Historias Fingidas (E-Journal, Università di Verona, Dipartimento di Lingue e Letterature Straniere)
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Clothing as bearer of thoughts in Florindo by Fernando Basurto
No full textFernando Basurto recrea en el Florindo el mundo del caballero renacentista haciendo hincapié en la importancia que en ese momento se concede a la palabra. En esta obra, la preponderancia del componente retórico llega hasta el vestido que, como si de un marco ornamental se tratara, sirve para manifestar el pensamiento y el sentir de su portador. Sólo en esta época, en que el dominio de las armas era tan importante como el de la palabra, aparecen unidas letras y divisas para ofrecer una manifestación visual del individuo. Este estudio analiza las prendas masculinas y femeninas que llevan palabras bordadas; pues el vestido, adornado de esta manera, adquiere una nueva interpretación simbólica y desvela los sentimientos y creencias de su portador.Fernando Basurto in his work Florindo shows the atmosphere of the Renaissance chevalier focusing on the importance of the written word. The overwhelming presence of the rhetorical aspect permeates everything including the dress, which becomes the framework in which to state the thoughts and feelings of its wearer. It is now, when the mastery of the word rivals that of the arms, that both images and words become embedded to visually transmit the identity of its bearer. This article analyzes how the words embroidered in men and women’s clothing lead to a symbolic interpretation of the self by secretly showing the feelings and beliefs of the individual.Fernando Basurto recrea en el Florindo el mundo del caballero renacentista haciendo hincapié en la importancia que en ese momento se concede a la palabra. En esta obra, la preponderancia del componente retórico llega hasta el vestido que, como si de un marco ornamental se tratara, sirve para manifestar el pensamiento y el sentir de su portador. Sólo en esta época, en que el dominio de las armas era tan importante como el de la palabra, aparecen unidas letras y divisas para ofrecer una manifestación visual del individuo. Este estudio analiza las prendas masculinas y femeninas que llevan palabras bordadas; pues el vestido, adornado de esta manera, adquiere una nueva interpretación simbólica y desvela los sentimientos y creencias de su portador.Fernando Basurto in his work Florindo shows the atmosphere of the Renaissance chevalier focusing on the importance of the written word. The overwhelming presence of the rhetorical aspect permeates everything including the dress, which becomes the framework in which to state the thoughts and feelings of its wearer. It is now, when the mastery of the word rivals that of the arms, that both images and words become embedded to visually transmit the identity of its bearer. This article analyzes how the words embroidered in men and women’s clothing lead to a symbolic interpretation of the self by secretly showing the feelings and beliefs of the individual.Fernando Basurto in his work Florindo shows the atmosphere of the Renaissance chevalier focusing on the importance of the written word. The overwhelming presence of the rhetorical aspect permeates everything including the dress, which becomes the framework in which to state the thoughts and feelings of its wearer. It is now, when the mastery of the word rivals that of the arms, that both images and words become embedded to visually transmit the identity of its bearer. This article analyzes how the words embroidered in men and women’s clothing lead to a symbolic interpretation of the self by secretly showing the feelings and beliefs of the individual.Fernando Basurto recrea en el Florindo el mundo del caballero renacentista haciendo hincapié en la importancia que en ese momento se concede a la palabra. En esta obra, la preponderancia del componente retórico llega hasta el vestido que, como si de un marco ornamental se tratara, sirve para manifestar el pensamiento y el sentir de su portador. Sólo en esta época, en que el dominio de las armas era tan importante como el de la palabra, aparecen unidas letras y divisas para ofrecer una manifestación visual del individuo. Este estudio analiza las prendas masculinas y femeninas que llevan palabras bordadas; pues el vestido, adornado de esta manera, adquiere una nueva interpretación simbólica y desvela los sentimientos y creencias de su portador.Palabras clave: libros de caballerías, invenciones, atuendo, Florindo, Fernando Basurto, letras, motes, divisas.
