This study examines the different ways in which Lope de Vega appropriates the mythological figure... more This study examines the different ways in which Lope de Vega appropriates the mythological figure of Apollo throughout his lyric poetry, a topic often overlooked by scholars. Initially, in the Rimas humanas, Lope uses Apollo to serve somewhat traditional needs, such as offering praise, highlighting female beauty, or retelling the Apollo–Daphne myth. Yet, within the same Rimas, Lope begins to use Apollo in order to present himself as a poetic authority. Later, in La Filomena, Lope attacks his rivals through Apollo. Finally, in the Burguillos collection, Lope inverts standard myths involving Apollo and uses him for other functions, such as parodying Petrarchism. In sum, Lope reinvents Apollo and in some ways presents himself as his own figurative and self-styled god of poetry
This article aims to examine how spatiality structures the psyche and ideology of the protagonist... more This article aims to examine how spatiality structures the psyche and ideology of the protagonist, Pedro, of Miguel Delibes\u27 novel La sombra del cipres es alargada, as seen in his internal monologues and his relationships with others. Spatial references become pivotal not only in the development of the action but also in Pedro\u27s personal development and in the articulation of existential concepts
The poetry of Lope de Vega has been most frequently studied for its amorous, spiritual, or autobi... more The poetry of Lope de Vega has been most frequently studied for its amorous, spiritual, or autobiographical aspects. There has also been some interesting criticism done on Lope's general views of poet ics, theory, and language, yet there has been considerably less work which directly points to the metapoetic and self-referential aspects of Lope's poetry.1 To understand what makes such aspects metapoetic or self-refer ential, it is necessary to arrive at a practical definition of metapoetry. For this study, metapoetry is to be understood as lyrical works that refer in some way to their existence as artistic constructs and those which in clude an evaluation or examination of poetry —be it Lope's or someone else's. Insightful in examining the varieties of metapoetry is the relatively recent work on Spanish metapoetry by Leopoldo Sanchez Torre, La poesia en el espejo del poema. His definition of metapoetry includes not only the break between text and textual commentary, but also an examination of the multifaceted roles of the metapoem as a personal poetics or literary criticism: "La metapoesia, independientemente del elemento del proceso poetico en el que se focalice su reflexion sobre la poesia, no solo puede manifestarse como indagacion leorica sobre la poesia, sino tambien, muchas veces, como exposition de una poetica personal, como manifiesto o declaration de principios, como critica literaria o como autocritica" (137).2 In this essay, I will examine nine of Lope de Vega's sonnets which contain and express the very reason for their construction as poetry, taken from his initial poetry collection, the Rimas of 1602. The most frequent self-referential type of sonnet in this collection is
One of Lope de Vega\u27s (1562-1635) longest poetic works, the Laurel de Apolo (1630), has receiv... more One of Lope de Vega\u27s (1562-1635) longest poetic works, the Laurel de Apolo (1630), has received less critical attention than much of his other poetry due to its sheer length. This massive poem, composed of ten silvas and totalling nearly seven thousand lines, is sometimes viewed as a simple litany of praise for several hundred contemporary poets. However, one often overlooked element is the way in which Lope uses this text to engage in acts of judgement and even personal vendettas against his rivals. The purpose of this study is to examine how Lope moves his locus of enunciation to a mythological space (Mount Helicon) and also shifts the poem\u27s narrative voice to various subjects in order to pass judgements that are as personal and ethical as they are aesthetic. The concept of movement in this regard is thus essential to arrive at a more thorough understanding of the Laurel and these less-examined nuances. An exhaustive analysis of the Laurel and each of its ten silvas would be impossible for the length of this study. Instead, this study will focus in part on Lope\u27s use of a mythological location to highlight his interpersonal rivalry with one poetic figure of the day, Jusepe de Pellicer. Pellicer was a noted Gongorist who had attacked Lope in his poem El Fénix (published earlier in the same year as the Laurel, 1630, though written and publicly known to Lope prior to the Laurel), as well as in his Lecciones solemnes a las Obras de don Luis de Góngora
ABSTRACT:This study examines the different ways in which Lope de Vega appropriates the mythologic... more ABSTRACT:This study examines the different ways in which Lope de Vega appropriates the mythological figure of Apollo throughout his lyric poetry, a topic often overlooked by scholars. Initially, in the Rimas humanas, Lope uses Apollo to serve somewhat traditional needs, such as offering praise, highlighting female beauty, or retelling the Apollo–Daphne myth. Yet, within the same Rimas, Lope begins to use Apollo in order to present himself as a poetic authority. Later, in La Filomena, Lope attacks his rivals through Apollo. Finally, in the Burguillos collection, Lope inverts standard myths involving Apollo and uses him for other functions, such as parodying Petrarchism. In sum, Lope reinvents Apollo and in some ways presents himself as his own figurative and self-styled "god" of poetry.RESUMEN:Este estudio examina las distintas maneras en que Lope de Vega se apropia de la figura mitológica de Apolo a lo largo de su lírica, un tema menos estudiado por la crítica. Al principio, en las Rimas humanas, Lope usa a Apolo para servir funciones tradicionales, por ejemplo alabar a ciertos personajes, presentar la belleza femenina, o contar el mito de Apolo y Dafne. Sin embargo, en las mismas Rimas, Lope empieza a usar Apolo para presentarse como autoridad poética. Luego, en La Filomena, Lope ataca a sus rivales por la figura de Apolo. Finalmente, en las Rimas de Burguillos, Lope invierte los mitos normativos de Apolo usándolo para otros propósitos, como parodiar el petrarquismo. En resumen, Lope reinventa a Apolo y de varias maneras lo usa para presentarse como un "dios" figurativo y de estilo propio de la poesía.
