Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry最新文献

{"title":"Primero sueño y Segundo sueño, un diálogo poético trasatlántico/Primero sueño and Segundo sueño, a Transatlantic Poetic Dialogue","authors":"Dinorah Cortés-Vélez","doi":"10.5325/CALIOPE.22.2.0217","DOIUrl":"https://doi.org/10.5325/CALIOPE.22.2.0217","url":null,"abstract":"ABSTRACT: In Antología poética en honor a Góngora (1927), Gerardo Diego highlights the Gongorism of Sor Juana’s First Dream and describes her verses as “convoluted.” In Homenaje a Sor Juana Inés de la Cruz (1952), Diego includes a poem of his own entitled Second Dream, which is a tribute to the First Dream. The present essay focuses on Diego’s textual dialogue with basis on these two divergent moments, in order to demonstrate that reticence (first moment) and reappropriation (second moment) are representative of an effort of self-assertion of the Neo-Gongorist poet. Hans Robert Jauss’s concept of ‘reception aesthetics’ allows examination of the aesthetic distance between the First Dream and the Second Dream in view of the disparity between the horizons of expectations of both poets. I propose, however, that it is necessary to examine this aesthetic distance with a reading that takes into account the variable of gender. RESUMEN: En Antología poética en honor a Góngora (1927), Gerardo Diego destaca el gongorismo de Sor Juana en Primero sueño y califica de “enrevesados” sus versos. En Homenaje a Sor Juana Inés de la Cruz (1952), Diego incluye un poema suyo, Segundo sueño, que es un homenaje a Primero sueño. Se examina el diálogo textual de Diego, a partir de estos dos momentos divergentes, a fin de demostrar que la reticencia (primer momento) y reapropiación (segundo momento) son representativos de un esfuerzo de autoafirmación por parte del poeta neogongorino. El concepto de “estética de la recepción”, de Hans Robert Jauss, permite examinar la distancia estética entre el Primero sueño y el Segundo sueño a partir de la disparidad entre el horizonte de expectativas de ambos poetas. Propongo, sin embargo, que es necesario examinar dicha distancia estética a partir de una lectura que tome en cuenta la variable de género sexual.","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"210 1","pages":"217 - 234"},"PeriodicalIF":0.1,"publicationDate":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74899101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Praises and Prayers to Mary in the Writings of Francisca Josefa de Castillo y Guevara","authors":"Clara Herrera","doi":"10.5325/CALIOPE.22.2.0165","DOIUrl":"https://doi.org/10.5325/CALIOPE.22.2.0165","url":null,"abstract":"ABSTRACT: The Neo-granadine writer Francisca Josefa de Castillo (1671–1742) is mostly celebrated for her work in prose, despite having composed poetry. The nun wrote a narrative of her spiritual and mystical life known as Su Vida, and a record of divinely inspired emotions known as Afectos Espirituales. Among her poems is one dedicated to the Virgin Mary titled “Elogios y súplicas a María Santísima.” This poem is directly influenced by the Marian cult, strongly developed in the seventeenth century, that allows the reader to track the main points of discussion in the complex debate on Marian doctrine in the Christian tradition. The aim of this essay is to examine Castillo’s theological approach to the Marian doctrine, and to analyze how Mother Castillo’s Vida epitomizes the content of her poem. RESUMEN: La escritora neo-granadina Francisca Josefa de Castillo (1671–1742) is mayormente celebrada por su trabajo en prosa, a pesar de haber compuesto poesía. La monja escribió una narrativa de su vida mística y espiritual conocida como su Vida, y un escrito de las emociones inspiradas por la divinidad, conocido como Afectos espirituales. Entre sus poemas, uno está dedicado a la Virgen María, titulado “Elogios y súplicas a María Santísima.” Este poema está directamente influido por el culto mariano, fuertemente extendido durante el siglo XVII, lo cual permite al lector rastrear los argumentos principales dentro del complejo debate de la doctrina mariana en la tradición cristiana. El objetivo de este ensayo es examinar la aproximación teológica de Castillo a la doctrina mariana, y analizar cómo la Vida de la madre Castillo personifica el contenido de su poema.","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"87 1","pages":"165 - 189"},"PeriodicalIF":0.1,"publicationDate":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81012999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El anonimato como performance textual: ‘Clarinda’ y Amarilis reconsideradas/Anonimity as Textual