Documents published in 2014 : Scipedia

El comienzo de «La vida es sueño» y la «Soledad primera» de Góngora
. Antonucci, . Fausta

Revista Hipogrifo (2014). 4

Abstract
Este trabajo analiza la secuencia inicial de La vida es sueño (vv. 1-102) en su conjunto, considerando la forma métrica (silvas), el espacio dramático, las acciones de los personajes y el estilo. Gracias a una comparación con los comienzos en silvas de otras comedias incluidas en la Primera y Segunda parte de comedias de Calderón, se pone de manifiesto la recurrencia del motivo del naufragio y se observa cómo el recorrido de Rosaura, desde el momento inicial en el que acaba de ser desarzonada hasta su descubrimiento de la cárcel de Segismundo, repite el recorrido del peregrino náufrago del comienzo de la Soledad primera de Góngora. La secuencia en silvas de la tercera jornada se construye de forma quiástica con respecto a esta secuencia inicial, para dar cuenta del cambio radical que está a punto de manifestarse en el destino de los protagonistas.«The Beginning of La vida es sueño and the Soledad primera by Góngora»This article analyzes the initial sequence of Calderón’s La vida es sueño (vv. 1-102) by studying the relationships between metric form (silvas), dramatic space, characters’ actions, and style. Comparing the initial sequences in silvas of other comedies included in the Primera and Segunda Parte of Calderón’s comedies, it points out the recurring motif of shipwrecking; in doing so, it stresses how Rosaura’s itinerary, from the initial situation when she has been bucked off by her horse to her discovery of Segismundo’s jail, echoes the shipwrecked wandering’s itinerary in the initial sequence of Góngora’s Soledad primera. The sequence in silvas in the third act of La vida es sueño is built in chiasm with this initial sequence to highlight the radical change that protagonists are about to accomplish.
Abstract
Este trabajo analiza la secuencia inicial de La vida es sueño (vv. 1-102) en su conjunto, considerando la forma métrica (silvas), el espacio dramático, las acciones de [...]
- 0
- read
Algunos rasgos característicos de Calderón en la comedia «Los empeños de un acaso»
. Barrios, A. Alfonso

Revista Hipogrifo (2014). 4

Abstract
El presente artículo analiza la autoría de la comedia Los empeños de un acaso. Esta obra fue publicada en diversas ediciones bajo dos títulos distintos: Los empeños de un acaso y Los empeños que se ofrecen, un hecho que pudo provocar que la comedia fuese atribuida en ediciones diferentes a Calderón de la Barca y a Juan Pérez de Montalbán. Se defiende la atribución de la comedia a Calderón de la Barca: a pesar de que en toda la Comedia del Siglo de Oro existe un conjunto de convenciones estilísticas, se puede constatar que Calderón reitera determinados temas y tratamientos en sus comedias de capa y espada. Tres aspectos diferentes al respecto son tratados: la mención del locus amoenus, la alusión a Madrid como una urbe populosa y ciertos comentarios de carácter metaliterario.«Some Characteristics of Calderón in the Comedy Los empeños de un acaso»The present article examines the authorship of the comedy Los empeños de un acaso. This work was published in several editions with two different titles: Los empeños de un acaso and Los empeños que se ofrecen. This could explain that the comedy was attributed in different editions to Calderón de la Barca and Juan Pérez de Montalbán. This paper defends Calderón’s authorship: although the Golden Age Comedy in general shares certain stylistic conventions, it is clear that Calderón reiterates specific issues and treatments in his swashbuckling comedies. In this context, the article deals with three different aspects: the mention of the locus amoenus, the allusion to Madrid as a populous city, and some metaliterary commentaries.
Abstract
El presente artículo analiza la autoría de la comedia Los empeños de un acaso. Esta obra fue publicada en diversas ediciones bajo dos títulos distintos: Los empeños de [...]
- 0
- read
Plata Parga, F. (ed.), P. Calderón de la Barca, «La vida es sueño», edición crítica de las dos versiones del auto y de la loa, Kassel/Pamplona, Reichenberger/Universidad de Navarra, 2012. ISBN: 978-3-944244-01-3
. Sáez, A. J.