Pablo Neruda, the Nobelist and Chilean poet, is well known for treating a wide variety of themes ... more Pablo Neruda, the Nobelist and Chilean poet, is well known for treating a wide variety of themes in a long and multifaceted literary career. Some of the themes most studied include early vanguard elements, politics, history, nature, and love. However, one frequently read and widely distributed collection, the Odas elementales, published in 1958, contains a number of formally simple odes to everyday objects, as well as different people, concepts and geographical locations. Among the objects treated in the Odas elementales is food, and a number of different food items (along with beverages, to a lesser extent). The purpose of this study is to examine the ways in which Neruda poeticizes and celebrates different foodstuffs and to connect these ways to the larger themes present in his general corpus of work. It will be shown that these odes, which ennoble and glorify everyday food and drink items, are treated as animate, living entities, and are at times frequently linked to a political or social cause as well. The first food item to be examined in this alphabetically-organized collection is the artichoke, in "Oda a la alcachofa" (1985: 17-19). The poem, structured like all other odes in this collection as a deceptively long poem with unusually brief and non-rhyming lines, begins with a description of the artichoke as not only human but also militant and soldier-like. It stands out as such among its fellow vegetable compatriots:
La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures, 2006
In his comprehensive study. The Art of Subversion in Inquisitorial Spain: Rojas and Delicado, Man... more In his comprehensive study. The Art of Subversion in Inquisitorial Spain: Rojas and Delicado, Manuel da Costa Fontes demonstrates how converso writers, both before and after the establishment ofthe Spanish Inquisition in 1481, questioned and challenged the basic tenets of Christian orthodoxy through an art that may well be qualified as subversive. In the shadow ofthe Inquisition, under which manv conversos faced persecution and the constant threat of imprisonment, torture or even death, the onlv viable form of jirolesl was through literature, a miiltifaceted art form that afforded them the means to voice their dissent without being discovered and proseciiled bv an inquisitorial society, one that would be onlv too eager to see them jiav for their jierceived Transgression. While drawing from a wide array of literan rexts that range frolli Galician-Portuguese cantigas de am/go and Castilian villancicos to fifteenth and sixteenth-ceiitunjirose genres such as the sentimental, picaresque and Moorish novels, da Costa Fontes centers bis study on two works that would
... Justin Vitiello observes: 'The anti-Petrarchan intentions of Burguillos are clear from t... more ... Justin Vitiello observes: 'The anti-Petrarchan intentions of Burguillos are clear from the dedicatory sonnet, "El Conde Claros al Licenciado ... ... laurel triunfante.' '~Por que?', Ie dije; y respondi6 sin miedo: 'Porque los lleva todos un tratante para hacer escabeches en Laredo.' (9-14 ...
33 CERVANTES AND THE REINVENTION OF THE PICARESQUE NARRATIVE IN THE NOVELAS EJEMPLARES Mark Masci... more 33 CERVANTES AND THE REINVENTION OF THE PICARESQUE NARRATIVE IN THE NOVELAS EJEMPLARES Mark Mascia Miguel de Cervantes' Novelas ejemplares fictionally chronicle various aspects of Spanish life in the Siglo de Oro, a time in which Cervantes bore witness to a ...
