Search

This article discusses the representation of the mythical, theological, and picaresque imaginary created around Diego Armando Maradona within different artistic expressions, including criticism, literature, and cinema. The aim is to understand how Maradona's image has been crafted as a footballing, mythical, and iconographic character, especially in the film Amando a Maradona (2005) by Javier Vázquez, which is here subjected to a close reading. We argue that part of Maradona's mythological construction in his sports performance, and his filmic and literary appearances, is generated by means of an iconographic imaginary of poetic, symbolic, material, and affective vindication of the moving picture. [ABSTRACT FROM AUTHOR]

The essay deals with the classic motif of the bivium in relation to the figure of Philip II and the literature of his time, sticking to the allegorical poem Triunfos morales by Francisco de Guzmán, published for the first time in 1557 in Antwerp and dedicated to the king. In particular, the lyrical expression of the bivium in Guzmán's work is examined in view of the literary and iconographic tradition, putting it in relation to that outlined by some of the many writers who dealt with this classic motif during the reign of Philip II. [ABSTRACT FROM AUTHOR]

The essay analyses a corpus of three jácaras by Quevedo: two of them are letters (numbers 849 and 851), where a burlesque language predominates, and a third text --without the form of an epistle-- which features vulgar and impudent expressions (number 864). There are few works known in Italy of this kind, with some gaps in their annotation, so their Italian translation appears to be a challenge, having no previous models to rely upon. The study reflects on the modalities for translating sentences or poetic fragments, suggesting the translation of culturally-marked images and terms, which are difficult to render in the target language. The aim of the work is to try to preserve the sharp humour, the burlesque charge and the iconographic focus of these Golden Age poems. [ABSTRACT FROM AUTHOR]

This article studies how dramatic plays - using iconographical and musical instruments in order to shape the scene- try to underline tragic aspects enclosed in the myth of Progne and Filomena, contained in book VI of Ovid's Metamorphosis. Taking into consideration different textual analyses and, specially, Rojas Zorrilla's Progne y Filomena (published in Primera Parte de Comedias, 1640), we study not only the influence of the musical fact over the tragic anticipations, but the relevance of iconographic and emblematical literature in order to understand the scenes composed over the stage -with special attention to Medieval and Renaissance editions of Metamorphosis- in order to character and describe the interartial cooperation disposed to reveal the tragic spirit in baroque theatre. [ABSTRACT FROM AUTHOR]