Tesi sul tema "Luis de Góngora"

The Baroque-era Spanish poet Luis de Góngora is renowned for his difficult syntax, and particularly for the literary device called hyperbaton, or the stylistic inversion of normal word order. While the elaborate gongorismo style has not gone unnoticed by linguists, classical analyses of the poet’s work typically view sentence structure as one-dimensional and characterize the force of a hyperbaton by the length of an interposed phrase. Taking the sonnets of Góngora as a data set, I invoke the theory of generative syntax to argue that this apparent interposition is actually multiple instances of raising, often into specifier positions, though typically for stylistic reasons rather than for the purpose of feature-checking. Esta tesis está escrita en español.

Aquesta tesi tracta l’obscuritat poètica entesa com a fenomen lligat a la comprensió i a la recerca i creació de sentit. Es parteix de tres corpus textuals: una selecció de cants d’Ausiàs March (València, s. XV), les Soledades de Luis de Góngora (Còrdova, s. XVII) i Ossi di seppia i Le occasioni d’Eugenio Montale (Gènova, s. XX). El primer objectiu és analitzar la qüestió de l’obscuritat en cada un dels tres casos, evaluant-ne tant els marcs i mecanismes, com les raons i els impactes en el passat i en el present. El segon, és posar en diàleg les pluralitats i les diferències (diferents llengües, èpoques i tradicions; però també diferents històries de la recepció), que mostren les inesgotables maneres de donar-se de l’obscuritat dintre del marc de la creació poètica, proposant, finalment, què ens pot continuar donant avui.
This dissertation deals with the poetics of obscurity phenomenon related to the understanding and the research and creation of meaning. It is based on three collections of writings: a selection of songs by Ausiàs March (Valencia, s. XV), the Soledades by Luis de Góngora (Cordova, s. XVII) and Ossi di Seppia and Le Occasions by Eugenio Montale (Genoa, s. XX). The first objective is to analyze the question of obscurity in each of these three cases, evaluating their frameworks and mechanisms, including the reasons and impacts either in the past or in the present. The second is to put the pluralities and differences (different languages, periods and traditions, but different stories of receipt) into a dialogue, showing the obscurity’s endless ways to be within the framework of poetic creation, also suggesting what it can continue to give to us today.

O tema desta Dissertação de Mestrado é a análise dos conceitos de analogia e assurreição (objetos formais) na obra Soledades (objeto material) de Luis de Góngora, bem como suas implicações filosóficas e formais. Pretendi fazer uma análise do poema, tendo em vista perseguir a seguinte hipótese: a desmesura e a desproporção que as Soledades apresentam não são fruto de um mero capricho estilístico. Elas nascem de uma intervenção do furor poético, entendido como furor divino. Góngora teve acesso a essas concepções mediante o influxo de ideias herméticas e neoplatônicas na Península Ibérica. Tais influxos são responsáveis por uma amplificação especialmente aguda da doutrina da analogia. O desdobramento máximo dessa ênfase no princípio da analogia é propriamente a assurreição, tal como definida por Claude-Gilbert Dubois. A partir desses elementos, esta Dissertação de Mestrado pretendeu proceder a uma análise de alguns motivos, cenas e trechos do poema narrativo Soledades, de Luis de Góngora y Argote, mostrando como ele elabora a doutrina da analogia de proporcionalidade e em que momento essa analogia aguda produz a assurreição, ou seja, o corte transversal na hierarquia dos corpos institucionais, movimento este em geral entendido em termos teológicos e políticos como heresia. Por outro lado, há a importante relação entre hermetismo, neoplatonismo e literatura na Renascença, bem como a maneira pela qual a doutrina do furor poético se infiltrou nas artes e na poesia espanholas por via italiana nos séculos XVI e XVII. Concentrei-me no conceito de assurreição e na análise do deslocamento metafísico-teológico das analogias de proporcionalidade presentes nas Soledades, cotejando-as com a distribuição dos lugares naturais de cada elemento do cosmos, fixada sobretudo por Santo Tomás de Aquino, a maior autoridade da teologia católica na Península Ibérica do século XVII
The theme of this Master Thesis is the analysis of the concepts of analogy and assurreição (formal objects) in the work Soledades (material object) of Luis de Góngora, as well as formal and philosophical implications. Wanted to do an analysis of the poem in order to pursue the following hypothesis: the excesses and the disproportion that Soledades have are not the result of a stylistic whim. They are born of an intervention poetic furor, understood as divine wrath. Góngora had access to these conceptions by the influx of Hermetic and Neoplatonic ideas in Iberia. Such inflows are responsible for a particularly acute amplification of the doctrine of analogy. The splitting up of this emphasis on the principle of analogy is properly assurreição as defined by Claude-Gilbert Dubois. From these elements, this Dissertation intended to carry out an analysis of some reasons, scenes and snippets of narrative poem Soledades, Luis de Góngora y Argote, showing how he prepares the doctrine of proportionality and analogy in that moment that analogy acute assurreição produces, ie the cross section in the hierarchy of institutional bodies, this movement generally understood in theological and political terms as heresy. On the other hand, there is the important relationship between Hermeticism, Neoplatonism and literature in the Renaissance, as well as the manner in which the doctrine of poetic fury seeped in arts and poetry by Italian Spanish in the sixteenth and seventeenth centuries. I focused on the concept of assurreição and analysis of the shifting metaphysical and theological analogies of proportionality present in Soledades, comparing them with the distribution of natural places for each element of the cosmos, basically fixed by St. Thomas Aquinas, the greatest authority of Catholic theology in seventeenth-century Iberian Peninsula

