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

El presente artículo analiza la función de los espacios en La Dorotea de Lope de Vega, a partir del sueño présago de don Fernando (I, 4): las Indias, Sevilla y Madrid. Frente a las Indias y a Sevilla como espacios simbólicos, Madrid surge como el gran espacio en el que transcurre la «acción en prosa». La Corte, con sus iglesias, sus calles y sus rejas, pero también con el Prado como un centro en el que confluyen gran parte de los personajes y desde donde la historia toma un nuevo rumbo.Palabras clave: Lope de Vega, La Dorotea, espacio, novela barroca, comedia áurea. From the Indies to Madrid: the spaces of La DoroteaAbstract: This article analyzes the role of the spaces in La Dorotea by Lope de Vega, from the presage dream of Don Fernando (I, 4): the Indies, Seville and Madrid. Facing the Indies and Seville as symbolic spaces, Madrid raises as the great space where the «action in prose» takes place. The Court, with its churches, its streets and its window bars, but also with the Prado as a center where many of the characters meet and where the story takes a new direction.Keywords: Lope de Vega, La Dorotea, space, baroque novel, golden comedy.

La Historia de Marco Antonio y Cleopatra (1639) de Castillo Solórzano es el depósito literario más nutrido de materiales acerca de Cleopatra a lo largo del Siglo de Oro. Se trata de un relato popular que entretiene mientras promueve una clara visión ejemplar: Castillo reconoce el poder y el atractivo de atributos como la lujuria y la avidez, al tiempo que las condena por medio de Cleopatra, Marco Antonio, Julio César, Pompeyo y Octaviano. Lo que confiere singularidad a esta historia en prosa es la inclusión de casi treinta poemas, del mismo Castillo y de un rosario de poetas de Valencia, Madrid y Zaragoza; un detalle que confirma al vallisoletano como uno de los exponentes más señeros de la escritura mixta durante el Barroco. Este estudio analiza el carácter de los materiales en prosa y en verso, considerando la obra como un collage de fuentes. El examen de la aleación de estos modelos –visibles u ocultos– y de sus grados de integración pone de manifiesto los objetivos artísticos y morales del autor.Palabras clave: Alonso de Castillo Solórzano, Historia de Marco Antonio y Cleopatra, Plutarco, Casio Dion, fuentes, literatura mixta. A Collage of Sources in Castillo Solórzano’s Historia de Marco Antonio y Cleopatra (1639)Abstract: Alonso de Castillo Solórzano’s Historia de Marco Antonio y Cleopatra (1639) is the most important literary repository for materials on Cleopatra in the whole of the Spanish Golden Age, and it is a popular history which entertains while also promoting a clear moral vision. Castillo acknowledges the power and attraction of characteristics such as lust and greed, but at the same time he condemns them through the characters of Cleopatra, Antony, Julius Caesar, Pompey and Octavian. What bestows special particularity upon this prose history is the inclusion of almost thirty poems, by Castillo himself and by poets from Valencia, Madrid and Zaragoza, and this confirms Castillo as one of the foremost exponents of mixed writing in the Baroque. This study analyses the character of the two types of material, prose and verses, and considers the work as a collage of sources. The examination of the way in which these sources –visible or hidden­– combine, and of their degrees of integration makes clear Castillo’s moral and artistic aims.Keywords: Alonso de Castillo Solórzano, Historia de Marco Antonio y Cleopatra, Plutarch, Cassius Dio, sources, mixed writing.

El concilio de Trento trató, en su última sesión, de la veneración de los santos, en tanto que mediadores ante los hombres y como figuras de ejemplaridad. Sus disposiciones tuvieron una gran influencia en los textos hagiográficos posteriores al concilio, y en el arte en general, en la medida en que perseguían, entre otros aspectos, dotar a estos relatos del rigor necesario, ajeno por tanto al abuso de elementos legendarios que tanto se habían criticado entre los seguidores del protestantismo. En este artículo se estudia cómo un escritor tan prolífico como Castillo Solórzano no fue ajeno al cultivo del género hagiográfico y cómo, al tratar la figura de un santo medieval como san Vicente Ferrer (1350-1419), lo presenta de acuerdo con las disposiciones conciliares y, en consecuencia, retrata un santo contrarreformista.Palabras clave: Castillo Solórzano, hagiografía, Trento. Castillo Solórzano’s Treatment of Hagiography in the Light of the Counter-ReformationAbstract: In its final session the Council of Trent dealt with the veneration of saints, both in terms of their role as the mediators of mankind and as figures of exemplariness. The results of their deliberations had a great influence on post-Tridentine hagiographic texts, and on art in general, given the manner in which they sought to endow these writings with sufficient rigor, devoid of the abuse of legendary aspects that had been so harshly criticized by followers of Protestantism. This article studies how a writer as prolific as Castillo Solórzano was not immune to the cultivation of the hagiographic genre and how, in his presentation of the figure of a medieval saint, Vicente Ferrer (1350-1419), he depicts him in accordance with the Tridentine dispositions and as such, he portrays him as a Counter-Reformation saint.Keywords: Castillo Solórzano, Hagiography, Council of Trent.

