全球回声:早期现代西班牙诗歌的世界/全球回声:早期现代西班牙诗歌的世界

IF 0.3 0 LITERATURE, ROMANCE
Jessica Hagley, Carlos Iglesias-Crespo
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At the same time, by turning to Góngora’s commentators such as Martín Vázquez Siruela, author of “Discurso sobre el estilo de don Luis de Góngora” and an enthusiastic antiquarian, I will show how the poet’s seventeenth-century critics interpreted his works as an exquisite craft. Moreover, this paper echoes the discussion on whether the genre of Soledades is bucolic or epic. While Mercedes Blanco has convincingly explained the cultural obsession with epic and the poet’s intention to emulate Tasso, I choose to reconsider the pastoral poetics in Soledades . I argue that the bucolic since Virgil is a mixed genre characterized by exploring language's materiality. Thus defined, the bucolic itself represents an expression of the intimate relationship between nature and labor as well as a fluidity of poiesis among different forms of labor. Setting Soledades against this bucolic tradition, its materiality not only refers to precious materials but also the craft of working with them. 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Many tropes, such as the epic catalogue and various examples of ‘Überbietung’ (Curtius), create a sense of epic grandeur in the poem’s lyric form ( silva ). It is a song that is both ‘ dulce ’ and ‘ grave ’, as observed in the preliminaries. This paper sets to situate Sor Juana’s Neptuno alegórico within an early modern mythographic tradition that spans both sides of the Atlantic. By mythographic tradition I mean the proto-encyclopedic treatises on pagan gods by Pérez de Moya, Baltasar de Vitoria, and their European homologues (specifically those of Natale Conti and Francis Bacon) as well as the various uses of mythological figures and themes as allegories in early modern vernacular poetry and art. Situating Sor Juana within a transatlantic mythographic tradition permits a more thorough assessment of the poet’s nuanced representation of Neptune and Amphitrite as political and natural allegories equally at home in the Americas as in Europe. By furthermore comparing Sor Juana’s Neptuno to the use of pagan sea gods by the poets Bento Teixeira in Brazil and Silvestre de Balboa in Cuba what comes to the fore is a distinctly colonial American iteration of the Greco-Roman gods as allegories at odds with the baroque tradition of the mythological epyllion in Spain as defined by Sophie Kluge. A focus on the transatlantic dimension of the early modern mythographic tradition is thus revealed to be central to defining in greater nuance the baroque conception of mythological figures and themes as allegories. This paper explores the early modern obsession of the Black female body in the context of Petrarchan poetic activity and love. The link between the description of the Black female body in early modern poetry and poetry within the Americas shows how integral Black female presence has been. Through examples from the poetry of Luís Vaz de Camões and Luiz Gonzaga Pinto da Gama, I discuss how Black female presence has played a major role in poetry and that this gives a sense of subjectivity and an agentive element to the Black female woman. In this paper, I show how the poetic voice in Camões and Gama’s poems differ on its perspective of the Black female body while yet connecting through abjection and love. Matter Many were the domains of knowledge to which early modern Europeans resorted when describing the peoples from the Americas, Africa, and Asia: climate, biblical exegesis, antiquarianism, zoology, and philology. This paper addresses the specific way in which two authors mobilized Quechua poems as sources of knowledge of the Incan past through philological analysis. 