10 September 2024: Due to technical disruption, we are experiencing some delays to publication. We are working to restore services and apologise for the inconvenience. For further updates please visit our website: https://www.cambridge.org/universitypress/about-us/news-and-blogs/cambridge-university-press-publishing-update-following-technical-disruption
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure [email protected]
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
En 1609 se publicó la versión aumentada de las Rimas de Lope de Vega, la edición conocida ahora sobre todo por la presencia del Arte nuevo de hacer comedias. Sin embargo, la colección termina con un soneto en que imaginativamente Lope le da la voz y la palabra a Camila Lucinda, la musa principal de las Rimas, en un mise en scène en que transforma a ella en Eurídice y a sí mismo en ‘español Orfeo’, archimúsico y archipoeta nombrado así por su musa. En aquella época se conocía a Orfeo también como la figura simbólica del mago que utiliza la música o la poesía como un agente de cambio, un medio para encauzar el amor hacia algo o alguien para realizar una transformación o una serie de cambios. Así que en el primer terceto del poema la voz del poeta órfico exclama: ‘¡Oh clara luz de amor que el hielo inflama!,/ su curso el tiempo en estos versos mida;/ sirvan de paralelos a su llama.’ El mago invoca el recuerdo de la luz brillante del amor muerto o perdido como la fuente de la inspiración poética, y a lo largo de las Rimas explora el paralelismo entre la luz, Lucinda y las imágenes de luz. En estos versos lo hace para sugerir que la memoria de ese amor, transformada en poesía, es suficiente para derretir el hielo del olvido o de la muerte para recuperar al amor, y a la Lucinda suya, viva y enamorada de él, de nuevo.
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
Edited by
Jean Andrews, Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham,Isabel Torres, Professor of Spanish Golden Age Literature at Queen's University, Belfast
The fourteen essays of this volume engage in distinct ways with the matter of motion in early modern Spanish poetics, without limiting the dialectic of stasis and movement to any single sphere or manifestation. Interrogation of the interdependence of tradition and innovation, poetry, power and politics, shifting signifiers, the intersection of topography and deviant temporalities, the movement between the secular and the sacred, tensions between centres and peripheries, issues of manuscript circulation and reception, poetic calls and echoes across continents and centuries, and between creative writing and reading subjects, all demonstrate that Helgerson's central notion of conspicuous movement is relevant beyond early sixteenth-century secular poetics, By opening it up we approximate a better understanding of poetry's flexible spatio-temporal co-ordinates in a period of extraordinary historical circumstances and conterminous radical cultural transformation. Los catorce ensayos de este volumen conectan de una manera perceptible con el tema del movimiento en la poesía española del siglo de oro, sin limitar la dialéctica de la estasis y movimiento a una sola esfera o manifestación única. Entre los multiples enfoques cabe destacar: el cuestionamiento de la interdependencia de la tradición e inovación, de la poesía, del poder y la política, de los significantes que se transforman, de los espacios que conectan y cruzan con los tiempos 'desviados'; análisis de las tensiones entre lo sagrado y lo secular, del conflicto centro-periferia y del complejo sistema de producción, circulación y recepción de los manuscritos; el diálogo con el eco poético a través de los siglos y de los continentes y la construcción creativa del sujeto escritor y/o lector. Al abrir la noción central de Helgerson del "movimiento conspicuo" más allá de la poesía nueva secular, este libro propone un entendimiento más completo de las coordinadas espacio-temporales de la poesía en un periodo de circunstancias históricas extrao. Jean Andrews is Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham. Isabel Torres is Professor of Spanish Golden Age Literature at Queen's University, Belfast. Contributors: Jean Andrews, Dana Bultman, Noelia Cirnigliaro, Marsha Collins, Trevor J. Dadson, Aurora Egido, Verónica Grossi, Anne Holloway, Mark J. Mascia, Terence O'Reilly, Carmen Peraita, Amanda Powell, Colin Thompson, Isabel Torres.
Lope de Vega's pastoral romance Arcadia (1598) presents a fictionalized self-portrait of the author looking back on himself as a younger man, and, at the same time, constitutes a refashioning of the artist into a cultured poet articulating his own poetics. Lope employs the oneiric potential of pastoral to reshape the past imaginatively, even as he engages creatively with pastoral conventions to execute a virtuoso performance as a poet and establish himself as a serious artist who merits the esteem and patronage of the Spanish court. As a result, Arcadia is an artful, complex, and highly idiosyncratic work that reveals Lope's predilection for literary innovation and experimentation, and undermines the notion of pastoral as a staid genre resistant to change. In the process of reshaping pastoral conventions Lope claims demiurgic, visionary powers for poets, likening such powers to those of the Creator himself
Recommend this
Email your librarian or administrator to recommend adding this to your organisation's collection.