Revista Hipogrifo (2014). 4

Abstract
{}
- 0
- read
Insúa, M. Y C. Mata Induráin (eds.), Calderón de la Barca, P., «La siembra del Señor (Los obreros del Señor)», Kassel/Pamplona, Reichenberger/Universidad de Navarra, 2013. [Ediciones críticas, 190, Autos sacramentales completos de Calderón, 83.] ISBN: 978
P. Parga, . Fernando

Revista Hipogrifo (2014). 4

Abstract
{}
- 0
- read
Grande Yáñez, M., «De Cervantes a Calderón. Claves filosóficas del barroco español», Madrid, Dykinson, 2012. ISBN 978-84-15454-49-6.
G. Meza, J. Elías

Revista Hipogrifo (2014). 4

Abstract
{}
- 0
- read
Comicidad, emblemática y el chiste de la esportilla en «La casa holgona» de Calderón
. Restrepo-Gautier, . Pablo

Revista Hipogrifo (2014). 4

Abstract
Este artículo explora la manera en que el chiste de la esportilla se incorpora como elemento cómico en La casa holgona de Calderón. Antón, el capigorrón flamenco, utiliza este chiste como arma de ataque para insultar, ofender y ridiculizar a una de las prostitutas del entremés. El chiste se puede entender independientemente de la trama de la obra, pero Antón no solo lo cuenta, sino que procede a modificarlo, aclarando así la referencia a la prostituta y permitiendo que el chiste quede plenamente incorporado en el contexto dramático. Puesto que el chiste contiene una empresa (combinación de imagen y lema), se propone, además, que su modificación se efectúa por medio de un procedimiento emblemático que rompe y modifica el sistema de significación original para matizar y enriquecer la facecia.«The Comical, the Emblematic, and a Golden Age Joke in Calderón’s La casa holgona»This article explores the ways in which a Golden Age joke is manipulated to become an integral part of Calderón’s La casa holgona. Antón, the Flemish student, turns the joke into a verbal weapon that insults, offends and ridicules one of the prostitutes in the entremés. The joke, as told by Antón, can be understood independently of the plot. However, Antón not only tells the joke, but also modifies it to ensure that the reference to the prostitute becomes clear and to incorporate it fully into the play. Given that the joke contains a personal device (a combination of image and motto), this article also proposes that Antón manipulates the joke using an emblematic procedure, which breaks the original system of signification and, in doing so, changes its original meaning.
Abstract
Este artículo explora la manera en que el chiste de la esportilla se incorpora como elemento cómico en La casa holgona de Calderón. Antón, el capigorrón flamenco, utiliza [...]
- 0
- read
De Orfeo a Orfeo. Mito y exégesis en el teatro de Lope y Calderón
M. Berbel, J. Antonio

Revista Hipogrifo (2014). 4

Abstract
El trabajo aquí presentado pretende analizar diferentes interpretaciones de un mismo mito, el de Orfeo, que hacen Lope de Vega y Calderón de la Barca. Más allá de intentar establecer relaciones de dependencia entre unas obras y otras, el análisis se ocupa de manera específica de evaluar cómo los condicionantes genéricos (v. g. comedia vs. auto sacramental) implican no solo a las propuestas interpretativas, sino al manejo de fuentes de los dramaturgos, al tratamiento de los personajes, del conflicto dramático, etc.«From Orpheus to Orpheus. Myth and Exegesis in the Dramatic Work of Lope and Calderón»The present work aims to analyze different interpretations of the myth of Orpheus made by Lope de Vega and Calderón de la Barca. Apart from trying to establish relations between various plays, the analysis deals in particular with the different ways in which the conventions of a dramatic genre (comedy vs. auto sacramental) influence not only on the interpretive proposals, but also on the handling of sources, the treatment of the characters, the dramatic conflict, etc.
Abstract
El trabajo aquí presentado pretende analizar diferentes interpretaciones de un mismo mito, el de Orfeo, que hacen Lope de Vega y Calderón de la Barca. Más allá de intentar [...]
- 0
- read
Sajonia y el mar: en torno al verso 113 de «El galán fantasma» de Pedro Calderón de la Barca
I. Iglesias, . Noelia

Revista Hipogrifo (2014). 4

Abstract
Calderón sitúa El galán fantasma en un área geográfica específica: la lejana Sajonia. Varias alusiones en el texto hacen referencia a este ducado y a su dirigente, el duque Federico, una de las dramatis personae principales. Sin embargo, el dramaturgo no remite a una Sajonia real ni a un duque Federico concreto desde la óptica histórico-geográfica. Prueba de ello es la mención al mar sajón del verso 113 frente a la cartografía histórica, que demuestra que aquella región carecía de costa ya en la época del ingenio. El propósito de este artículo es analizar el modo en que don Pedro toma el mar sajón como una licencia poética para crear un estilo rico en elaboradas imágenes marítimas, así como examinar la manera en que ciertos aspectos de la trama entroncan con la elección de Sajonia. Al mismo tiempo, se estudian las connotaciones del topónimo Sajonia para el espectador español que vio El galán fantasma allá en los años treinta del siglo XVII.«Saxony and the Sea: the 113th Verse of El galán fantasma by Pedro Calderón de la Barca»Calderón places El Galán Fantasma in a specific geographical area: faraway Saxony. There are several references in the text to this ducky and its leader, the Duke of Saxony, one of the main characters of the play. The playwright, however, does not refer to the actual ducky, neither to a specific duke from a historical or geographical point of view. This is supported by verse 113, which alludes to the Saxon sea although the historical cartography confirms that Saxony did not have a coastline during the period in which Calderón wrote. The objective of this article is to analyze how the dramatist uses the Saxon sea in order to create a style rich in maritime images and how certain aspects of the plot are related to the choice of Saxony for the setting. At the same time, the study deals with the connotations of the toponym Saxony for the Spanish audience who watched El Galán Fantasma in the 1630s.PALABRAS CLAVE / KEYWORDS: Calderón, espacio, Sajonia, duque Federico de Sajonia, recepción, metáforas marítimas y bélicas / Calderón, space, Saxony, duke Frederick of Saxony, reception, maritime and military metaphors.
Abstract
Calderón sitúa El galán fantasma en un área geográfica específica: la lejana Sajonia. Varias alusiones en el texto hacen referencia a este ducado y a su dirigente, el [...]
- 0
- read
Una cala en las mojigangas de Calderón. Texto y representación
. González, . Aurelio

