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Sánchez Jiménez, Antonio
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Sánchez Jiménez, Antonio
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antonio.sanchez@unine.ch
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- PublicationAccès libreMetáforas de construcción autorial en Lope de Vega: prólogos y dedicatorias de las Partes XV-XX (1621-1625)(2024-01-30)ABSTRACT This paper examines the paratextual rhetoric in the dedications of the partes de comedias that Lope published during the reign of Philip IV. This is a key period for the repositioning of the Phoenix in the literary field of the moment, due to the literary wars in which he was involved, the opportunities he perceived in the change of government and the poet's courtly ambitions, which converged in the position of royal chronicler. The corpus which I will attend amounts to 72 dedications of individual comedias —those of Partes XV-XX— and six general ones —those that Lope published in the first pages of each of the partes. In all of them, I will examine recurring elements, both at the level of inventio (themes and topics) and elocutio (phrases and metaphors). After reviewing them and proposing a brief quantitative analysis, I will study each element in particular and, above all, I will establish relations that reveal the authorial construction strategies that the Phoenix resorted to during these years. KEYWORDS Lope de Vega, Dedications, Prologues, Partes, Authorial Construction RESUMEN Este trabajo examina la retórica paratextual en las dedicatorias de las partes de comedias que Lope publicó durante el reinado de Felipe IV. Se trata de un periodo clave para el reposicionamiento del Fénix en el campo literario del momento, debido a las guerras literarias en las que andaba envuelto, a las oportunidades que percibió en el cambio de gobierno y a las ambiciones cortesanas el poeta, que convergían en el puesto de cronista real. El corpus en que vamos a estudiar estos afanes se eleva a 72 dedicatorias de comedias individuales —las de las Partes XV-XX— y seis generales —las que Lope escribió al frente de cada una de las partes—. En ellas, examinaremos elementos recurrentes, tanto al nivel de la inventio (temas y tópicos) como de la elocutio (giros y metáforas). Tras reseñarlos y proponer un breve análisis cuantitativo, estudiaremos cada elemento en particular y, sobre todo, los relacionaremos para proponer conexiones que pongan de manifiesto las estrategias de construcción autorial a que recurrió el Fénix durante estos años. PALABRAS CLAVE Lope de Vega, Dedicatorias, Prólogos, Partes, Construcción autorial
- PublicationAccès libreHazañas, textos y digresiones. La dispositio de La Dragontea (1598) de Lope de Vega(2023-12)Este artículo estudia cómo Lope de Vega solucionó la presión que ejercieron sobre la estructura de La Dragontea los diversos encargos a que respondía la obra, que narra la trayectoria de Francis Drake (Draque) y, digresivamente, la derrota análoga de otro célebre corsario: la de Richard Hawkins (Ricardo Áquines). El Fénix zurció estos materiales variopintos en un todo de dispositio coherente cuyas digresiones se apoyan en un recurso esencial: la figura de un narrador cortesano que reflexiona explícitamente sobre su arte.
- PublicationAccès librePresentación. Confluencias hispano-germanas(2023)Introduction to the monographic issue of Studi Ispanici on Hispano-Germanic cultural connections coordinated by Antonio Sánchez Jiménez.
- PublicationAccès libreDiana, lectora: letras y plumas en El perro del hortelano, de Lope de Vega(2023)Resumen: A partir de una pregunta sobre la puesta en escena de un pasaje de El perro del hortelano, este artículo examina el papel que desempeña en la comedia la imagen de la pluma, que alude a figuras mitológicas de ascenso peligroso (Ícaro), pero también al oficio del galán (secretario) y a las aficiones literarias de su señora, la condesa de Belflor. Estas nos llevan a estudiar el carácter y deseos de la protagonista, que se revelan igualmente relacionados con la pluma: Diana es una dama fantasiosa que quiere ser leída literal y metafóricamente, y que ideará un novelesco escarceo de lectura y lectores con el que conseguirá un hombre que la merezca. Palabras clave: Lope de Vega; El perro del hortelano; Diana; simbología; plumas. Abstract: Departing from a question on how to stage a passage of Lope de Vega’s El perro del hortelano (The Dog in the Manger), this article examines what role has in the play the image of the feather, which alludes to mythological figures in a dangerous ascent (Icarus), but also to the job of the protagonist (who is a secretary) and to the literary penchant of his lady, Diana, Countess of Belflor. Her love for literature takes us to study her character and desires, which are also related to the feather: Diana is a dreamy lady who wishes to be read, both literally and metaphorically, and who will come up with a very literary flirtation involving reading and readers which will make her obtain a man who deserves her. Keywords: Lope de Vega; El perro del hortelano; Diana; Symbology; Feathers.
- PublicationAccès libreEl parto (feliz) y la Oda IV de fray Luis de León(2023)This article studies fray Luis de León's Oda IV as a contextual poem, a genethliacon to the birth of doña Tomasa, seventh daughter of the Marquis de Alcañices. In particular, we focus on details relating to birthing and the mother and baby's health, and to how relatives reacted to these issues.