Examines the literary style of Lope de Vega based on the collection of poetry \\u27La Circe.\\u27... more Examines the literary style of Lope de Vega based on the collection of poetry \\u27La Circe.\\u27 Linguistic and intellectual qualities of poetry; Artistic portrayal of female beauty; Concern on ethical literary behavior
This study examines the different ways in which Lope de Vega appropriates the mythological figure... more This study examines the different ways in which Lope de Vega appropriates the mythological figure of Apollo throughout his lyric poetry, a topic often overlooked by scholars. Initially, in the Rimas humanas, Lope uses Apollo to serve somewhat traditional needs, such as offering praise, highlighting female beauty, or retelling the Apollo–Daphne myth. Yet, within the same Rimas, Lope begins to use Apollo in order to present himself as a poetic authority. Later, in La Filomena, Lope attacks his rivals through Apollo. Finally, in the Burguillos collection, Lope inverts standard myths involving Apollo and uses him for other functions, such as parodying Petrarchism. In sum, Lope reinvents Apollo and in some ways presents himself as his own figurative and self-styled god of poetry
This article aims to examine how spatiality structures the psyche and ideology of the protagonist... more This article aims to examine how spatiality structures the psyche and ideology of the protagonist, Pedro, of Miguel Delibes\u27 novel La sombra del cipres es alargada, as seen in his internal monologues and his relationships with others. Spatial references become pivotal not only in the development of the action but also in Pedro\u27s personal development and in the articulation of existential concepts
The poetry of Lope de Vega has been most frequently studied for its amorous, spiritual, or autobi... more The poetry of Lope de Vega has been most frequently studied for its amorous, spiritual, or autobiographical aspects. There has also been some interesting criticism done on Lope's general views of poet ics, theory, and language, yet there has been considerably less work which directly points to the metapoetic and self-referential aspects of Lope's poetry.1 To understand what makes such aspects metapoetic or self-refer ential, it is necessary to arrive at a practical definition of metapoetry. For this study, metapoetry is to be understood as lyrical works that refer in some way to their existence as artistic constructs and those which in clude an evaluation or examination of poetry —be it Lope's or someone else's. Insightful in examining the varieties of metapoetry is the relatively recent work on Spanish metapoetry by Leopoldo Sanchez Torre, La poesia en el espejo del poema. His definition of metapoetry includes not only the break between text and textual commentary, but also an examination of the multifaceted roles of the metapoem as a personal poetics or literary criticism: "La metapoesia, independientemente del elemento del proceso poetico en el que se focalice su reflexion sobre la poesia, no solo puede manifestarse como indagacion leorica sobre la poesia, sino tambien, muchas veces, como exposition de una poetica personal, como manifiesto o declaration de principios, como critica literaria o como autocritica" (137).2 In this essay, I will examine nine of Lope de Vega's sonnets which contain and express the very reason for their construction as poetry, taken from his initial poetry collection, the Rimas of 1602. The most frequent self-referential type of sonnet in this collection is
One of Lope de Vega\u27s (1562-1635) longest poetic works, the Laurel de Apolo (1630), has receiv... more One of Lope de Vega\u27s (1562-1635) longest poetic works, the Laurel de Apolo (1630), has received less critical attention than much of his other poetry due to its sheer length. This massive poem, composed of ten silvas and totalling nearly seven thousand lines, is sometimes viewed as a simple litany of praise for several hundred contemporary poets. However, one often overlooked element is the way in which Lope uses this text to engage in acts of judgement and even personal vendettas against his rivals. The purpose of this study is to examine how Lope moves his locus of enunciation to a mythological space (Mount Helicon) and also shifts the poem\u27s narrative voice to various subjects in order to pass judgements that are as personal and ethical as they are aesthetic. The concept of movement in this regard is thus essential to arrive at a more thorough understanding of the Laurel and these less-examined nuances. An exhaustive analysis of the Laurel and each of its ten silvas would be impossible for the length of this study. Instead, this study will focus in part on Lope\u27s use of a mythological location to highlight his interpersonal rivalry with one poetic figure of the day, Jusepe de Pellicer. Pellicer was a noted Gongorist who had attacked Lope in his poem El Fénix (published earlier in the same year as the Laurel, 1630, though written and publicly known to Lope prior to the Laurel), as well as in his Lecciones solemnes a las Obras de don Luis de Góngora
ABSTRACT:This study examines the different ways in which Lope de Vega appropriates the mythologic... more ABSTRACT:This study examines the different ways in which Lope de Vega appropriates the mythological figure of Apollo throughout his lyric poetry, a topic often overlooked by scholars. Initially, in the Rimas humanas, Lope uses Apollo to serve somewhat traditional needs, such as offering praise, highlighting female beauty, or retelling the Apollo–Daphne myth. Yet, within the same Rimas, Lope begins to use Apollo in order to present himself as a poetic authority. Later, in La Filomena, Lope attacks his rivals through Apollo. Finally, in the Burguillos collection, Lope inverts standard myths involving Apollo and uses him for other functions, such as parodying Petrarchism. In sum, Lope reinvents Apollo and in some ways presents himself as his own figurative and self-styled "god" of poetry.RESUMEN:Este estudio examina las distintas maneras en que Lope de Vega se apropia de la figura mitológica de Apolo a lo largo de su lírica, un tema menos estudiado por la crítica. Al principio, en las Rimas humanas, Lope usa a Apolo para servir funciones tradicionales, por ejemplo alabar a ciertos personajes, presentar la belleza femenina, o contar el mito de Apolo y Dafne. Sin embargo, en las mismas Rimas, Lope empieza a usar Apolo para presentarse como autoridad poética. Luego, en La Filomena, Lope ataca a sus rivales por la figura de Apolo. Finalmente, en las Rimas de Burguillos, Lope invierte los mitos normativos de Apolo usándolo para otros propósitos, como parodiar el petrarquismo. En resumen, Lope reinventa a Apolo y de varias maneras lo usa para presentarse como un "dios" figurativo y de estilo propio de la poesía.