Revista Hipogrifo (2014). 4

Abstract
Se trata de un análisis de tres mojigangas de Calderón poniendo en relación aspectos del texto dramático y del texto espectacular o representación escénica. Cada mojiganga corresponde a distintos tipos de estructura cómica de acuerdo a la organización particular de sus contenidos temáticos. Las visiones de la muerte se acerca más a contenidos que son tradicionales o del folclor. Mucho más entremesil y cargada de ironía y sátira y con ello más dramática literariamente que espectacular es El pésame de la viuda; en Los guisados es el paradigma de la naturaleza el que estructura la pieza, la deformación de los personajes rebasa el ridículo que manda el entremés y tiene un sentido más de fiesta que incluso podría ser palaciega.«A Cove in Calderón’s mojigangas. Text and Staging»The present article analyses three of Calderon’s mojigangas, establishing the relation between the dramatic text and the staging of these pieces. Each mojiganga corresponds to a different type of comic structure depending on the organization of the thematic content. Las visions de la muerte is nearer of a folkloric or traditional matter. Of a great tone of irony and satire, more similar to the entremés, and along with that more dramatic and literary than spectacular, is El pésame de la viuda; Los guisados is structured by the nature paradigm, the deformation of the characters is more ridiculous than in an entremés and has a sense of a feast, possibly a palace feast.
Abstract
Se trata de un análisis de tres mojigangas de Calderón poniendo en relación aspectos del texto dramático y del texto espectacular o representación escénica. Cada mojiganga [...]
- 0
- read
El actor Alonso de Olmedo: un entremesista en la órbita de Calderón
D. Matito, . Francisco

Revista Hipogrifo (2014). 4

Abstract
El «teatro breve», en general, y el «entremés», en particular, cuentan ya con una más que considerable bibliografía. Sin embargo, la crítica ha dedicado poca atención a los «autores de comedias» o actores que ejercieron también de dramaturgos. Entre ellos se encuentra Alonso de Olmedo, famoso por su interpretación del papel de galán, sobre todo en obras de Calderón. Es autor de un considerable número de «bailes» que se representaron en diversas funciones calderonianas, son sus entremeses los que resultan de mayor interés (Píramo y Tisbe, Las locas caseras, La dama toro y El sacristán Chinchilla).«The Actor Alonso de Olmedo: An entremesista in Calderón’s Orbit»The «teatro breve», in general, and the «entremés», in particular, already have a more than considerable amount of bibliography. However, critics have paid little attention to the «autores de comedias» or actors who were also playwrights. Among them is Alonso de Olmedo, who was famous for playing the role of «galán», especially in Calderon’s works. He is the author of a large number of «bailes» that were performed at various Calderonian plays, it is his «entremeses» that are of greater interest (Píramo y Tisbe, Las locas caseras, La dama toro and El sacristán Chinchilla).
Abstract
El «teatro breve», en general, y el «entremés», en particular, cuentan ya con una más que considerable bibliografía. Sin embargo, la crítica ha dedicado poca atención [...]
- 0
- read
Mito y hermenéutica en las comedias palaciegas de Calderón
. Cancelliere, . Enrica

Revista Hipogrifo (2014). 4

Abstract
Siete estereotipos del mito —mitologemas— estructuran las comedias palaciegas calderonianas desarrollando la función de fabulae iniciáticas. El rito arcaico, pues, se hace intérprete de la modernidad.«Myth and Hermeneutics in Calderón’s Courtly Comedies»Seven stereotypes of myth —mythologems— structure Calderon’s comedies as fabulae initiation. In this way, the archaic rite is an interpreter of modernity.
Abstract
Siete estereotipos del mito —mitologemas— estructuran las comedias palaciegas calderonianas desarrollando la función de fabulae iniciáticas. El rito arcaico, pues, se [...]
- 0
- read
Rebajamiento y vulgarización del mito: el papel de los graciosos en «La fiera, el rayo y la piedra» de Calderón
. Barone, . Lavinia

