Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

El príncipe perseguido offers an interesting example of theatrical rewriting. The comedia was written by three authors –Luis Belmonte Bermúdez, Agustín Moreto and Antonio Martínez de Meneses– before 16th of April 1645. The three poets used a relatively early play by Lope de Vega El gran duque de Moscovia y Emperador perseguido (Parte séptima, 1616). The comparison of both texts –the comedia colaborada and its source– allows to investigate the modes of collaborative writing for stage in the Spanish Golden Age theatre. The analysis concentrates on the plot (based on the history of the false Dmitry) and macro- and microtextual quotes. The study refers to one of the most complex moments in the history of public theatre in the 17th century Spain (1644-1651).

This paper offers a glimpse into the main reasons behind the inquisitorial censorship of the vernacular hagiography during the Counter- Reformation, from the second half of the 16th Century to the first third of the 17th. This research focuses on the hagiographic works included in the Hispanic Indexes of forbidden and expurgated books published in the 16th and 17th Centuries: the catalogues of Valdés (1559), Quiroga (1583-1584), Sandoval (1612) and Zapata (1632). The first aim of this article is to define the issues that were considered disputable. The second goal is to account for the gradual transformation of the censorial focus: from the suspicion about devotional and mystical works to the re-reading of the hagiography of medieval origins through a Tridentine lens and the control of the new devotional literature, in particular of the biographies designed to promote canonization.

This article studies the bilingual publication (Aymara & Spanish) of the Life of Christ made by the Jesuit Ludovico Bertonio, based on the Flos sanctorum reformado by Alonso de Villegas. It intends to study this translation relying on a historiographic tradition of this literary genre, which considers the legal approbations and the prologue as crucial paratexts to understand the intention of the rewriting process, and in this particular case, to understand the process of translation of one of the most important works for Hispanic Hagiography. By comparing the prologues of Villegas and Bertonio, we notice that they shared the idea of derision and teasing for lack of authority and severity in themes that should lead to devotion. Additionally, in both works there is an intention of reformation and an effort to select what is most convenient to their respective historic circumstances. Finally, it is observed that this Aymaran translation is product of the defensive art of the Counter-Reformation, in which the friar and the native were participants of the idea of a New World exclusive for the Spanish Crown.

This article analyzes the lives of two saints that Middle Ages represented as apostles and preachers, Saint Mary Magdalen and Saint Martha, in the first legendary post-Tridentine published in Portugual (1567). Their author, Fr. Diogo do Rosário, tries to comply with the conciliar guidelines. The analysis aims to ascertain whether his work actually puts into practice new methods and new themes, for example giving back to the limits of orthodoxy these two narratives which, in the medieval tradition, did not obey the prohibition that Saint Paul threw on the women’s preaching. The analysis will be made by comparing the choices that Fr. Diogo do Rosário made with the textual sources he had at his disposal and by evaluating his innovation on the texts.

Sponsorship and patronage have always been the reasons that concerned Lope’s artistic life and we can see this in a great number of his works. In the present investigation, I study the play Las grandezas de Alejandro and its literary dedication, showing a different point of view from the studies made before. In order to do this, I will investigate the biography of the patron Lope refers to in the work, Fernando Afán de Ribera, focusing on his prececessors and the nobiliary life of his lineage. The research shows the author’s necessity to please the political powers of his time and the desire he had of ascending to the aristocracy. I have also considered another reading of the drama: the autor claims his works as an artist, and suggests that sponsors and patrons need to be enlightened by the artists they protect. Thus, drama and dedication have a political and an artistic reading, which complement each other.