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This paper examines the poetic language of Soledades and explores how it incorporates the practices of silversmithing and jewelry production. By relating the materiality of Góngora’s language to the material environment of luxury at the court since the sixteenth century, this paper demonstrates how craftsmanship is embedded in the creation of Soledades . At the same time, by turning to Góngora’s commentators such as Martín Vázquez Siruela, author of “Discurso sobre el estilo de don Luis de Góngora” and an enthusiastic antiquarian, I will show how the poet’s seventeenth-century critics interpreted his works as an exquisite craft. Moreover, this paper echoes the discussion on whether the genre of Soledades is bucolic or epic. While Mercedes Blanco has convincingly explained the cultural obsession with epic and the poet’s intention to emulate Tasso, I choose to reconsider the pastoral poetics in Soledades . I argue that the bucolic since Virgil is a mixed genre characterized by exploring language's materiality. Thus defined, the bucolic itself represents an expression of the intimate relationship between nature and labor as well as a fluidity of poiesis among different forms of labor. Setting Soledades against this bucolic tradition, its materiality not only refers to precious materials but also the craft of working with them. This paper explores how Manuel de Faria e Sousa works creatively with the verse of other writers in his early (and neglected) collection of poetry, Divinas y Humanas Flores (1624). It suggests how Faria e Sousa cites and alludes to verse across various languages (Spanish, Latin, Italian, Portuguese) in ways that are at once deferential and more challenging. Underpinning much of Faria e Sousa’s poetic borrowings is a desire to assert the greatness of the Portuguese language and to offer a positive vision of Portuguese history. This paper examines Ana Caro’s use of epic discourse in her 1635 poetic chronicle on the festivities held in the San Miguel parish in Seville, organized by the Count of Salvatierra, in reaction to the sacrileges performed by French protestants in June 1635 in the Flemish city of Tienen (Tillemont). Rarely singled out for its literary qualities, Ana Caro’s Relación , is an innovative response to and engagement with the epic tradition. Many tropes, such as the epic catalogue and various examples of ‘Überbietung’ (Curtius), create a sense of epic grandeur in the poem’s lyric form ( silva ). It is a song that is both ‘ dulce ’ and ‘ grave ’, as observed in the preliminaries. This paper sets to situate Sor Juana’s Neptuno alegórico within an early modern mythographic tradition that spans both sides of the Atlantic. By mythographic tradition I mean the proto-encyclopedic treatises on pagan gods by Pérez de Moya, Baltasar de Vitoria, and their European homologues (specifically those of Natale Conti and Francis Bacon) as well as the various uses of mythological figures and themes as allegories in early modern vernacular poetry and art. Situating Sor Juana within a transatlantic mythographic tradition permits a more thorough assessment of the poet’s nuanced representation of Neptune and Amphitrite as political and natural allegories equally at home in the Americas as in Europe. By furthermore comparing Sor Juana’s Neptuno to the use of pagan sea gods by the poets Bento Teixeira in Brazil and Silvestre de Balboa in Cuba what comes to the fore is a distinctly colonial American iteration of the Greco-Roman gods as allegories at odds with the baroque tradition of the mythological epyllion in Spain as defined by Sophie Kluge. A focus on the transatlantic dimension of the early modern mythographic tradition is thus revealed to be central to defining in greater nuance the baroque conception of mythological figures and themes as allegories. This paper explores the early modern obsession of the Black female body in the context of Petrarchan poetic activity and love. The link between the description of the Black female body in early modern poetry and poetry within the Americas shows how integral Black female presence has been. Through examples from the poetry of Luís Vaz de Camões and Luiz Gonzaga Pinto da Gama, I discuss how Black female presence has played a major role in poetry and that this gives a sense of subjectivity and an agentive element to the Black female woman. In this paper, I show how the poetic voice in Camões and Gama’s poems differ on its perspective of the Black female body while yet connecting through abjection and love. 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引用次数: 0

摘要