Pablo Neruda, the Nobelist and Chilean poet, is well known for treating a wide variety of themes ... more Pablo Neruda, the Nobelist and Chilean poet, is well known for treating a wide variety of themes in a long and multifaceted literary career. Some of the themes most studied include early vanguard elements, politics, history, nature, and love. However, one frequently read and widely distributed collection, the Odas elementales, published in 1958, contains a number of formally simple odes to everyday objects, as well as different people, concepts and geographical locations. Among the objects treated in the Odas elementales is food, and a number of different food items (along with beverages, to a lesser extent). The purpose of this study is to examine the ways in which Neruda poeticizes and celebrates different foodstuffs and to connect these ways to the larger themes present in his general corpus of work. It will be shown that these odes, which ennoble and glorify everyday food and drink items, are treated as animate, living entities, and are at times frequently linked to a political or social cause as well. The first food item to be examined in this alphabetically-organized collection is the artichoke, in "Oda a la alcachofa" (1985: 17-19). The poem, structured like all other odes in this collection as a deceptively long poem with unusually brief and non-rhyming lines, begins with a description of the artichoke as not only human but also militant and soldier-like. It stands out as such among its fellow vegetable compatriots:
La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures, 2006
In his comprehensive study. The Art of Subversion in Inquisitorial Spain: Rojas and Delicado, Man... more In his comprehensive study. The Art of Subversion in Inquisitorial Spain: Rojas and Delicado, Manuel da Costa Fontes demonstrates how converso writers, both before and after the establishment ofthe Spanish Inquisition in 1481, questioned and challenged the basic tenets of Christian orthodoxy through an art that may well be qualified as subversive. In the shadow ofthe Inquisition, under which manv conversos faced persecution and the constant threat of imprisonment, torture or even death, the onlv viable form of jirolesl was through literature, a miiltifaceted art form that afforded them the means to voice their dissent without being discovered and proseciiled bv an inquisitorial society, one that would be onlv too eager to see them jiav for their jierceived Transgression. While drawing from a wide array of literan rexts that range frolli Galician-Portuguese cantigas de am/go and Castilian villancicos to fifteenth and sixteenth-ceiitunjirose genres such as the sentimental, picaresque and Moorish novels, da Costa Fontes centers bis study on two works that would
... Justin Vitiello observes: 'The anti-Petrarchan intentions of Burguillos are clear from t... more ... Justin Vitiello observes: 'The anti-Petrarchan intentions of Burguillos are clear from the dedicatory sonnet, "El Conde Claros al Licenciado ... ... laurel triunfante.' '~Por que?', Ie dije; y respondi6 sin miedo: 'Porque los lleva todos un tratante para hacer escabeches en Laredo.' (9-14 ...
33 CERVANTES AND THE REINVENTION OF THE PICARESQUE NARRATIVE IN THE NOVELAS EJEMPLARES Mark Masci... more 33 CERVANTES AND THE REINVENTION OF THE PICARESQUE NARRATIVE IN THE NOVELAS EJEMPLARES Mark Mascia Miguel de Cervantes' Novelas ejemplares fictionally chronicle various aspects of Spanish life in the Siglo de Oro, a time in which Cervantes bore witness to a ...
Examines the literary style of Lope de Vega based on the collection of poetry \\u27La Circe.\\u27... more Examines the literary style of Lope de Vega based on the collection of poetry \\u27La Circe.\\u27 Linguistic and intellectual qualities of poetry; Artistic portrayal of female beauty; Concern on ethical literary behavior
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