La poésie de Góngora donne souvent à savourer le réel, la beauté du monde naturel. Cette thèse tente donc d’explorer les modalités de la « poétique de la matière » de l’œuvre de Góngora. Elle procède, dans un premier temps, à un relevé et une classification des noms de matières qui apparaissent dans les poèmes. La description est d’abord chronologique, puis thématique lorsqu’elle procède à une analyse systématique des noms de pierres précieuses. Cette description débouche, dans un deuxième moment, sur une interrogation plus théorique, celle de la pertinence de la notion de « métaphore », généralement utilisée à tout va pour analyser la poésie de Góngora. Enfin, la troisième partie de la thèse est consacrée à l’analyse de la matérialité du langage poétique, car on formule ici l’hypothèse que notre impression de départ d’une immédiateté sensible du réel repose en fait sur un travail spécifique exercé sur le signifiant linguistique
Góngora’s poetry enables us to saver the Real and in particular the beauty of the natural world. This thesis attempts to explore the making of Góngora’s “poetry of matter”. It, first, draws up a list and classifies the different names of materials that appear in Góngora’s poems. The description is first chronological and then thematic, when it deals with a systematic analysis of the names of precious stones. Then, in a second time, we come to wonder, in a more theoretical way, how relevant the notion of “metaphor” is; indeed this concept is used indiscriminately to analyse Góngora’s poetry. Eventually, the third part is dedicated to analysing the materiality of Góngora’s poetical language, in so far as we formulate the hypothesis that the first impression we had, that of a sensitive immediacy of the Real, is due to a specific effort to work on linguistic signifiers

Luis de Gongora (1561-1627) and Lope de Vega (1562 - 1635) are contemporaries and rivals, whose late parodic poems call into question the dominant features of analytical response to the genre: an undervaluation of parodic counter-texts within a context of general critical neglect; and the limitations of studies which attempt to establish and fix meaning on a mode of writing which, this thesis argues, depends on its inherent ambiguity and deliberately anti-mimetic nature in order to forge significantly ironic connections between word and baroque realities. The overarching question of this thesis, is why do these poets turn to parody at the end of their careers? To this end, the study focuses on both poets' parodic trajectories, from G6ngora's 1589 Hero and Leander romance through to his culminating parody, La/cibula de Piramo y Tisbe (1618), and through Lope de Vega's alter ago Tome de Burguillos, whose anthology, Rimas humanas y divinas del licenciado Tome de Burguillos, was published a year before Lope's death, in 1634. Working from the premise that parody provides a Derridean supplement to exhausted, dominant modes (e .g. Petrarchism) and genres (e.g. pastoral, lyric, epic), this study asks: what do these texts achieve by their supplementarity, and how do they achieve it? Through an analysis of the texts' intertextual relationships with the architext or doxa, of their linguistic str~tegies (including meta-language), and of their ethos, this study will question the processes and paradoxes at work in Lope's and G6ngora's late parody. This comparative study seeks to reveal the depth of our poets' late parodic works, and, against the grain of dominant criticism which sets them in opposition, the extent to which their parodic trajectories correlate.