Revista Hipogrifo (2014). 4

Abstract
El artículo analiza las variadas funciones dramáticas desarrolladas por los tres graciosos de la pieza y su inserción dentro de la diégesis a partir de las modalidades expresivas inherentes a la comicidad en el marco de las representaciones cortesanas. Tras un breve recorrido de las obras más conocidas del siglo XVII por medio de las cuales se procede a la divulgación de las fábulas mitológicas en esa época, se examinan tanto la manipulación de las fuentes y la readaptación de los temas y personajes procedentes del mito clásico como el proceso de su rebajamiento y vulgarización a través de la mirada burlona que caracteriza la perspectiva materialista del gracioso.«Vulgarizing a Myth: the Role of the Graciosos in Calderón’s La fiera, el rayo y la piedra»The present article analyzes the various dramatic functions developed by the three graciosos of the play and their inclusion in the diegesis, starting from the expressive modes of the comical in courtly performances. Based on a short itinerary of the most famous works of 17th century —whose importance concerns the myth diffusion in that period— the author examines the sources treatment, themes and characters rearrangement, and the process of myth abasement and vulgarization through the joker look defining the gracioso’s materialistic perspective.
Abstract
El artículo analiza las variadas funciones dramáticas desarrolladas por los tres graciosos de la pieza y su inserción dentro de la diégesis a partir de las modalidades [...]
- 0
- read
El comienzo de «La vida es sueño» y la «Soledad primera» de Góngora
. Antonucci, . Fausta

Revista Hipogrifo (2014). 4

Abstract
Este trabajo analiza la secuencia inicial de La vida es sueño (vv. 1-102) en su conjunto, considerando la forma métrica (silvas), el espacio dramático, las acciones de los personajes y el estilo. Gracias a una comparación con los comienzos en silvas de otras comedias incluidas en la Primera y Segunda parte de comedias de Calderón, se pone de manifiesto la recurrencia del motivo del naufragio y se observa cómo el recorrido de Rosaura, desde el momento inicial en el que acaba de ser desarzonada hasta su descubrimiento de la cárcel de Segismundo, repite el recorrido del peregrino náufrago del comienzo de la Soledad primera de Góngora. La secuencia en silvas de la tercera jornada se construye de forma quiástica con respecto a esta secuencia inicial, para dar cuenta del cambio radical que está a punto de manifestarse en el destino de los protagonistas.«The Beginning of La vida es sueño and the Soledad primera by Góngora»This article analyzes the initial sequence of Calderón’s La vida es sueño (vv. 1-102) by studying the relationships between metric form (silvas), dramatic space, characters’ actions, and style. Comparing the initial sequences in silvas of other comedies included in the Primera and Segunda Parte of Calderón’s comedies, it points out the recurring motif of shipwrecking; in doing so, it stresses how Rosaura’s itinerary, from the initial situation when she has been bucked off by her horse to her discovery of Segismundo’s jail, echoes the shipwrecked wandering’s itinerary in the initial sequence of Góngora’s Soledad primera. The sequence in silvas in the third act of La vida es sueño is built in chiasm with this initial sequence to highlight the radical change that protagonists are about to accomplish.
Abstract
Este trabajo analiza la secuencia inicial de La vida es sueño (vv. 1-102) en su conjunto, considerando la forma métrica (silvas), el espacio dramático, las acciones de [...]
- 0
- read
Algunos rasgos característicos de Calderón en la comedia «Los empeños de un acaso»
. Barrios, A. Alfonso

Revista Hipogrifo (2014). 4

Abstract
El presente artículo analiza la autoría de la comedia Los empeños de un acaso. Esta obra fue publicada en diversas ediciones bajo dos títulos distintos: Los empeños de un acaso y Los empeños que se ofrecen, un hecho que pudo provocar que la comedia fuese atribuida en ediciones diferentes a Calderón de la Barca y a Juan Pérez de Montalbán. Se defiende la atribución de la comedia a Calderón de la Barca: a pesar de que en toda la Comedia del Siglo de Oro existe un conjunto de convenciones estilísticas, se puede constatar que Calderón reitera determinados temas y tratamientos en sus comedias de capa y espada. Tres aspectos diferentes al respecto son tratados: la mención del locus amoenus, la alusión a Madrid como una urbe populosa y ciertos comentarios de carácter metaliterario.«Some Characteristics of Calderón in the Comedy Los empeños de un acaso»The present article examines the authorship of the comedy Los empeños de un acaso. This work was published in several editions with two different titles: Los empeños de un acaso and Los empeños que se ofrecen. This could explain that the comedy was attributed in different editions to Calderón de la Barca and Juan Pérez de Montalbán. This paper defends Calderón’s authorship: although the Golden Age Comedy in general shares certain stylistic conventions, it is clear that Calderón reiterates specific issues and treatments in his swashbuckling comedies. In this context, the article deals with three different aspects: the mention of the locus amoenus, the allusion to Madrid as a populous city, and some metaliterary commentaries.
Abstract
El presente artículo analiza la autoría de la comedia Los empeños de un acaso. Esta obra fue publicada en diversas ediciones bajo dos títulos distintos: Los empeños de [...]
- 0
- read
Table of contents
Á. Baraibar