The Adventures of an antique book in the digital era: Il secondo libro di Splandiano, Verona, Biblioteca Civica, Cinq E.350-4
Get PDFEn el presente estudio se ilustrarán las etapas que han llevado a la identificación del ejemplar de Il secondo libro delle prodezze di Splandiano. Aggiunta al libro 5 conservado en la Biblioteca Civica de Verona, hasta hoy erróneamente considerado como perteneciente a la edición princeps publicada en Venecia por Michele Tramezzino en 1564. Además se describirá el proceso con el que se ha llevado a cabo la transcripción de este ejemplar y la digitalización del corpus al que pertenece, o sea el ciclo italiano de Amadís de Gaula, cuya colección casi completa está presente en la biblioteca veronesa.In this essay the phases that permitted the identification of the copy of Il secondo libro delle prodezze di Splandiano will be discussed; indeed, the copy of the Aggiunta al libro 5 owned by the Biblioteca Civica of Verona has been erroneously considered till now a princeps edition published in Venice in 1564 by Michele Tramezzino. Furthermore the process of transcription of this copy will be described, as well as that of the digitalization of the entire corpus, that is the Italian series of Amadís de Gaula, kept in the Veronese library.En el presente estudio se ilustrarán las etapas que han llevado a la identificación del ejemplar de Il secondo libro delle prodezze di Splandiano. Aggiunta al libro 5 conservado en la Biblioteca Civica de Verona, hasta hoy erróneamente considerado como perteneciente a la edición princeps publicada en Venecia por Michele Tramezzino en 1564. Además se describirá el proceso con el que se ha llevado a cabo la transcripción de este ejemplar y la digitalización del corpus al que pertenece, o sea el ciclo italiano de Amadís de Gaula, cuya colección casi completa está presente en la biblioteca veronesa.In this essay the phases that permitted the identification of the copy of Il secondo libro delle prodezze di Splandiano will be discussed; indeed, the copy of the Aggiunta al libro 5 owned by the Biblioteca Civica of Verona has been erroneously considered till now a princeps edition published in Venice in 1564 by Michele Tramezzino. Furthermore the process of transcription of this copy will be described, as well as that of the digitalization of the entire corpus, that is the Italian series of Amadís de Gaula, kept in the Veronese library.In this essay the phases that permitted the identification of the copy of Il secondo libro delle prodezze di Splandiano will be discussed; indeed, the copy of the Aggiunta al libro 5 owned by the Biblioteca Civica of Verona has been erroneously considered till now a princeps edition published in Venice in 1564 by Michele Tramezzino. Furthermore the process of transcription of this copy will be described, as well as that of the digitalization of the entire corpus, that is the Italian series of Amadís de Gaula, kept in the Veronese library. En el presente estudio se ilustrarán las etapas que han llevado a la identificación del ejemplar de Il secondo libro delle prodezze di Splandiano. Aggiunta al libro 5 conservado en la Biblioteca Civica de Verona, hasta hoy erróneamente considerado como perteneciente a la edición princeps publicada en Venecia por Michele Tramezzino en 1564. Además se describirá el proceso con el que se ha llevado a cabo la transcripción de este ejemplar y la digitalización del corpus al que pertenece, o sea el ciclo italiano de Amadís de Gaula, cuya colección casi completa está presente en la biblioteca veronesa.
«Plantamos jardines y edificamos la habitación del Monte»: architectural practices and gardening of the Spanish nobility in the modern age. An approach to the relations between recipients, their gardens and the novels of chivalry
Get PDFAlgunos de los destinatarios de los libros de caballerías españoles, en su mayoría nobles que pertenecían a los grandes linajes, ejercieron prácticas arquitectónicas que incluyeron la edificación de jardines en sus palacios y casas de recreo. Este comportamiento revela no sólo unas inclinaciones culturales, sino también unas afinidades espirituales entre estos nobles que hacen de la arquitectura y de la traza de jardines una de sus aficiones. Este artículo pretende hacer una primera aproximación a los vínculos y relaciones que pueden establecerse entre esta práctica cortesana y la presencia de los jardines en la ficción caballeresca del siglo XVI. Some addressees of the Spanish Romances of Chivalry, most of them, nobles that belonged to great lineages, applied architectural practices that include building gardens in their palaces and recreational houses. This behavior reveals not only cultural tendencies but also a spiritual affinity among those nobles that made architecture and garden design, one of their pastimes. This paper pretends to do a first approach to the bonds and relations that can be established between this courtesan practice and the garden’s presence on the chivalresque fiction of the Sixteenth century.Some addressees of the Spanish Romances of Chivalry, most of them, nobles that belonged to great lineages, applied architectural practices that include building gardens in their palaces and recreational houses. This behavior reveals not only cultural tendencies but also a spiritual affinity among those nobles that made architecture and garden design, one of their pastimes. This paper pretends to do a first approach to the bonds and relations that can be established between this courtesan practice and the garden’s presence on the chivalresque fiction of the Sixteenth century.Algunos de los destinatarios de los libros de caballerías españoles, en su mayoría nobles que pertenecían a los grandes linajes, ejercieron prácticas arquitectónicas que incluyeron la edificación de jardines en sus palacios y casas de recreo. Este comportamiento revela no sólo unas inclinaciones culturales, sino también unas afinidades espirituales entre estos nobles que hacen de la arquitectura y de la traza de jardines una de sus aficiones. Este artículo pretende hacer una primera aproximación a los vínculos y relaciones que pueden establecerse entre esta práctica cortesana y la presencia de los jardines en la ficción caballeresca del siglo XVI.