El objeto de esta tesis es el Panegírico al Duque de Lerma, poema que Don Luis de Góngora escribió en 1917 y que consta de 79 octavas reales en las que el poeta cordobés hace un elogio poético de Don Francisco Gómez de Sandoval y Rojas (1552-1625), Duque de Lerma y valido de Felipe III. Se trata de un texto que carece de edición moderna y que apenas ha merecido la atención de los gongoristas, a pesar de que es, junto con el Polifemo, las Soledades y la Tisbe, uno de los poemas más extensos y complejos de la poesía gongorina. La perspectiva de análisis es, como consta en el título de la tesis, doble. En el estudio abordamos el poema desde todos los puntos de vista: lo situamos en el conjunto de la poesía gongorina, analizamos los problemas textuales, su género poético, su forma estrófica, su contenido histórico y su relación con otras artes como la pintura, la heráldica o la emblemática. En la edición crítica, labor filológico-positivista, establecemos un texto del Panegírico fiel a la voluntad de Góngora a partir de todos los manuscritos e impresos del siglo XVII que contienen el poema, con una rica anotación léxica y literaria.

Esta tesis indaga cómo el tópico de la defensa de la poesía, tema fundamental de la teoría y la crítica literaria del Siglo de Oro español, puede implicar, además de una significativa toma de conciencia frente al fenómeno poético, una reflexión sobre la esencia de la poesía que representa un antecedente importante del concepto moderno de autonomía estética. Para la consecución de este objetivo se han reunido, examinado y relacionado los textos áureos de carácter teórico identificables con un principio de independencia poética. El análisis se ha desarrollado desde tres perspectivas diferentes: la de los preceptistas, por una parte; la de los escritores, por otra; y, finalmente, la derivada del debate de carácter estético que la publicación de las obras mayores de Luis de Góngora suscitaría. Se hacía imprescindible considerar, de otro lado, el referente moderno bajo el cual podían sustentarse tales supuestos. Por esta razón se ofrece, asimismo, una aproximación al concepto de autonomía estética subyacente en los principios básicos de la poética moderna, concretamente en los planteamientos formulados por la tradición simbolista y por el movimiento de la poesía pura.
This dissertation explores how the defense of poetry, as a literary topos and as an important subject of literary theory and criticism during the Spanish “Golden Age”, involves a meaningful attempt to define the essence of poetry and represents a precedent for the modern notion of aesthetic autonomy. In the attainment of this goal, it was necessary to gather, examine and correlate texts of a theoretical nature, selected in terms of a common concern about the principle of poetic independence. The search has been accomplished from three different perspectives: first, the Spanish preceptists; second, the writers and poets of the age; third, the texts appeared as a result of the debates around Luis de Gongora’s major poems. Reflections about modern poetics were considered imperative as a point of comparative analysis, specifically in what relates to the symbolist tradition, the doctrine of pure poetry and the notion of aesthetic autonomy

Esta tesis pretende establecer las bases para crear una edición crítica digital de las Soledades de Luis de Góngora. Para conseguir esto se defiende una teoría de la edición académica digital caracterizada por la interactividad, se expone el método de codificación XML/TEI para representar, preservar y procesar textos literarios y se lleva a cabo un estado de la cuestión sobre los principales problemas de la tradición textual de la poesía de Góngora. Tras el estudio de una selección de los testimonios que transmiten las Soledades, el resultado es un texto crítico de las dos versiones del poema que ha sido codificado de tal modo que el usuario pueda acceder a distintas presentaciones, explorar y navegar el texto de múltiples maneras y filtrar las variantes incluidas en el aparato por testimonio y tipo.
The aim of this dissertation is to establish the foundations upon which a digital critical edition of Luis de Góngora’s Solitudes could be created. To achieve this I argue for a theory of scholarly editing defined by interactivity and I present the XML/TEI encoding method to represent, preserve and manipulate literary texts. I also review the main textual problems in Góngora’s poetry. After studying a selection of witnesses that represent the text of the Solitudes, the result is a critical text of the two versions of the poem; the encoding of the text has been designed to enable the user to access different presentations, explore and navigate the edition in a number of ways and filter the variants according to witness and type.