Abstract: These lines propose an interpretation of two literary works found in the Codex Vindobonensis Palatinus 11657 (Österreichische Nationalbibliothek, Sign. Cod. 11657 Han.): the Segunda parte de la Torre de David moralizada por vía de diálogos para todo género de gente, lost during centuries; and an unknown Historia acaecida en una ciudad de este reino muy provechosa así para religiosos como para casados. Philological considerations delivered here allow us to suggest that Jerónimo de Lemos could not be the author of the Historia acaecida. Indeed, it is very probable that the latter not be the outcome of rewriting of previous materials, as it seems, on the contrary, to be the case for the Segunda parte. Independently from considerations on their authorship, the set of texts studied here represents a certain unity conferring them the role of manual of customs with an underlying function of promoting the pedagogy of marriage and a Christian way of life in a convulsed time.Keywords: Jerónimo de Lemos, marriage, Hispanic literary dialogues.

Abstract: The present study offers a monographic analysis of the unpublished manuscript Varias poesías y casi todas las que compuso… D. Luis de Góngora, Martín de Angulo y Pulgar, guarded at the Fundación Bartolomé March (B87-V3-10). With a date of 1639-1640, it constitutes a kind of poetry songbook or anthology prepared by this author with the aim of spreading the work of Góngora, canonizing it and, in turn, position himself, with respect to the large gallery or cast of commentator scholars, in a privileged place of the Republic of letters. However, despite challenging the previous editors of Góngora and even enter into interpretative discord with other prominent actants of the literary polemic, for its ambitious fuste, the project would end unfinished and without reaching a good publishing port.Keywords: Luis de Góngora, Martín de Angulo y Pulgar, controversy about Góngora, poetry songbook, Golden Age.

Abstract: This paper proposes an aspect that has been little explored in the studies on the adaptations of the Golden Age Spanish Literature to cinema and television: the verbal component. Through some significant examples of the narrative (El Buscon, Lazarillo de Tormes or Quijote) and the theater (El Alcalde de Zalamea and El perro del hortelano) adapted to the audiovisual medium, attention is drawn to the methodological problems represented by the fidelity criticism, and advocates, as an alternative, an analysis of the coherence and harmonious integration of linguistic elements coming from literary texts in films and television series. Keywords: film adaptation, fidelity criticism, language of the Golden Age, dialogues.

Abstract: Only seven villancicos of Santa Teresa are conserved, carried out by shepherds and of marked dialogical character and, in a certain way, paratheatral. At his death, and because of the celebrations of his beatification in 1614, many poems were written that celebrated his life and virtues, among them ten villancicos of praise to his person and his works. During the seventeenth century poems, plays and other types of texts continue to be written. Proof of this is a rare chapbook of 1661 containing two peculiar villancicos that join the praise of the Saint of Avila and members of the royal family, including the newborn Carlos II, whose life is entrusted to Teresa in a desperate attempt to maintain the dinasty. With this journey we want to show the protean condition of a genre capable of hosting different themes and approaches.Keywords: poetry of santa Teresa, villancico, Paraliturgical villancico, Chapbooks.

Abstract: The article analyzes the evolution, from the seventeenth to the eighteenth century, of a specific typology of villancico in the preserved corpus of the Monasterio de las Descalzas in Madrid: the villancico de mojiganga. Undeniably theatrical, this type of villancico was the favourite of the Descalzas’ public, and it could often have led to an obvious transgression of the religious spirit that should had imbued them. Its study offers, not only a faithful portrait of this genre over two centuries, but the verification of the trend it experienced throughout its trajectory: a strong censorship that ended up destroying its essence.Keywords: villancicos, mojigangas, seventeenth and eighteenth century, Monasterio de las Descalzas.

Abstract: All evidence we have about Witchcraft, Witches’ Sabbath and Demonic Covenant seems to point out that it was nothing but a crime that was invented mostly by an elite. A crime that was born from the Enquirers’ books as well as from the Magic Treatises that gave legal coverage to the Witches’ Hunt that took place on the Western World mainly at the end of the 15th and 17th centuries. The facts that took place in Salem on the year 1692 cannot be understood without the study of the previous Demonic Treatises and the documents written afterwards. We understand that any document has to create a plot, so we will analize the historical relevance of the most important documents about that fact, from the records from the court hearings to the script from the film The Crucible based upon the play of the same title written by Arthur Miller.Keywords: Salem, witchcraft, Arthur Miller, The Crucible, cinema, theater.

Abstract: How can a murder be excessively represented to set it apart from other notable crimes? This article explores, through a number of representative cases, the construction of excess as criminal category, one in itself overwhelming, borrowing resources from preexisting genres. Mass and serial murder, the use of numbers, chain structures, and folkloric archetypes and formulae will be examined, within a very particular cultural marketplace filled with not only quantitative but qualitative traits.Keywords: mass and serial murder, criminal event, excess, quantity and quality, killing systems, formulae and motifs, narrative patterns.