Search

The figurative pointing and painting in Sor Juana Inés de la Cruz's poetry create unique intersections of voice, person and gender whence lyric in the neuter or third person may speak. This paper follows her use of deixis (from the epideictic tradition), the gesture of pointing at and describing a person or an object, as a way to trace her subjectivity to the point of origin for the invective or praise, while exploring her navigation of the third and first persons within that tradition. Though the lyric traditionally operates on the first-person/ second-person dialectic, Sor Juana's productive use of the epideictic in her lyric poems opens a space for the neuter, or ternary logic, in a genre dominated by male subjectivity. [ABSTRACT FROM AUTHOR]

This paper studies the presence of Fray Luis de León in the literary and critical work of Antonio Colinas. In addition to the lyrical homages dedicated to the Augustinian friar in Noche más allá de la noche, Tiempo y abismo, and Canciones para una música silente, Antonio Colinas, an excellent essayist, interprets Fray Luis in the light (mystical, lato sensu) of reasoned music, a wise symbol of poetic art, inspired reason and harmony between word and world. [ABSTRACT FROM AUTHOR]

This paper provides, for the first time, a study of the biographical trajectory and literary analysis of two poets collected in the Cancionero de Baena (PN1), concentrating on the originality and quality of their poetry. I also suggest a correction, relating to Ruiz de Toro's work, which has escaped the attention of editors of this Cancionero. [ABSTRACT FROM AUTHOR]

Álvaro de Cañizares belongs to the broad group of cancioneril poets for which barely any information is available. That is, he is one of the authors with works in the earliest songbooks, as his corpus, in the form it has survived to the present, consists of six texts, all of them in a single unique copy: four in the Cancionero de Baena and two in the Cancionero de Palacio. However, in spite of the exiguity of his preserved work, he was not just an occasional poet but a renowned figure among his peers. In this paper I aim to demonstrate the importance of this poet, placing him in a specific historical and poetic context in both the network of relationships he enters into with some of the leading poets of the time; and for his presence in the environment of the confidants of Juan II at various periods from the king’s early youth until late in his reign. [ABSTRACT FROM AUTHOR]

The poetry of Francisco de Aldana (1537–1578) is of notable interest, inasmuch as it can be situated halfway between the Renaissance and the Baroque and, as critics have noted, since it constitutes an extraordinary example of so-called Mannerism. This paper aims to show the contradictory views expressed in Aldana’s work on the profession of arms and war. ‘Pocos tercetos escritos a un amigo’ can be ascribed to the ‘humanism of arms’ (also present in Don Quixote) and to the Renaissance ideal of the poet soldier, best exemplified by Garcilaso de la Vega. However, in subsequent works Aldana goes on to condemn war and the horrors which it entails. Thus, the military focus gives way to the contemplative spirit and the desire for retirement from the world, as observed in the superb ‘Carta para Arias Montano’. [ABSTRACT FROM AUTHOR]