本文追溯了诗歌诞生和文本健康的相关图像,尽管不是统一的图像。从将诗歌概括地描述为儿童(直接由诗人或诗人的灵魂或智慧所生),到将匆忙或拙劣的诗歌比喻为早产、堕胎或流产,诗歌创作的想法往往转向身体。与分娩的比较,我认为,突出了写作的努力和文学血统的主张,而“流产”的哀叹(发现在Sor Juana, Juan de Jáuregui和Cristóbal Suárez de Figueroa)唤起了将一首诗润泽到完美的挑战和过早将它送到世界的危险。此外,对好诗和坏诗的评价常常以健康和适当的身体比例为依据。一首弱诗可能只是“desmayado”,正如塞万提斯在《Viaje del Parnaso》中两次批评的那样,但它也可能,更形象地说,有身体缺陷。这些畸形可能是先天性的,也可能是由于有害的编辑而获得的。例如,加布里埃尔·洛博·拉索·德拉维加(Gabriel Lobo Lasso de la Vega)抱怨说,他的爱情小说的其他印刷版本变化太大了,以至于“unos vienen patituertos”。即使把诗当作身体的想法是司空见惯的,它的解剖和健康的细节为批评和使理论更加具体化提供了方便的工具。身体隐喻几乎不局限于诗学,但我发现它们在这些语境中的使用特别有趣,正是因为诗歌在流通和物质分量方面往往不同于整个“cuerpos de libros”。limeño文坛。跨大西洋图书贸易的古典文化动态舞台上一个有趣的性别(ed)表演设计在大西洋两岸的主题跨大西洋的动态本身。重新定义了非女性话语的可能性,这是关于全球伊比利亚世界文学动态的。本文考察了Soledades的诗意语言,并探讨了它如何结合银器和珠宝生产的实践。通过将Góngora语言的物质性与16世纪以来宫廷奢华的物质环境联系起来,本文展示了工艺如何嵌入到Soledades的创作中。同时,通过查阅Góngora的评论员,如Martín Vázquez Siruela,他是《关于路易斯的严肃论述Góngora》的作者,也是一位热情的古物学家,我将展示这位诗人的17世纪评论家是如何将他的作品解释为一种精美的工艺的。此外,本文还呼应了关于《单行曲》体裁是田园诗还是史诗的讨论。虽然梅塞德斯·布兰科令人信服地解释了对史诗的文化痴迷和诗人模仿塔索的意图,但我选择重新考虑《Soledades》中的田园诗学。笔者认为,自维吉尔以来的田园文学是一种以探索语言的物质性为特征的混合文学。因此,田园本身代表了自然与劳动之间的亲密关系的表达,以及不同形式劳动之间的流动性。Soledades反对这种田园传统,它的材料不仅指的是珍贵的材料,还指的是使用它们的工艺。本文探讨了Manuel de Faria e Sousa如何在他早期(被忽视的)诗集《Divinas y Humanas Flores》(1624)中创造性地与其他作家的诗句结合在一起。它表明了法利亚·索萨是如何引用和暗示不同语言(西班牙语、拉丁语、意大利语、葡萄牙语)的诗歌的,既恭敬又更具挑战性。法里亚·苏萨的诗一般的借用都是为了强调葡萄牙语的伟大,并为葡萄牙历史提供一个积极的视角。本文考察了Ana Caro在她1635年的诗歌编年史中对在塞维利亚圣米格尔教区举行的庆祝活动的史诗话语的使用,该庆祝活动由Salvatierra伯爵组织,以回应法国新教徒于1635年6月在弗拉芒城市Tienen (Tillemont)进行的亵渎行为。安娜·卡罗的《Relación》很少因其文学品质而被单独挑出来,它是对史诗传统的创新回应和参与。许多比喻,如史诗目录和“Überbietung”的各种例子(Curtius),在诗歌的抒情形式中创造了一种史诗般的宏伟感(silva)。这是一首既“轻快”又“庄重”的歌,正如在序曲中所观察到的那样。本文将把索尔·胡安娜的海王星alegórico置于横跨大西洋两岸的早期现代神话传统中。我所说的神话传统指的是psamrez de Moya, Baltasar de victoria和他们的欧洲同代人(特别是Natale Conti和Francis Bacon)所写的关于异教神的原始百科全书式的论文,以及在早期现代白话诗歌和艺术中对神话人物和主题作为寓言的各种使用。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Ecos globales: los mundos de la poesía hispánica de la Modernidad temprana / Global Echoes: The Worlds of Early Modern Spanish Poetry
This paper traces the related, though not uniform images of poetic birth and textual health. From generalized depictions of poems as children (born of the poet directly or of the poet’s soul or wit) to metaphors of hurried or badly written poems as premature births, abortions or miscarriages, ideas of poetic creation often turn to the bodily. The comparisons to childbirth, I suggest, highlight the efforts of writing and claims to literary lineage, while laments of “abortos” (found in Sor Juana, Juan de Jáuregui, and Cristóbal Suárez de Figueroa) evoke the challenges of polishing a poem to perfection and dangers of sending it into the world too soon. Moreover, assessments of good and bad poetry often draw on the language of health and proper bodily proportions. A weak poem might be simply “desmayado,” as Cervantes criticizes twice in the Viaje del Parnaso , but it could also, more graphically, have bodily defects. These deformities could be congenital or acquired due to detrimental edits. For instance, Gabriel Lobo Lasso de la Vega complains that others printed versions of his romances so changed that “unos vienen patituertos.” Even if the idea of the poem as body was commonplace, the specifics of its anatomy and health offered handy tools for criticism and for rendering theory more concrete. Bodily metaphors were hardly limited to poetics, but I find their use in these contexts especially interesting precisely because poems often differed from whole “cuerpos de libros” in terms of circulation and physical heft. of limeño literary scene. the of the on the dynamics of classical culture of the transatlantic book trade stage an intriguing gender(ed) performance designed to on both sides of the Atlantic thematise the transatlantic dynamic itself. reinscribing the possibility of a non-female Discurso us about the literary dynamics of the global Iberian world. This paper examines the poetic language of Soledades and explores how it incorporates the practices of silversmithing and jewelry production. By relating the materiality of Góngora’s language to the material environment of luxury at the court since the sixteenth century, this paper demonstrates how craftsmanship is embedded in the creation of Soledades . At the same time, by turning to Góngora’s commentators such as Martín Vázquez Siruela, author of “Discurso sobre el estilo de don Luis de Góngora” and an enthusiastic antiquarian, I will show how the poet’s seventeenth-century critics interpreted his works as an exquisite craft. Moreover, this paper echoes the discussion on whether the genre of Soledades is bucolic or epic. While Mercedes Blanco has convincingly explained the cultural obsession with epic and the poet’s intention to emulate Tasso, I choose to reconsider the pastoral poetics in Soledades . I argue that the bucolic since Virgil is a mixed genre characterized by exploring language's materiality. Thus