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Sánchez Jiménez, Antonio
Nom
Sánchez Jiménez, Antonio
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Professeur ordinaire
Email
antonio.sanchez@unine.ch
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Voici les éléments 1 - 10 sur 257
- PublicationAccès libreAvatares de un soneto del Laurel de Apolo (1630), de Lope de Vega: “Vengó la muerte, hermosa Catalina”(2018-4-15)La aparición en el Epistolario lopesco de un soneto a la muerte de la duquesa de Lerma (1603) que luego el poeta incluiría en el Laurel de Apolo (1630) nos obliga a reinterpretar la habitual lectura del mismo, revelando que al desenterrar este poema Lope pretendía no solamente mostrar su destreza ante los poetas cultos, como señala la crítica, sino también refrescar la memoria de Felipe IV, a quien el soneto había llamado la atención años atrás. The appearance in Lope’s letters of a sonnet to the death of the Duchess of Lerma (1603) that he would later include in the Laurel de Apolo (1630) makes us reinterpret the usual reading of this text, revealing that when Lope dug out this poem he did not only pretend to prove his dexterity competing with the poetas cultos, as the critics say, but also to refresh Philip IV’s memory, as the sonnet had called his attention years before.
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- PublicationAccès libreLa humilde caña: fortuna de un motivo emblemático en Lope de Vega(2015-4-29)This article analyzes the iconography of Lope’s portrait in the first edition of the Arcadia (1598) in the light of two symbols that constantly reappear in his work and that characterize his persona up to the years when he wrote his romances de senectute: on the one hand, the image of envy pestering geniuses; on the other hand, his response, the image of the humble reed.
- PublicationAccès libreLa galería de bustos de ‘El jardín de Lope de Vega’ (1621)Resumen: Este trabajo explora el uso lopesco de la escultura examinando la célebre epístola “El jardín de Lope de Vega” (1621), llamativa por la amplísima colección de bustos y relieves que describe. El análisis del poema sugiere que en “El jardín de Lope de Vega” el Fénix usó la escultura por sus connotaciones cortesanas y aristocráticas, que evocaban una distinción semejante a la que reclamaba para su propia creación poética. Apoyándose en esta conexión ennoblecedora, Lope emplea aquí la escultura como metáfora de poesía (la propia y la de sus enemigos) y como base de su intento de construir un Parnaso de los poetas más destacados del momento. A lo largo del texto, Lope compagina estas dos funciones mediante llamativas dosis de humor e ironía que permiten que operen conjuntamente en la ficción que impulsa la epístola: la descripción del jardín privado del autor. Abstract: This article explores Lope’s use of sculptural images examining the famous epistle “El jardín de Lope de Vega” (1621), a poem that stands out because of the extensive collection of busts and reliefs it describes. The analysis of the poem suggests that in “El jardín de Lope de Vega” Lope used sculpture for its courtly and aristocratic connotations, which evoked a degree of distinction similar to the one he demanded for his own poetic works. Relying on this ennobling connection, Lope uses sculpture as an image of poetry (his own and his enemies) and as a base on which to build a Parnassus of the most relevant poets of his time. Along the poem, Lope combines those two functions with great doses of humor and irony that allow them to operate in the fiction that triggers the epistle: the poem as description of the poet’s private garden.
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- PublicationAccès libreAcotaciones en las adaptaciones neerlandesas de las comedias de Lope de VegaThis article examines a corpus of plays by Lope de Vega translated to Dutch during the seventeenth century, analyzing how they use stage directions and what this use reveals about the function of the printed texts in which they appear. We will work with a corpus of 19 plays. After an introduction on Dutch theater books, we will examine different kinds of stage directions, lato and stricto sensu. Lato sensu, we will focus on genre definitions in the front page (comedy, tragedy, tragicomedy, etc.), on the engravings and mottoes, and on data on authors, adaptators, first staging, and reeditions. Stricto sensu, we will study the lists of dramatis personae and stage directions. For this detailed, qualitative study, we will focus on a corpus of two adaptations of palace plays by Lope: El amigo por la fuerza (Gedwongen vriendt, 1646) and El cuerdo loco (Voozigtige dolheit, 1649).
- PublicationAccès libre