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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tiempos Modernos is the property of Tiempos Modernos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The increasing application of computational methods to the literature of the Spanish Golden Age has revealed the necessity of automating the modernization of its texts to facilitate seamless comparison and analysis. This study pioneers the employment of Natural Language Processing (NLP) techniques for the transformation of Spanish Golden Age texts (circa 1590-1680) into modern, normalized Spanish (RAE 2010). The research employs the transformer architecture to train and evaluate models using a corpus of Golden Age dramas. The models show promise in handling tricky typographical marks and context-sensitive words, but also struggle with proper nouns and orthographic variations. Evaluated using different metrics common in the specialized literature, the tool demonstrates potential as a valuable resource for historians, philologists, and digital humanists. Limitations include the specificity of the training corpus and observed inconsistencies in punctuation and spelling even in modernized texts. This research offers a novel, scalable solution to the manual modernization of Golden Age Spanish literature, enabling further computational studies in the field.

It seemed unimaginable that the eye, denoting visuality and deemed accurate and reliable in accordance with Aristotelian theories in circulation during the Spanish Golden Age could be considered as anything other than a revered hallmark of guidance and intellect. Nevertheless, the literary phenomenon) of the picaresque emerged at the onset of the seventeenth century to defy the chivalric and pastoral fantasies that were masking the real anxieties faced by an era of decline. The picaresque genre brought warning that turning a blind eye to Spain's already-waning fortunes could not last forever. Yet, by doing so, it lent favour to such blindness, underlining how the eye, both symbolically and substantially, actually evoked a sense of ill-fatedness and misfortune. This paper calls for an exploration of how an ominous utilisation of the eye is presented in the most canonical picaresque works: Lazarillo de Tormes and Mateo Alemán's Guzmán de Alfarache. From the imperative role of the blind man in opening the eyes of the young protagonist, to the doomed interpolated cosplay of seeing and unseeing throughout Lazarillo's trajectory, and from Guzmán's receptivity to appearances and Alemán's lending of visual lexicon to his picaro protagonist, one must ask: how and why does the bodily organ of the eye, through both notion and function, serve as a depiction of hardship and disaster within these picaresque texts, and how does it reflect the overarching societal views towards intellect and religion during this epoch of "ocularcentrism"? [ABSTRACT FROM AUTHOR]

Polymetry, the art of using different metric forms in the same literary composition (Paraíso), is one of the main features of Spanish Golden Age theater and is linked to Calderón de la Barca's authorial intent in his plays. In this paper, we propose an analysis of La vida es sueño, El alcalde de Zalamea, and El mágico prodigioso with the purpose of identifying the compelling reasons for polymetry's adoption as a defining stylistic feature of Spanish Golden Age theather. Thus, we seek to identify the different relations between the metric forms used and the dramatic conflict of the plays, considering that using one metric-strophic variety or another is not chosen at random, but rather an intentional gesture of the author seeking to establish intrinsic relationships between metric forms and dramatic action. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Clio: Revista de Pesquisa Histórica (01024736) is the property of Universidad Federal de Pernambuco / Revista Clio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main objective of this work is to analyze the processes of retextualization that shows an epistolary corpus composed of several versions of the same letter from its first textualization, carried out in the fourteenth century from the precepts of the ars dictaminis, until the seventeenth century, where it occupies a noted position in historiography. We focus on examining the linguistic variation related to the processes of linguistic elaboration oriented to the pole of communicative distance: the letters show the development of the conception of the epistolary genre from dialogue, with features of communicative orality, to authorial soliloquy of grandiloquent language and high degree of planification. Therefore, we also study how the morphology of the letter adapts to these new interests, theoretically related in this article to the processes of linguistic refection. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Lope de Vega. Texto, Literatura, Cultura is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Investigación Lingüística is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we present a comparative study between El valiente justiciero o El ricohombre de Alcalá by Agustín Moreto (1657) and the Dionisio Solís' recasting (1811), a 19th century playwright. This recasting has not been studied previously, except for a brief structural analysis of the play. In this way, we will offer a comparative study between the Baroque play and the homonymous recasting, in order to establish the similarities and differences between both plays and trying to justify the changes introduced by the recaster. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Colombiano de Historia Social y de la Cultura is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas, Departamento de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ingenium: Revista Electrónica de Pensamiento Moderno y Metodología en Historia de las Ideas is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Investigación Lingüística is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1604 Eugenio de Narbona publishes an ambiguous and controverted book that goes quickly under the examination of the Spanish Inquisition and it is retired. The almost three hundred tacitian inspirated aphorisms collected on this little practical government manual were unacceptable because of its format, which could lead to heterodoxal and subversive interpretations, in addition to be wrote in the common use language, the spanish, with incontrolable consecuences. In 1621, during the climax of the political discussion between the new politics based on an autonomous politic technique and the traditional religious monarchy, Narbona reprints his work with some variations and better fate. Some people affirm that this minor text has no literary value except from the testimonial, but this article shows there are some arguments to defend a strong relationship between autor’s will, the content of the book and the specific discursive style chosen by Narbona, a very well calculated artifice.