defined, the bucolic itself represents an expression of the intimate relationship between nature and labor as well as a fluidity of poiesis among different forms of labor. Setting Soledades against this bucolic tradition, its materiality not only refers to precious materials but also the craft of working with them. This paper explores how Manuel de Faria e Sousa works creatively with the verse of other writers in his early (and neglected) collection of poetry, Divinas y Humanas Flores (1624). It suggests how Faria e Sousa cites and alludes to verse across various languages (Spanish, Latin, Italian, Portuguese) in ways that are at once deferential and more challenging. Underpinning much of Faria e Sousa’s poetic borrowings is a desire to assert the greatness of the Portuguese language and to offer a positive vision of Portuguese history. This paper examines Ana Caro’s use of epic discourse in her 1635 poetic chronicle on the festivities held in the San Miguel parish in Seville, organized by the Count of Salvatierra, in reaction to the sacrileges performed by French protestants in June 1635 in the Flemish city of Tienen (Tillemont). Rarely singled out for its literary qualities, Ana Caro’s Relación , is an innovative response to and engagement with the epic tradition. Many tropes, such as the epic catalogue and various examples of ‘Überbietung’ (Curtius), create a sense of epic grandeur in the poem’s lyric form ( silva ). It is a song that is both ‘ dulce ’ and ‘ grave ’, as observed in the preliminaries. This paper sets to situate Sor Juana’s Neptuno alegórico within an early modern mythographic tradition that spans both sides of the Atlantic. By mythographic tradition I mean the proto-encyclopedic treatises on pagan gods by Pérez de Moya, Baltasar de Vitoria, and their European homologues (specifically those of Natale Conti and Francis Bacon) as well as the various uses of mythological figures and themes as allegories in early modern vernacular poetry and art. Situating Sor Juana within a transatlantic mythographic tradition permits a more thorough assessment of the poet’s nuanced representation of Neptune and Amphitrite as political and natural allegories equally at home in the Americas as in Europe. By furthermore comparing Sor Juana’s Neptuno to the use of pagan sea gods by the poets Bento Teixeira in Brazil and Silvestre de Balboa in Cuba what comes to the fore is a distinctly colonial American iteration of the Greco-Roman gods as allegories at odds with the baroque tradition of the mythological epyllion in Spain as defined by Sophie Kluge. A focus on the transatlantic dimension of the early modern mythographic tradition is thus revealed to be central to defining in greater nuance the baroque conception of mythological figures and themes as allegories. This paper explores the early modern obsession of the Black female body in the context of Petrarchan poetic activity and love. The link between the description of the Black female body in early modern poetry and poetry within the Americas shows how integral Black female presence has been. Through examples from the poetry of Luís Vaz de Camões and Luiz Gonzaga Pinto da Gama, I discuss how Black female presence has played a major role in poetry and that this gives a sense of subjectivity and an agentive element to the Black female woman. In this paper, I show how the poetic voice in Camões and Gama’s poems differ on its perspective of the Black female body while yet connecting through abjection and love. Matter Many were the domains of knowledge to which early modern Europeans resorted when describing the peoples from the Americas, Africa, and Asia: climate, biblical exegesis, antiquarianism, zoology, and philology. This paper addresses the specific way in which two authors mobilized Quechua poems as sources of knowledge of the Incan past through philological analysis. More specifically, I compare how Inca Garcilaso and Guaman Poma de Ayala discuss the materiality of Quechua poetic language as a means to draw conclusions about the process of knowledge production among the Incas. By contrasting Garcilaso’s and Guaman Poma’s interpretations of the Incan past through poetry, I aim to show how Quechua poetic language—with its focus on matter and the natural world—works as a privileged site for both authors to work their hypotheses regarding the Pre-Columbian period.
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