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
Table of contents
- 0
- read
The Making of the Hero in the Land of the Cinnamon Tree: Gonzalo Pizarro in the Royal Commentaries of Garcilaso Inca
C. Velásquez

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
Prior to his rebellion against the Spanish Crown in 1544, Gonzalo Pizarro (Francisco’s younger brother) accomplished the Conquest of Charcas (present-day northwestern Bolivia), survived the siege of Cuzco by Manco Inca and attempted the failed exploration of the mythical «Land of the Cinnamon Tree», located somewhere in the Amazonian basin, according to Garcilaso’s historical account. During this doomed expedition, Pizarro endured treason, lost companions and was defeated by the forces of an aggressive environment. However, he managed to emerge as the legendary political and military leader that rebelled against the first Viceroy of Peru, Blasco Nuñez Vela in 1546. Nuñez Vela would be defeated in battlefield and later executed. Gonzalo Pizarro’s pretension of becoming king of Peru by virtue of a political alliance with the surviving Incas would be seen in Garcilaso’s account as a proof of Pizarro’s heroic stature, albeit a tragic one.
Abstract
Prior to his rebellion against the Spanish Crown in 1544, Gonzalo Pizarro (Francisco’s younger brother) accomplished the Conquest of Charcas (present-day northwestern Bolivia), [...]
- 0
- read
The Humanist Ideal of Peace in Pacification Accounts by the Chronicler Fernández de Oviedo
V. Teglia

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
This paper poses that, in order to represent the first Spanish conquests in the Antilles, Gonzalo Fernández de Oviedo, within his Historia General y Natural de las Indias, takes certain official legal documents as models to guide and structure his account. Such documents are the royal ordinances and Palacios Rubios’ Requerimiento. Consequently, the character’s speech and actions are marked with the ideals of XVIth century humanist, Renaissance, and erasmist thought —peace, love-friendship and the model of the prudent, moderate leaders— while a speech which seeks to legitimize the Spanish rules in the New World —while presenting it in terms of «pacification»— is being simultaneously unfolded. This whole discursive compound results in a plural, diverse and at times contradictory account, influenced and influential, and, above all, founding of some of the Utopian-imperial speech and imagery that were projected over the Americas and that constituted it.
Abstract
This paper poses that, in order to represent the first Spanish conquests in the Antilles, Gonzalo Fernández de Oviedo, within his Historia General [...]
- 0
- read
Arrival and Conquests in the Viceroyalty of Peru in Times of Francisco de Borja y Aragón, Príncipe de Esquilache (1615-1621)
M. Ovalle

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
In the context of the Relación, by Francisco de Borja y Aragón, this paper will report on the exploratory travels —named Arrival and Conquests— of Spanish encomenderos and soldiers between 1615 and 1621. In this context, the present study highlights some of the difficulties Esquilache faced in the exercise of power as head of the Viceroyalty of Peru. We focus our attention on the specific event named Spanish Government. The reasons discussed this time, are closely related to the battle between soldiers and trustees to obtain personal profit. The latter was a current struggle, dating from the origins of the viceroyalty. However, at the time of the events, such conflicts had worsened due to a complex political and economic situation.
Abstract
In the context of the Relación, by Francisco de Borja y Aragón, this paper will report on the exploratory travels —named Arrival and Conquests— of Spanish encomenderos [...]
- 0
- read
Representation of the Indian in Calderón’s «La Aurora en Copacabana»
J. Meza

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
The article analyzes the onomastics of the Indian characters, the portrayal of the Inca Empire of Huáscar and Atahualpa, and the Christianization of Guacolda and Yupangui in Calderón’s La Aurora en Copacabana. Rational and proactive, these two characters realize the illegitimacy of the Inca idolatry and embrace the true religion, long before the formal start of Perú’s christianization. Thus, it is argued that this specific representation of the Indian may have been influenced by the close circles indianos of Miguel de Aguirre, who allegedly patronized this comedy.
Abstract
The article analyzes the onomastics of the Indian characters, the portrayal of the Inca Empire of Huáscar and Atahualpa, and the Christianization of Guacolda and Yupangui [...]
- 0
- read
Blacks as Figure of Negation and Difference in Spanish Golden Age Theater
B. Molinero

