Abstract

Este artículo analiza las ilustraciones de la artista Amabel Míguez de la Sierra a las Jácaras de Quevedo, evidenciando los vínculos de las imágenes retóricas del escritor barroco con las iconográficas de la artista postmoderna. El propósito es resaltar la manera como estas ilustraciones se enmarcan en un contexto bibliófilo general, a la vez que se distinguen mediante una narración plástica original, que moderniza la germanía quevedesca adaptándola a los cánones postmodernos.

Abstract

The author studies here the originality of the figure of the merchant in Quevedo’s «jácaras». It is perceived first lexicological considerations and also the human relations in this mercantile power; the author makes then an analysis of the typology of offices and spaces, to try to conclude on the sense of the jácaras related to this figure of the merchant.

Abstract

Se presenta un replanteamiento nuevo del problema textual del Buscón, diferenciando entre datos inciertos y seguros. Los primeros atañen a la interpretación de sus variantes redaccionales, que apuntan a la existencia de dos versiones de la obra en la fase manuscrita y a una posible intervención de Quevedo, limitada y puntual, en el texto de la edición príncipe, censurado y revisado estilísticamente para su impresión. Parece bastante seguro que los testimonios de lanovela siguieron el orden cronológico SCBZ, siendo las fuentes manuscritas anteriores al impreso. Entre los escasos datos indudables sobre la transmisión de la obra se destaca la condición de la princeps como textus receptus consentido por el autor. Finalmente, se defiende la elección del primer impreso como texto base para una edición crítica del Buscón.

Abstract

Between the lines of the «Isla de los Monopantos», libel number XXXIX included by Francisco de Quevedo in his work La hora de todos, we can find a quote that seems extracted from St Jerome’s «Commentary on Isaiah»; this interpretation was pondered after the reading of the second chapter of the Política de Dios, in which Quevedo exhibits a similar re-elaborated version to the passages of St Jerome. This article proposes its confutation; starting from the analysis of the quote, we assert Ruperto of Deutz as the direct influence of Quevedo’s transcript, the same reference source that was used by the author for the writing of Homilía a la Santísima Trinidad and Sobre las palabras que dijo Christo á su santísima Madre en las bodas de Caná de Galilea. Lastly, a further contribution is determined by the Annals of Jacques Salian, vastly handled by Quevedo during his literary activity; in these compilations which include Ruperto’s works, it’s possible to discover crucial passages for the support of this analysis.

Abstract

This article describes the Buscón’s editio princeps from a material point of view. Special attention is paid to the material examination of the busiest pages and of the emptiest pages. In the same way, this article studies the insertion of censorious and stylistic exclusive readings of the first edition. The information obtained shows that the variants due to ratio typographica were sporadic and irrelevant with regard to their meaning. Furthermore, it is possible that some exclusive variants of the first edition were introduced by the author, since they appear in other Quevedo’s works.