdependencia entre la naturaleza material y la voz poética, dando lugar a reflexiones innovadoras sobre la creatividad, autonomía y posibilidad de trascendencia del sujeto individual.
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