Performance: Reconsidering ‘Clarinda’ and Amarilis","authors":"Valeria del Barco","doi":"10.5325/CALIOPE.22.2.0101","DOIUrl":"https://doi.org/10.5325/CALIOPE.22.2.0101","url":null,"abstract":"ABSTRACT: This article reconsiders anonymity in the works of the Peruvian poets known as ‘Clarinda’ and Amarilis. By analyzing this topic from the theory of reception, I argue that far from experiencing the lack of an author as a problem, we can understand it in the context of production and textual reception as planned by the poets. I propose that if anonymity in a text is a conscious choice made by the author, this lack of signature can be thought as a textual strategy purposefully employed by the producer of the text. Thus, both poets transform the social practice of the tapada into a textual strategy of freedom and expression. RESUMEN: Este artículo replantea el anonimato en las obras de las poetas peruanas conocidas como Clarinda y Amarilis. A partir del análisis desde la teoría de la recepción, argumento que lejos de experimentar la falta autoral como una falencia, podemos entenderla como parte del contexto de producción y recepción textual como fue planeada por las autoras. Propongo que, si el anonimato de un texto es una decisión autoral consciente, cabe pensar esta falta de firma como una estrategia textual a la que recurre el productor del texto. Así, ambas poetas convierten la práctica social de la tapada en una estrategia textual de libertad y expresión.","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"46 1","pages":"101 - 117"},"PeriodicalIF":0.1,"publicationDate":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80001276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Women and Carriages in 17th-Century Aragonese Burlesque Poetry","authors":"Almudena Vidorreta","doi":"10.5325/CALIOPE.22.2.0043","DOIUrl":"https://doi.org/10.5325/CALIOPE.22.2.0043","url":null,"abstract":"ABSTRACT: During the 17th century, literature turned the growing number of carriages into a burlesque topic. There were countless poems written about traffic jams, accidents, or the proper way to ask a friend for a carriage, often considered a symbol of status. Literary references to carriages can tell us many things about the men and women who used them, as well as about gender stereotypes. Women and carriages were understood as interconnected elements in Early Modern Spain; carriages appear as a means to conquer feminine muses as well as a recurrent satirical topic even for women poets. This article analyzes some rarely studied burlesque poems by Aragonese writers José Navarro, Alberto Díez, José Tafalla and Ana Abarca de Bolea, among others, that can help us understand the range and extension of some oversimplified topoi on womanhood that have survived until today. RESUMEN: El incremento del número de coches marcó su impronta en la literatura del siglo XVII. Testimonios poéticos de género diverso dan cuenta de temas burlescos muy acusados como el tráfico abundante, los accidentes o la forma de pedir prestado un vehículo que no todos podían permitirse. Estas referencias literarias a los coches aportan valiosa información sobre la sociedad de su tiempo y la configuración de ciertos estereotipos femeninos. En la España del Siglo de Oro, coches y mujeres llegan a entenderse como elementos interconectados: los carruajes aparecen como medio para conquistar a las mujeres que inspiran estos poemas burlescos, cuya escritura debemos incluso a una pluma femenina. Este artículo analiza en su contexto algunos poemas apenas estudiados de los aragoneses José Navarro, Alberto Díez, José Tafalla Negrete y Ana Abarca de Bolea, entre otros, que ilustran el alcance de tópicos sobre la subjetividad femenina que han pervivido hasta nuestros días.","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"12 15 1","pages":"43 - 62"},"PeriodicalIF":0.1,"publicationDate":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80460578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Una Posible Nueva Interpretación de los Poemas de Quevedo de Principios del Reinado de Felipe IV Relativos A Fiestas de Toros y de Cañas","authors":"R. Iglesias","doi":"10.5325/CALIOPE.10.2.0073","DOIUrl":"https://doi.org/10.5325/CALIOPE.10.2.0073","url":null,"abstract":"Durante buena parte del reinado de Felipe IV don Francisco de Quevedo escribió numerosísi-mos poemas que describían con todo lujo de detalles eventos públicos que habían contado con la presencia de este monarca y de su valido, el Conde Duque de Olivares. Quizás uno de los grupos menos estudiados y peor entendidos de ese tipo de obras de circunstancias lo constituyen los poemas que