Chivalry in the New World (Italian translation)
No full textIl romanzo cavalleresco del medioevo vive ancora nella letteratura popolare dell’America latina. Dopo la diffusione cinquecentesca in Europa, il romanzo cavalleresco di matrice spagnola giunse in America, dapprima nei territori conquistati dagli spagnoli, più tardi in Brasile. Qui, grazie a precise condizioni culturali, le sue propaggini arrivano fino al XIX secolo, quando ispira anche rivolte popolari, e si estendono fino al romanzo di Guimarães Rosa e alle sue trasposizioni cinematografiche contemporanee. Proponiamo la traduzione italiana (di Stefania Trujillo) di questo suggestivo saggio di Peter Burke, pubblicato originariamente con il titolo «Chivalry in the New World», come cap. 9 del suo Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146.The romances of chivalry of the Middle Ages are still living in the popular literature of Latin America. After spreading in Renaissance Europe, the Spanish chivalric romance came to America, first in the territories conquered by the Spaniards, later in Brazil. Here, thanks to precise cultural conditions, its branches extend until the nineteenth century, when it also inspired popular rebellions, and reach Guimarães Rosa\u27s novel and its contemporary cinema adaptations. We publish here the Italian translation (by Stefania Trujillo) of this suggestive essay by Peter Burke, originally published as Chapter 9 of his Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146.The romances of chivalry of the Middle Ages are still living in the popular literature of Latin America. After spreading in Renaissance Europe, the Spanish chivalric romance came to America, first in the territories conquered by the Spaniards, later in Brazil. Here, thanks to precise cultural conditions, its branches extend until the nineteenth century, when it also inspired popular rebellions, and reach Guimarães Rosa\u27s novel and its contemporary cinema adaptations. We publish here the Italian translation (by Stefania Trujillo) of this suggestive essay by Peter Burke, originally published as Chapter 9 of his Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146.Il romanzo cavalleresco del medioevo vive ancora nella letteratura popolare dell’America latina. Dopo la diffusione cinquecentesca in Europa, il romanzo cavalleresco di matrice spagnola giunse in America, dapprima nei territori conquistati dagli spagnoli, più tardi in Brasile. Qui, grazie a precise condizioni culturali, le sue propaggini arrivano fino al XIX secolo, quando ispira anche rivolte popolari, e si estendono fino al romanzo di Guimarães Rosa e alle sue trasposizioni cinematografiche contemporanee. Proponiamo la traduzione italiana (di Stefania Trujillo) di questo suggestivo saggio di Peter Burke, pubblicato originariamente con il titolo «Chivalry in the New World», come cap. 9 del suo Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146
Esferamundi. Primera Parte. Traducción al español de los capítulos I y II
Get PDFTraducción al español de un fragmento del libro XIII del ciclo de Amadís de Gaula, obra dividida en seis partes, compuesta originalmente en italiano por Mambrino Roseo da Fabriano y publicada en Venecia por Michele Tramezzino entre 1558 y 1565. La traducción concierne los primeros dos capítulos de la Primera Parte y ha sido realizada a partir de la transcripción de Stefania Trujillo de La prima parte del terzodecimo libro di Amadis di Gaula, nel quale si tratta delle meravigliose prove et gran cavalleria di Sferamundi, figliuolo di don Rogello di Grecia et della bella prencipessa Leonida, Venezia, Eredi di Francesco e Michele Tramezzino, 1584, ejemplar de Verona, Biblioteca Civica, Cinq. E 350-17, publicada en Historias Fingidas, 1 (2013), 159-176.Spanish translation of Chapters I and II of the first part of Sferamundi (1558), the novel that Mambrino Roseo da Fabriano composed in six parts between 1558 and 1565 as first Italian continuation to the Spanish cycle of Amadís de Gaula. The translation is based on Stefania Trujillo’s transcription of the copy held by Biblioteca Civica di Verona (La prima parte del terzodecimo libro di Amadis di Gaula, nel quale si tratta delle meravigliose