- PublicationAccès libre
- PublicationAccès libreSellos de cera y tormentas de fuego: cera y deseo femenino en el sistema simbólico de “El celoso extremeño”(2022-11-26)Resumen. Este trabajo examina el sistema metafórico de «El celoso estremeño» a partir de una imagen central: la cera. Tras un estado de la cuestión sobre la metáfora cervantina, cartografiamos las apariciones y transformaciones de la cera en «El celoso estremeño», así como su especificidad con respecto a otras obras de Cervantes. Con esto ilustramos el sentido de la imagen y su relación con los temas más importantes de la novela, es decir, el deseo femenino y el libre albedrío, con los que la cera conforma un nudo de metáforas y asociaciones que resume la cancioncilla que se canta en el centro de la obra: como la cera, la voluntad femenina puede ser maleable, pero la forma que se le imprima puede fundirse ante el fuego del deseo, el cual solo puede controlar la voluntad de la interesada. Gracias a esta imagen de la cera, «El celoso estremeño» se revela una exploración del deseo femenino y una muestra del pensamiento cervantino al respecto. Abstract. This article examines the metaphoric structure of «El celoso estremeño» departing from its central image: wax. After reviewing of secondary literature on Cervantine metaphors, we examine apparitions and transformations of wax in «El celoso estremeño», as well as their specificity relatively to other works of Cervantes’. This analysis illustrates the meaning of the waxen imagery and its connection with the main subjects of the novel, that is, feminine desire and free will, with which wax shapes a nexus of metaphors and associations present in the song that the characters sing in the novel: as wax, feminine will can be malleable, but the form that it is given can melt in the fires of desire, which only the will of the woman concerned can control. In short, this article reads «El celoso estremeño» as an exploration of feminine desire and an example of Cervantes’ thoughts on the subject, as seen through his use of waxen imagery.
- PublicationAccès librePoética y política de la maravilla: las maravillas del mundo antiguo en Lope de Vega(2022-8-11)This article studies the presence of the Seven Wonders of the Ancient World in the works of Lope de Vega, an author who was particularly fond of the topic and skillful in its usage. Our article examines the appearance of the list from the end of the sixteenth century to 1634, and proposes some reasons for Lope's love for this topic. We explain which is the state of the art on the subject before focusing on Lope’s lyrical poetry. In particular, we begin examining Rimas (1604), a book in which Lope included two sonnets on the wonders. These poems have a peculiar dispositio which we consider the structural basis of Lope’s take on the wonders. Next, we study two small appearances in La Filomena (1621) and La Circe (1624), and, finally, a burlesque variant of this structure in Rimas de Tomé de Burguillos (1634), in a poem which allows us to propose a hypothesis concerning the origin of Lope’s idea. Taking this information into consideration, we examine Lope’s theater, which we divide into two large stages separated by 1609, the year in which Lope published Jerusalén conquistada and must have written La octava maravilla. These stages are useful to analyze the Seven Wonders in the corpus, to examine the evolution of that motif, and to reflect on its connections with the panegyric and with Lope's professional interests.
- PublicationAccès libreLope de Vega y la poesía de jardines: naturaleza y arte en la “Descripción de la Tapada” (La Filomena, 1621)(2021-12-31)This paper examines Lope de Vega’s “Descripción de La Tapada” (La Filomena, 1621) in the context of the writer’s villa poems, and studies the meaning of its similarities and differences with its closest text: the “Descripción del Abadía”. After examining the critics opinions on the text, and showing that it is the least studied of Lope’s poems on gardens, we analyze the poem’s structure and topics, which we will use as a basis to study its genre and its function in La Filomena and in Lope’s literary career. These questions, in turn, will help us understand the peculiar relationship that art and nature establish in the poem.
- PublicationAccès libreLope de Vega, el tabaco y los cuernos: dos notas sobre polémica y burla en las Rimas de Tomé de Burguillos (1634)». Studia Aurea 15 (2021): 485-498(2021-12-22)Abstract: The present article examines two complex passages in Lope de Vega’s Rimas de Tomé de Burguillos, respective and elusive examples of polemics and mock poetry, or, rather, of polemical and non-polemical mock poetry. In the first, included in La Gatomaquia, we study the meaning of a malicious reference to the poet Anastasio Pantaleón de Ribera, already dead in 1634. In the second, sonnet 127 (129 in Carreño’s edition), we show the satirical target of another sarcastic reference, an allusion that gives the poem its burlesque tone, parallel to that of many texts in the book. In order to achieve our objective, we use a textual commentary methodology. After reviewing the critics opinions on the passages in question, and in particular their editors’, we present ours, which illustrate the passages conceptismo by contrasting them with several loci in Lope’s works and in other writers of the time.