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
Modernity in Europe and America has negated the existence of Blacks, making them invisible. Spanish Renaissance and Baroque theater represents the Black figure in three ways. Some Black characters embody the negation of humanity; other Blacks attempt to erase their skin color at the physical and metaphysical level, and thus their presence in society as difference and as beings in history; lastly, and this is the exception, some are individuals who confront this negation and demand their freedom against a society that sees them only as slaves. This is the case of the play Juan Latino (c. 1625) by Diego Ximénez de Enciso. Its protagonist affirms his presence in historical memory.
Abstract
Modernity in Europe and America has negated the existence of Blacks, making them invisible. Spanish Renaissance and Baroque theater represents the Black figure in three ways. [...]
- 0
- read
Review of Maestro, Jesús G., «Calipso eclipsada. El teatro de Cervantes más allá del Siglo de Oro», Madrid, Editorial Verbum, 2013, 316 pp. ISBN: 978-84-7962-899-4
V. Pérez

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Book's review
- 0
- read
Sor Juana and Nicholas of Cusa
R. Zorrilla

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Without evaluating the extraordinary and consistent impression that Nicholas of Cusa exerted on the works by Sor Juana Inés de la Cruz, it would be hardly possible to achieve a profound comprehension of one of the most prominent women writers of the Latin American Baroque period. The Cusan’s legacy provided Sor Juana with the symbol of the opposing pyramids of light and shadow, and with the metaphor of the circle and the center, already sifted by the Spanish mystics. Both symbols in her poem The Dream inscribe within a Renaissance change of episteme, in which a mathematical and optical version of the ideas was always produced through the elucidation of oneself, of the individual as part of a cyclic, spherical universe in which a central, all-seeing eye is described in various works by Nicholas of Cusa. The idea of divine contemplation with our bodily eyes closed, for the incorporeal is only accessible by getting rid of the corporeal; the mathematical and geometrical speculations about divinity and the conceptions of the world as a combination of signs; how the infinite and the finite encounter and the knowledge of the world is always a probability and a conjecture, all these are philosophical traces which enlighten The Dream, one of the most captivating intellectual poems in Spanish literature.
Abstract
Without evaluating the extraordinary and consistent impression that Nicholas of Cusa exerted on the works by Sor Juana Inés de la Cruz, it would be hardly possible to achieve [...]
- 0
- read
Páginas previas
Á. Baraibar

Revista Test Hipogrifo (2014). Vol. 2, (1), 1
- 0
- read
Little Devils and Satire in Vélez de Guevara’s El diablo cojuelo and Goethe’s Faust
R. Rice

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Besides the other sources that Goethe used when creating his Faust, in his private texts the author mentions his admiration for Le Diable Boiteux by Alain-René Le Sage. An eighteenth century French translation of El diablo cojeulo by Vélez de Guevara, it was extremely popular in its times. The article compares certain elements in the two works such as the objects satirized in the texts, the use of the ‘esperpento’, amongst other elements.
Abstract
Besides the other sources that Goethe used when creating his Faust, in his private texts the author mentions his admiration for Le Diable Boiteux by Alain-René Le Sage. An [...]
- 0
- read
Review of Baraibar, Álvaro, B. Castany, B. Hernández y M. Serna (eds.), Hombres de a pie y de a caballo. (Conquistadores, cronistas, misioneros en la América colonial de los siglos XVI y XVII), New York, IDEA, 2013, 307 pp. (ISBN: 978-1-938795-91-6)
R. Marrero-Fente

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Book's review
- 0
- read
Baroque Apocalypse in Homero Aridjis’ «Gran teatro del fin del mundo»
L. Pagacz

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
The present article provides a (neo)baroque reading of the dystopic and postapocalyptic universe of Homero Aridjis’ (Mexico, 1940) Gran teatro del fin del mundo. The use of dystopia and allegory subverts the Western anthropologic paradigm: utopias of continuous progress and triumphant individualism can be read in reverse. The analysis is structured in three parts: first part establishes the nature of intertextual relationship with Calderón’s baroque piece El gran teatro del mundo; second part describes ironic dystopia in Gran teatro del fin del mundo; third part highlights the logic of reversed aridjian aesthetics.
Abstract
The present article provides a (neo)baroque reading of the dystopic and postapocalyptic universe of Homero Aridjis’ (Mexico, 1940) Gran teatro del fin del mundo. The use [...]
- 0
- read
Some Political and Legal Aspects of Bishop García de Legazpi Velasco and Altamirano (1704-1706)
J. Andreu