prove et gran cavalleria di Sferamundi, figliuolo di don Rogello di Grecia et della bella prencipessa Leonida, Venezia, Eredi di Francesco e Michele Tramezzino, 1584, Cinq. E 350-17) first published in Historias Fingidas, 1 (2013), 159-176 . Spanish translation of Chapters I and II of the first part of Sferamundi (1558), the novel that Mambrino Roseo da Fabriano composed in six parts between 1558 and 1565 as first Italian continuation to the Spanish cycle of Amadís de Gaula. The translation is based on Stefania Trujillo’s transcription of the copy held by Biblioteca Civica di Verona (La prima parte del terzodecimo libro di Amadis di Gaula, nel quale si tratta delle meravigliose prove et gran cavalleria di Sferamundi, figliuolo di don Rogello di Grecia et della bella prencipessa Leonida, Venezia, Eredi di Francesco e Michele Tramezzino, 1584, Cinq. E 350-17) first published in Historias Fingidas, 1 (2013), 159-176 .Traducción al español de un fragmento del libro XIII del ciclo de Amadís de Gaula, obra dividida en seis partes, compuesta originalmente en italiano por Mambrino Roseo da Fabriano y publicada en Venecia por Michele Tramezzino entre 1558 y 1565. La traducción concierne los primeros dos capítulos de la Primera Parte y ha sido realizada a partir de la transcripción de Stefania Trujillo de La prima parte del terzodecimo libro di Amadis di Gaula, nel quale si tratta delle meravigliose prove et gran cavalleria di Sferamundi, figliuolo di don Rogello di Grecia et della bella prencipessa Leonida, Venezia, Eredi di Francesco e Michele Tramezzino, 1584, ejemplar de Verona, Biblioteca Civica, Cinq. E 350-17, publicada en Historias Fingidas, 1 (2013), 159-176.Traducción al español de un fragmento del libro XIII del ciclo de Amadís de Gaula, obra dividida en seis partes, compuesta originalmente en italiano por Mambrino Roseo da Fabriano y publicada en Venecia por Michele Tramezzino entre 1558 y 1565. La traducción concierne los primeros dos capítulos de la Primera Parte y ha sido realizada a partir de la transcripción de Stefania Trujillo de La prima parte del terzodecimo libro di Amadis di Gaula, nel quale si tratta delle meravigliose prove et gran cavalleria di Sferamundi, figliuolo di don Rogello di Grecia et della bella prencipessa Leonida, Venezia, Eredi di Francesco e Michele Tramezzino, 1584, ejemplar de Verona, Biblioteca Civica, Cinq. E 350-17, publicada en Historias Fingidas, 1 (2013), 159-176. Spanish translation of Chapters I and II of the first part of Sferamundi (1558), the novel that Mambrino Roseo da Fabriano composed in six parts between 1558 and 1565 as first Italian continuation to the Spanish cycle of Amadís de Gaula. The translation is based on Stefania Trujillo’s transcription of the copy held by Biblioteca Civica di Verona (La prima parte del terzodecimo libro di Amadis di Gaula, nel quale si tratta delle meravigliose prove et gran cavalleria di Sferamundi, figliuolo di don Rogello di Grecia et della bella prencipessa Leonida, Venezia, Eredi di Francesco e Michele Tramezzino, 1584, Cinq. E 350-17) first published in Historias Fingidas, 1 (2013), 159-176
Subtly altering the textual tradition: elements of religiousness in Tristan de Leonis
No full textLas obras medievales sobre los amores de Tristán e Iseo (o Isolda) difunden por toda Europa la imagen de los protagonistas como representantes de un amor apasionado, adúltero y cargado de obstáculos, de intensidad extraordinaria, ajeno a las normas morales, religiosas y sociales, que acaba conduciéndolos a la muerte simultánea. La versión castellana del Tristán de Leonís que se imprime por primera vez en 1501 combina expresiones superficiales de religiosidad, que ya aparecían en los manuscritos medievales, con añadidos que hacen de los episodios finales de la obra una rectificación ideológica conducente a presentar a los protagonistas como buenos cristianos, a evitar la aprobación implícita del amor adúltero y a suprimir las sugerencias de suicidio de los personajes principales.The medieval corpus pertaining to the loves of Tristán and Isoe (or Isolde) disseminated the image of the protagonists throughout Europe as representative of a deep, passionate adulterous love, plagued with