Quevedo compuso sobre algunas de las muchas fiestas de toros y de cañas que se organizaron durante los largos años que este autor pasó en la Corte y, muy en especial, durante la segunda década del siglo XVII. En las próximas páginas se intentará paliar, aunque sólo sea en parte, algunas de las ya mencionadas deficiencias, analizando de la forma más detallada posible los comentarios que realizó don Francisco con respecto al Rey y a sus colaboradores más cercanos en este tipo en concreto de poemas festivos. Esencialmente, en el presente estudio se demostrará que, al contrastarse los poemas sobre fiestas de toros y de cañas escritos justo al principio del reinado de Felipe IV con los producidos a partir de aproximadamente 1629, es posible observar unos cambios sutiles, pero significativos, en la forma en la que Quevedo hace referencia a las figuras del Rey, de Olivares y de otros personajes importantes. Más en concreto, en el grupo de poemas escritos a partir de finales de los años veinte se puede detectar a veces un tono escéptico y una cierta frial-dad hacia las principales figuras de la cúpula dirigente del país que realmente no hay, al menos hasta el mismo grado, en poemas similares escritos con anterioridad. Junto a esto, podrá com-probarse también que se da algún caso en que, al leerse entre líneas ciertos de esos poemas de finales de los años veinte del siglo XVII, se puede notar un cierto descontento de Quevedo con la situación de la nación y, lo que es seguramente más significativo, una clara falta de confianza en que los serios problemas políticos, militares y económicos se arreglaran si el gobierno de España seguía haciendo las cosas como hasta entonces. Todo esto, como veremos, será utilizado","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"08 1","pages":"73 - 93"},"PeriodicalIF":0.1,"publicationDate":"2017-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80229258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Paradigms of National Identity in Francisco de Quevedo’s Poetry: Los (Des)Engaños de la Grandeza","authors":"Mark J. Mascia","doi":"10.5325/CALIOPE.12.1.0059","DOIUrl":"https://doi.org/10.5325/CALIOPE.12.1.0059","url":null,"abstract":"Francisco de Quevedo’s vast poetic corpus has most often been examined for its moral, amorous, or satirical aspects, among others. One key aspect of his lyrical works which has to some degree remained less studied is Quevedo’s stance on Spanish national identity. Existing scholarship on this topic often falls within the larger category of scholarship on satirical or political poetic works or on Quevedo’s many prose writings.1 The purpose of this study is to examine the ways in which Quevedo explores Spanish national identity and to arrive at a conclusion as to what he had considered paradigmatic about being Spanish. While an exhaustive account of Quevedo’s beliefs regarding Spanish identity as seen is his poetry would be impossible for this study, several select poems of varying lengths demonstrate these beliefs in depth. A number of sonnets, many of which are encomiastic in nature and most of which come from the posthumously published El Parnaso espanol (1648) contain what can best be described as a generally traditionalist (and, in today’s parlance, stereotyped) stance on hispanidad. At the same time, a longer poetic work, the Epistola satirica y censoria contra las costumbres presentes de los castellanos, evinces a far more critical and disenchanted outlook on Spanish identity while adding an element of wistful nostalgia for an unspecified past. What will emerge from this study is that Quevedo’s portrayal of national identity cannot be reduced to a single paradigm and, as a result, is nuanced as it is often contradictory.2 Quevedo’s beliefs about Spanish identity are informed by a sense of desengano pervasive in much of his work (including prose as well) which is rigidly hierarchical as it is reactionary.","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"124 1","pages":"59 - 77"},"PeriodicalIF":0.1,"publicationDate":"2017-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76698489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Capes and Swords: Teaching the Theatricality of Golden age Poetry","authors":"Bradley J. Nelson","doi":"10.5325/CALIOPE.11.2.0111","DOIUrl":"https://doi.org/10.5325/CALIOPE.11.2.0111","url":null,"abstract":"A s is the case with many undergraduate Spanish programs, the teaching of Golden Age poetry at Concordia University is combined with that of Golden Age theater. Although this arrangement severely limits what one can do with either of these significant and vast cultural phenomena, the