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
The start of the XVII century was quite complicated for Spain and the New Spain territories in the Americas due to the break of the Succession War that was triggered by the death of the last Austrian monarch, Charles the Second. This event led to a conflict of international dimensions in which European powers intervened in order to impose their monarch who would govern in favour of their political interests in such an important country. The period, that lasted from 1700 to 1706, was one of great uncertainty because no one knew who would be heading the Spanish monarchy. Hispanic noblemen sympathized with the idea of having the grandson of Louis the XIV, Philippe V (Philippe of Anjou) consolidating himself as the future Spanish monarch. To the Spanish clergy, Philippe of Anjou’s political position in the War of Succession was centered on economic interests as well as the fear of surrendering. In this context, Bishop García de Legazpi Velazco y Altamirano played a vital role during the period of uncertainty that the New Spain territories were experiencing.
Abstract
The start of the XVII century was quite complicated for Spain and the New Spain territories in the Americas due to the break of the Succession War that was triggered by the [...]
- 0
- read
Calderón and Marsillach Go to the Cinema. An Ironic and Playful Reading of the Cloak and Dagger Comedia Antes que todo es mi dama from the Stage
P. Mascarell

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
This article analyzes the production of Calderon’s comedia Antes que todo es mi dama, directed by Adolfo Marsillach in 1987 and its rupture with the modern tradition of staging Golden Age classical plays in Spain. This analysis studies the scenic and interpretative mechanisms used to establish an ironical dialogue with the generic conventions of the cloak and dagger comedia genre.
Abstract
This article analyzes the production of Calderon’s comedia Antes que todo es mi dama, directed by Adolfo Marsillach in 1987 and its rupture with the modern tradition of [...]
- 0
- read
Review of Gil-Osle, Juan Pablo, Amistades imperfectas: del Humanismo a la Ilustración con Cervantes, Madrid/Frankfurt, Iberoamericana/Vervuert, 2013, 193 pp. (ISBN: 978-84-8489-640-1)
F. Mansilla

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
Book's review
- 0
- read
Travel and Travelers in Novelas ejemplares: Motion and Alterity in La gitanilla
Á. Martínez

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
The Novelas ejemplares are not a travel book, but they present numerous issues related to this genre that deserve to be studied and analyzed. Classics can provide important concepts for travel literature. This paper is reading of La gitanilla from the concept of motion and the relationship between travel Cervantes’ theory of alterity.
Abstract
The Novelas ejemplares are not a travel book, but they present numerous issues related to this genre that deserve to be studied and analyzed. Classics can provide important [...]
- 0
- read
Review of «Comedias de Agustín Moreto. Segunda parte de comedias. Volumen VIII», María Luisa Lobato (dir.), Kassel, Reichenberger, 2013, 536 pp. (ISBN: 978-3-944244-10-5)
G. Sánchez-Ferrer

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Book's review
- 0
- read
The Devil and his Dramatic Function in Calderon’s Autos Sacramentales
L. Feijoo, I. Morata

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
In some Calderón’s autos sacramentales the character of the Devil draws the plot and establishes the dramatic action as a demiurge. He elaborates plans and strategies to confuse the Man, but he always fails. This function approaches the autos to the metatheater. Finally certain parallels with Shakespeare are suggested.
Abstract
In some Calderón’s autos sacramentales the character of the Devil draws the plot and establishes the dramatic action as a demiurge. He elaborates plans and strategies to [...]
- 0
- read
About the Concept of «Spanish nation» in Numancia, by Miguel de Cervantes y Saavedra
E. Vazquez

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
This article analyzes the concept of «nationalism» as it appears in Numancia, by Miguel de Cervantes y Saavedra. We show that, although the term did not exist at that time, the author is translating into his tragedy the physical and metaphysical references of the Spanish nation cult, from Renaissance codes. From a systematic lexical and formal study, although the content will reach the conclusion that Numancia can be considered as a dialectical approach in four acts, which concludes with an aesthetic and ethical definition of what we have been calling «nationalism», even if Cervantes gives us an original representation of the Spanish nation.
Abstract
This article analyzes the concept of «nationalism» as it appears in Numancia, by Miguel de Cervantes y Saavedra. We show that, although the term did not exist at that time, [...]
- 0
- read
The Lost Personal Stories: Hungarians in Spanish Golden Age Theatre (Interpretation and Proximity of Distances)
Z. Korpás