obstacles and greatly removed from the existing moral, religious and social norms which led the beloved to their untimely deaths. The Castilian version of Tristán de Leonis, first published in 1501, combines superficial religious features common to medieval manuscripts with retouched postscripts in such a way that the final episodes of the edition appear to be an ideological correction suggestive of presenting the lovers as true christians not only to avoid condoning adulterous affairs but also to eliminate any suggestion of suicide and homicide by the lovers. The medieval corpus pertaining to the loves of Tristán and Isoe (or Isolde) disseminated the image of the protagonists throughout Europe as representative of a deep, passionate adulterous love, plagued with obstacles and greatly removed from the existing moral, religious and social norms which led the beloved to their untimely deaths. The Castilian version of Tristán de Leonis, first published in 1501, combines superficial religious features common to medieval manuscripts with retouched postscripts in such a way that the final episodes of the edition appear to be an ideological correction suggestive of presenting the lovers as true christians not only to avoid condoning adulterous affairs but also to eliminate any suggestion of suicide and homicide by the lovers.Las obras medievales sobre los amores de Tristán e Iseo (o Isolda) difunden por toda Europa la imagen de los protagonistas como representantes de un amor apasionado, adúltero y cargado de obstáculos, de intensidad extraordinaria, ajeno a las normas morales, religiosas y sociales, que acaba conduciéndolos a la muerte simultánea. La versión castellana del Tristán de Leonís que se imprime por primera vez en 1501 combina expresiones superficiales de religiosidad, que ya aparecían en los manuscritos medievales, con añadidos que hacen de los episodios finales de la obra una rectificación ideológica conducente a presentar a los protagonistas como buenos cristianos, a evitar la aprobación implícita del amor adúltero y a suprimir las sugerencias de suicidio de los personajes principales
Chivalry in the New World
Get PDFNueva edición de un sugerente ensayo de Peter Burke, publicado en origen como Cap. 9 de su Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146.The romances of chivalry of the Middle Ages are still living in the popular literature of Latin America. After spreading in Renaissance Europe, the Spanish chivalric romance came to America, first in the territories conquered by the Spaniards, later in Brazil. Here, thanks to precise cultural conditions, its branches extend until the nineteenth century, when it also inspired popular rebellions, and reach Guimarães Rosa\u27s novel and its contemporary cinema adaptations. We publish here a new, open access edition of this suggestive essay by Peter Burke, originally published as Chapter 9 of his Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146. Il romanzo cavalleresco del medioevo vive ancora nella letteratura popolare dell’America latina. Dopo la diffusione cinquecentesca in Europa, il romanzo cavalleresco di matrice spagnola giunse in America, dapprima nei territori conquistati dagli spagnoli, più tardi in Brasile. Qui, grazie a precise condizioni culturali, le sue propaggini arrivano fino al XIX secolo, quando ispira anche rivolte popolari, e si estendono fino al romanzo di Guimarães Rosa e alle sue trasposizioni cinematografiche contemporanee. Proponiamo una nuova edizione open access di questo suggestivo saggio di Peter Burke, originariamente pubblicato come cap. 9 del suo Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146.The romances of chivalry of the Middle Ages are still living in the popular literature of Latin America. After spreading in Renaissance Europe, the Spanish chivalric romance came to America, first in the territories conquered by the Spaniards, later in Brazil. Here, thanks to precise cultural conditions, its branches extend until the nineteenth century, when it also inspired popular rebellions, and reach Guimarães Rosa\u27s novel and its contemporary cinema adaptations. We publish here a new, open access edition of this suggestive essay by