traditional rationale for this type of program is solid, as the concentrated study of poetic forms, themes, imagery, and topics in the more manageable texts of sonnets and canciones prepares students for the formal, conceptual, and intertextual complexities that make Renaissance and Baroque drama so endlessly challenging. The purpose of this paper, however, is to describe what can happen when one inverts the terms of this relationship and focuses on the theatricality of Golden Age poetry rather than the lyricism of Golden Age theater. Theatricality, of course, is a very complex concept which has produced a quiet unmanageable theoretical and critical corpus; so for this course I settled on four distinct yet interrelated approaches to theatricality which were introduced throughout the thirteen-week semester.1 My goal was to construct a series of dialogues between Renaissance poesia cancioneril and the theater of Encina, the mystical eroticism of Juan de la Cruz and the marketplace humor of Lope de Rueda, the political wit of Gracian, and the political allegories of Calderon, and so on. I began the course with a consideration of the cancionero movement of the early Renaissance. Not only is this witty and enigmatic theatrical in its ritualistic, competitive, and performative aspects, but the central role played by the Spanish nobility in this courtly movement makes the cancionero a compelling stage on which the social, political, religious, and artistic transformations and conflicts of the late Middle Ages and early Renaissance may be played out for students. What was perceived in the Middle Ages as the nobility’s inalienable moral and social superiority, a superiority based, in turn, on a universalizing, cosmological Chain of Being, in the Renaissance becomes theatrical;","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"35 1","pages":"111 - 124"},"PeriodicalIF":0.1,"publicationDate":"2017-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78835721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Renovación Del Orden Genérico: Las Flores De Poetas Ilustres (1605)","authors":"P. R. Pérez","doi":"10.5325/CALIOPE.9.1.0005","DOIUrl":"https://doi.org/10.5325/CALIOPE.9.1.0005","url":null,"abstract":"No ha sido el siglo XX el mejor de los tiempos para el estudio de los generos literarios. Primero, las corrientes idealistas y formalistas, con el estudio de la obra en si, prescindieron de las relaciones entre los textos. Despues de la semiotica, las corrientes postestructuralistas volvieron a cuestionar las perspectivas sistematicas, hasta alcanzar el paroxismo de la desconstruccion. En el transito al siglo XXI el debate sobre el canon, al situarse en este horizonte, ha acabado remitiendo a la subjetividad del gusto privilegiado cualquier principio de ordenacion. A la dificultad metodologica se suma en el caso de la aproximacion critica a los generos liricos en el periodo aureo1 la inherente al propio objeto de estudio, toda vez que en el discurso clasicista carece de operatividad (y aun de existencia) la nocion de genero, como evidencian los estruendosos silencios de las preceptivas. De manera radical, la ausencia procede de la inexistencia misma de la “literatura”2, concepto historico moderno y vinculado al romanticismo, frente al que solo hallamos las nociones de poetica y retorica, a las que paulatinamente se suman las reglas de la metrica3. Del conjunto brotan unos elementos de codificacion de caracter externo y aprioristico respecto a la propia escritura, sometida a un persistente principio de imitacion en cuyo dominio se consagran (como canonicos y como elementos de modelizacion) los auctores. Convertidos estos en verdaderos dechados, no podemos, sin embargo, identificarlos estrictamente con moldes genericos, si atendemos a la moderna nocion de genero, con su dinamica y su sentido dialectico, frente a la concepcion clasica de la formalizacion textual o, por mejor decir, discursiva. En ese sentido clasico y clasicista de la fabula y de la oratio no falta, como es sabido, el concepto de genus, pero su operatividad es reducida a un sentido retorico, cruzado ademas con nociones como la de estilo y manera, en lo que pesa tanto la herencia medieval4 como la raiz aristotelica. De la logica del Estagirita procede la distincion entre genero y especie, base de toda la clasificacion y definicion ontologicas, todavia aplicadas por Cascales a la jerarquizacion de las formas5, y, sobre todo, en su fragmentaria Poetica y su silencio al respecto arraiga el","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"151 1","pages":"33 - 