Copyright of Philological Research & Studies. Romance Languages Series / Studii şi Cercetări Filologice. Seria Limbi Romanice is the property of Philological Research & Studies. Romance Languages Series and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the study is to offer an image of Spanish science and education in the works of Czech travellers of the nineteenth and early twentieth century, especially Ota Pinkas, Jaroslav Guth, Václav Kybal, Josef Müldner, Jan Rambousek, Karel Čapek, but also others. The study focuses on those characteristics of Spanish intellectual environment which Czech travellers (and others) perceived as ‘specifically Spanish’. We examine the issue of Spanish ‘otherness’, Arab knowledge and its influence on Spanish culture, Spanish mysticism, irrationalism, alleged fanaticism, and the so-called ‘abulia’ and their relation to the nature of scientific knowledge. In the context of discussions on Europeanisation of Spain and controversy about the existence of a Spanish science in the Renaissance, we also examine Czech descriptions of the Spanish Golden Age and reflections on the need of Europeanisation of Spanish knowledge. Although in some respects, the views of Czech intellectuals coincided with contemporary opinions regarding the nature of the ‘Spanish spirit’, they neither questioned nor denied the importance or even the very existence of Spanish Renaissance science. Instead, they tended to present them, from a historical perspective, as unique and worthy of attention.

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper studies the mother figures in La española inglesa by Cervantes. After a brief review of the representation of motherhood in the Spanish Golden Age and in Cervantes' works, this research analyzes three characters in this exemplary novel: Catalina (the mother of Ricaredo, male protagonist), the "camarera mayor"—Chief Gentlewoman of the Privy Chamber—(the mother of the count Arnesto, principal antagonist), and the mother of Isabela (female protagonist). The analysis shows the differences between the diverse forms of motherhood and the possible preference for the model of Isabela's mother, evidenced through poetic justice. [ABSTRACT FROM AUTHOR]

The glorious voyage of the 'Nao Victoria' circumnavigating the Earth for the first time gave rise to endless festivities and public celebrations. A review is made of the poetic imprint that such a singular feat has left, then and over the centuries, in vernacular and Neo-Latin literature, an imprint that, although not very extensive, ranges from pure praise and heroic epic to the simile or paragon as anoutbidding formula. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dentro del estudio de la vestimenta, uno de los campos léxicos más interesantes es el del léxico relativo a los adornos y las guarniciones. Partiendo de los documentos notariales recopilados por el Corpus Léxico de Inventarios (CorLexIn), este estudio pretende ofrecer una descripción y análisis lexicográficos de diversos ítems léxicos concretos alusivos a elementos textiles de adorno que podrían englobarse bajo hiperónimos como flecos, bordados, cintas o pasamanerías. Within the study of clothing, one of the most interesting fields could be vocabulary referred to decorations and trimmings. Based on the notarial records gathered by the Corpus Léxico de Inventarios (CorLexIn), this study aims to offer a lexicographical description and analysis of some specific lexical items that refer to textile adornment elements that could be included under hyperonyms such as tassels, embroideries, ribbons or trimmings.

Este artículo analiza la actitud de algunos intelectuales y artistas chilenos del siglo XIX frente a las obras de los pintores más destacados del Siglo de Oro español. Se reconstruye la forma en que el discurso de rechazo a la tradición artística y cultural del período colonial convivió con la admiración por Murillo, Velázquez, Ribera y Zurbarán. Se da cuenta, al mismo tiempo, del papel que las obras de los pintores españoles desempeñaron en los espacios culturales chilenos, así como de su impacto en la formación de los pintores locales de la segunda mitad de la centuria. Las ideas de la élite intelectual, los viajes a Europa, las exhibiciones, el coleccionismo y las prácticas artísticas permiten aproximarse a la comprensión de este fenómeno. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Estudos Literários is the property of Imprensa da Universidade de Coimbra and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Investigación Lingüística is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)