Peter Burke, originally published as Chapter 9 of his Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146.The romances of chivalry of the Middle Ages are still living in the popular literature of Latin America. After spreading in Renaissance Europe, the Spanish chivalric romance came to America, first in the territories conquered by the Spaniards, later in Brazil. Here, thanks to precise cultural conditions, its branches extend until the nineteenth century, when it also inspired popular rebellions, and reach Guimarães Rosa\u27s novel and its contemporary cinema adaptations. We publish here a new, open access edition of this suggestive essay by Peter Burke, originally published as Chapter 9 of his Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146.Il romanzo cavalleresco del medioevo vive ancora nella letteratura popolare dell’America latina. Dopo la diffusione cinquecentesca in Europa, il romanzo cavalleresco di matrice spagnola giunse in America, dapprima nei territori conquistati dagli spagnoli, più tardi in Brasile. Qui, grazie a precise condizioni culturali, le sue propaggini arrivano fino al XIX secolo, quando ispira anche rivolte popolari, e si estendono fino al romanzo di Guimarães Rosa e alle sue trasposizioni cinematografiche contemporanee. Proponiamo una nuova edizione open access di questo suggestivo saggio di Peter Burke, originariamente pubblicato come cap. 9 del suo Varieties of Cultural History, Ithaca, N.Y., Cornell University Press, 1997, pp. 136-146
Guido Mazzoni, Teoria del romanzo, Bologna, Mulino, 2011
Get PDFRecensione del volume di Guido Mazzoni, Teoria del romanzo, Bologna, Il Mulino, 2011Reseña a Guido Mazzoni, Teoria del romanzo, Bologna, Il Mulino, 2011Review of Guido Mazzoni, Teoria del romanzo, Bologna, Il Mulino, 201
Moralization and disillusionment: Longo’s Daphnis and Chloe in the Damasio de Frías’ Lidamarte de Armenia
No full textSe estudia la incorporación de Dafnis y Cloe de Longo Sofista en el Lidamarte de Armenia de Damasio de Frías. Se analizan divergencias y correspondencias, injertos y atenuaciones con el fin de aclarar las motivaciones narrativas e ideológicas que llevaron a la libre recreación de la novela griega, cuyo marco idealista y erótico queda ampliamente reducido.This paper studies the incorporation of Longo’s Daphnis and Chloe in the Damasio de Frías’ Lidamarte de Armenia. The analysis of their differences and correspondences, interpolations and attenuations clarifies the narrative and ideological motivations for the recreation of this Greek novel, whose idealistic and erotic frame is greatly reduced.Se estudia la incorporación de Dafnis y Cloe de Longo Sofista en el Lidamarte de Armenia de Damasio de Frías. Se analizan divergencias y correspondencias, injertos y atenuaciones con el fin de aclarar las motivaciones narrativas e ideológicas que llevaron a la libre recreación de la novela griega, cuyo marco idealista y erótico queda ampliamente reducido.This paper studies the incorporation of Longo’s Daphnis and Chloe in the Damasio de Frías’ Lidamarte de Armenia. The analysis of their differences and correspondences, interpolations and attenuations clarifies the narrative and ideological motivations for the recreation of this Greek novel, whose idealistic and erotic frame is greatly reduced.This paper studies the incorporation of Longo’s Daphnis and Chloe in the Damasio de Frías’ Lidamarte de Armenia. The analysis of their differences and correspondences, interpolations and attenuations clarifies the narrative and ideological motivations for the recreation of this Greek novel, whose idealistic and erotic frame is greatly reduced. Se estudia la incorporación de Dafnis y Cloe de Longo Sofista en el Lidamarte de Armenia de Damasio de Frías. Se analizan divergencias y correspondencias, injertos y atenuaciones con el fin de aclarar las motivaciones narrativas e ideológicas que llevaron a la libre recreación de la novela griega, cuyo marco idealista y erótico queda ampliamente reducido.
Presentation
Get PDFPresentazione del n. 2 (2014) della rivista "Historias Fingidas"Presentación del n. 2 (2014) de la revista “Historias Fingidas”Introduction to the journal "Historias Fingidas", issue 2 (2014