5"},"PeriodicalIF":0.1,"publicationDate":"2017-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86645480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Taking Jealousy at Face Value: Castiglione, Leon Battista Alberti, and the Myth of Iphigenia in Juan Boscán’s “Capítulo”","authors":"Jason Mccloskey","doi":"10.5325/CALIOPE.17.2.0035","DOIUrl":"https://doi.org/10.5325/CALIOPE.17.2.0035","url":null,"abstract":"In Juan Boscan’s “Capitulo,” the voice of the poem compares the strategy used to express the pain of jealousy to the method employed by a classical artist in a famous mythological painting. In his artwork depicting the sacrifice of Iphigenia, Timanthes concealed the face of the victim’s father, Agamemnon, with a hood. Unfortunately, the complex representation of jealousy in the poem and its relation to Renaissance art theory has also remained covered up. However, recent studies by Steven Wagschal and Javier Lorenzo help to foreground and examine these and other significant aspects of “Capitulo,” such as self-representation and ekphrasis. Drawing additionally on Wayne Rebhorn’s study of Il Cortegiano, this study explores how the poem portrays the myth of Iphigenia in a visually oriented way evocative of precepts expressed by the fifteenth-century Italian art theorist Leon Battista Alberti. I contend that this descriptive strategy produces an emotionally compelling and sympathetic portrait of the lyric voice stricken with jealousy that reflects ideas articulated in Castilgione’s famous treatise. Finally, this reading argues that, despite explicit claims otherwise, “Capitulo” does ironically put a face on jealousy by appealing to the rhetorical device of occultatio. Consisting of 385 lines of terza rima, “Capitulo” expresses the laments of a lover who describes to his beloved the suffering caused by unreciprocated attention and affection. Yet when, after describing a variety of emotions in detail, the uniquely painful experience of jealousy arises, the poetic voice claims only to be able to approximate the effects of such an emotion by analogy. With this comparative","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"7 1","pages":"35 - 58"},"PeriodicalIF":0.1,"publicationDate":"2017-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87035024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Las múltiples expresiones de identidad Judeo-conversa en tres obras poéticas de Antonio Enríquez Gómez","authors":"Matthew Warshawsky","doi":"10.5325/CALIOPE.17.1.0097","DOIUrl":"https://doi.org/10.5325/CALIOPE.17.1.0097","url":null,"abstract":"Antonio Enriquez Gomez, prolifico dramaturgo, poeta y ensayista de la Espana aurea, se destaco de la mayoria de sus contemporaneos literarios debido a su condicion de converso, es decir, de catolico bautizado proveniente de una familia de linaje judio. Aunque tal identidad no suponia necesariamente que fuera criptojudio o, en el vocabulario de la Inquisicion, judaizante, el ser judeo-converso influyo profundamente en el curso de su vida y el contenido de sus escritos. Nacido en Cuenca en 1600 o 1601, Enriquez Gomez trabajo como comerciante de telas en una carrera con varios altibajos; se caso con una cristiana vieja, una mujer cuya etnia estaba libre de las manchas de sangre judia o mora; vio la detencion inquisitorial de su padre por herejia judaizante y la confiscacion subsecuente de los bienes familiares; se exilio a Francia por 14 anos, aunque no por motivos religiosos; regreso a Espana, donde vivio en Sevilla bajo varios seudonimos; y en 1660 fue detenido alli por la Inquisicion, en cuya carcel murio en 1663.1 La inestabilidad e inquietud que caracterizaron estas y otras experiencias explican por que sus textos estan poblados, en unos casos, por peregrinos que viajan de lugar a lugar lamentando los vicios de mundos alegoricos y, en otros, por personajes historicos y biblicos que encarnan la virtud y la fidelidad a la conciencia personal contra la intolerancia y la injusticia. Tanto el aspecto autobiografico de los escritos de Enriquez Gomez como su copiosidad y calidad abren una ventana a la cosmovision de alguien que simultaneamente estaba adentro y afuera, luchando por conseguir un espacio en la escena literaria espanola de mediados del siglo XVII. Este ensayo tratara de la perspectiva conversa que informa tres textos del exilio frances, no para buscar indicios de que el autor","PeriodicalId":29842,"journal":{"name":"Caliope-Journal of the Society for Renaissance and Baroque Hispanic Poetry","volume":"73 1","pages":"124 - 97"},"PeriodicalIF":0.1,"publicationDate":"2017-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83365401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}