Revista Test Hipogrifo (2014). Vol. 2, (2), 1

Abstract
Despite of the geographical distances between the two kingdoms, both Hungary and the hungarians seem to be topics widely spreaded in the Spanish literature of the Golden Age. The study tracks the intercultural reasons which might have caused this vast representation of the Hungarians among the literature topics of those centuries. Besides the more or less evidents paralelisms –like the fact of being ruled by the same dynasty, the big challenge represented by the Ottoman expansion both for the Catholic Monarchy and Kingdom of Hungary or being part of the same «Universitas Christiana»— the study shows the very thin nets of the less known personal histories of the thousands of Spaniards fighting against the Ottomans in Hungary. They were there taking part in diplomatic missions or being members of the imperial Court as well as of the Eastern Habsburgs.The presentation of personal histories demonstrates the magnitude of the attention of the Spanish public towards the happenings in Hungary and it shows the fundamental roots both of this specific interest in Hungarian topics and the perception and interpretation the genius of the Spanish Golden Age literature have of it.
Abstract
Despite of the geographical distances between the two kingdoms, both Hungary and the hungarians seem to be topics widely spreaded in the Spanish literature of the Golden Age. [...]
- 0
- read
Vélez de Guevara, Rojas Zorrilla y Mira de Amescua, «El pleito que puso al diablo el cura de Madrilejos», estudio Piedad Bolaños y Abraham Madroñal, ed. Piedad Bolaños, Abraham Madroñal y C. George Peale, Newark, DE, Juan de la Cuesta, 2012
V. Roncero

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Book's review
- 0
- read
Vélez de Guevara, Luis, «Más pesa el rey que la sangre, y blasón de los Guzmanes», ed. William R. Manson y C. George Peale, est. introductorio Javier J. González Martínez, Newark, DE, Juan de la Cuesta, 2011, 162 pp. ISBN: 978-1-58871-211-0
A. Menéndez-Collera

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Book's review
- 0
- read
Autobiography and Mateo Alemán: Notes on his Philological Book in Colonial Mexico
F. Santacruz

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
In addition to being one of the founding fathers of the modern novel, Mateo Alemán also wrote a stimulating treatise on spelling reform published in 1609 in Colonial Mexico. The Ortografía castellana is widely considered one of the best books on spelling reform written in Early Modern Spain and its territories due to its unparalleled display of elaborate literary artifice. But beyond its great significance for the study of the history of language, orthographies and national identity, and the rise of phoneticism in the 16th century, Alemán’s book has an autobiographical dimension unparalleled among works of its kind. This autobiographical data consists of recollections of his childhood, his time at university, his conversations with school teachers, his work for the Contaduría Real, and many other events that transform his book into a personal diary. The present study examines the role of autobiography and how it determines the structure of the treatise. Our analysis will show that behind the autobiographical allusions hides a self-fashioning project whose main purpose is to create an image for posterity of the artist called Mateo Alemán and provide him with an epic background.
Abstract
In addition to being one of the founding fathers of the modern novel, Mateo Alemán also wrote a stimulating treatise on spelling reform published in 1609 in Colonial Mexico. [...]
- 0
- read
Christophe Couderc et Hélène Tropé (éds), «La tragédie espagnole et son contexte européen, XVIe et XVIIe siècles», Paris, Presses Sorbonne Nouvelle, 2013, 269 pp. ISBN: 978-2-87854-611-8
L. Schneider

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Book's review
- 0
- read
How many versions does an autograph offer? The authorial interventions in the autograph of Calderón’s «El secreto a voces»
S. Kroll

Revista Test Hipogrifo (2014). Vol. 2, (1), 1

Abstract
Pedro Calderón de la Barca never ceases to work. His constant interest to improve or adapt his texts has produced two versions of the same play in several occasions. His autographs allow us to examine his writing process as well as the theatrical practice in Golden Age Spain. In the autograph of «El secreto a voces», Calderón himself seems to delete up to 200 verses, nevertheless it also presents interventions by other hands. In this article, I will therefore try to distinguish between the authentic and non-authentic interventions in the autograph of «El secreto a voces».
Abstract
Pedro Calderón de la Barca never ceases to work. His constant interest to improve or adapt his texts has produced two versions of the same play in several occasions. His [...]
- 0
- read
Numerical modeling of FSW welding process incorporating a parameter estimation technique
S. Pereyra, G. Lombera, S. Urquiza

Revista Internacional de Métodos Numéricos para Cálculo y Diseño en Ingeniería (2014). Vol. 30, (1)

Abstract
Numerical models of heat transfer and fluid flow used in the simulation of the friction-stir welding (FSW) process have contributed to the understanding of the process. However, there are some input model parameters that cannot be easily determined from fundamental principles or the welding conditions. As a result, the model predictions are not always in agreement with experimental results. In this work, the Levenberg-Marquardt (LM) method is used in order to perform a non-linear estimation of the unknown parameters present in the heat transfer and fluid flow models, by adjusting the temperatures results obtained with the models to temperature experimental measurements. These models are implemented in a general-purpose software that uses a numerical formulation developed from the finite element method (FEM). The unknown parameters are: the friction coefficient and the amount of adhesion of material to the surface of the tool, the heat transfer coefficient on the bottom surface and the amount of viscous dissipation converted into heat. The obtained results show an improvement in the numerical model predictions from the incorporation of parameter estimation techniques.
Abstract
Numerical models of heat transfer and fluid flow used in the simulation of the friction-stir welding (FSW) process have contributed to the understanding of the process. However, [...]
- 0
- read