Dans l'espagne du siecle d'or, la poesie et la musique etaient constamment associees dans les pratiques sociales. Comme la musique, la poesie savante etait rarement diffusee par voie imprimee et preferait la publication orale ou manuscrite, qui correspondait mieux au public qu'elle avait choisi. Le chant constituait donc une voie de publication privilegiee pour la poesie. Les poetes partageaient avec les musiciens le souci d'une pronuntiatio efficace - c'est-a-dire agissant sur les affects de l'auditoire -, et faisaient reposer cette efficacite sur le respect de la prosodie et sur l'intonation ; de cette recherche commune naitra l'opera. Poesie et musique s'enseignaient l'une pour l'autre et l'une par l'autre. Elles partageaient en outre un langage precis, aussi bien en ce qui concerne differentes formes poetico-musicales, que des procedes techniques et des procedes expressifs. Des procedes comme l'enjambement ou la sequence antirythmique etaient decrits comme des dissonances rythmiques, et utilisees par les poetes a des fins expressives de la meme facon que les musiciens utilisaient les procedes connus sous le nom de madrigalismes.

Dans Le Premier Livre des Amours de Ronsard, comme les sonnets amoureux de Gôngora, les Rime de Marino et les Sonnets de Shakespeare, une même rhétorique est à l'œuvre. La conscience de venir après, dans un pétrarquisme second qui peut aussi bien être un contre-pétrarquisme, détermine une esthétique merveilleuse au terme de laquelle l'accent semble résolument basculer des res aux verba. L'enjeu est alors de déterminer la teneur en sérieux de cet exercice de brillant formel qui semble d'emblée récuser toute interprétation définitive, à la manière d'un jocus serius indécidable. Nous faisons l'hypothèse que dans ces sonnets où s'exacerbent nombre de pratiques renaissantes, l'expressivité à la fois maximale et codée est articulée à un discours qui valorise les formes de la complexité. L'étude de ce discours procède en trois temps : investissement de la forme du sonnet, caractéristiques de la représentation, teneur e modalités des significations engagées. Une paradoxologie s'en dégage. Paradoxe des énoncés merveilleux métaphoriques ou oxymoriques dont les concetti que produit le sonnet sont l'emblème ; paradoxe d'une représentation à la référence incertaine ; paradoxe du régime équivoque, contradictoire ou allusif de le signification. La paradoxologie maniériste propose cependant un discours unitaire dont la persona lyrique se porte garante. Trame incertaine, le sujet maniériste est avant tout une voix, puissance d'énonciation capable de garantir la force de l'évidence à l'expérience de la complexité. La richesse verbale ne se laisse pas troquer contre un sens apaisé ou univoque, mais la force de renonciation s'efforce d'y suppléer
Ronsard's Premier Livre des Amours, Gôngora's love sonnets, Marino's Rime as well ai Shakespeare's Sonnets offer similar rhetorics. The conscience of not coming first, of writing after Petrarch — perhaps even against Petrarch —, requires an esthetics of maraviglia, definitely shifting the weight from res to verba. Which leads to question the degree of earnestness of such an effects-oriented discourse, that seemingly rejects, under the aegis of the jocus serius, every steady interpretation available. We shall assume that in these sonnets where many an early-modern practice is highly condensed, expressivity, both hyperbolic and coded, embodies a specific, complexity-oriented, discourse. Mannerism - contemplated from the point of view of the practice of the sonnet, of the specificities of its representation and of the management of meaning - calls for a paradoxology. Paradox can come under the guise of metaphors and oxymorons -highly condensed in concetti -, of the uncertain reference of the representation or of the allusive unequivocal, self-conflicting significations. However, paradoxology calls for an unified discourse, guaranteet by the lyric persona. The mannerist self may be an uncertain complexion: he above ail is voice, enunciative might, able to assume the strengh of evidence within the experience of complexity. Verbal cornucopia will not be converted into any stable or pacified meaning, but the enunciative force may stand for it

I Diálogos en que se contienen varias materias y se explican algunas obras de D. Luis de Góngora (Biblioteca Nacional de España, ms. 3906), opera anonima del secondo decennio del secolo XVII, s’inseriscono nella polemica che sorse in seguito alla pubblicazione delle Soledades e ne rappresentano un’ulteriore testimonianza espressa in forma dialogica. Tuttavia, oltre all’argomentazione sull’attività poetica del poeta cordovese, i quattro interlocutori discutono anche di altri autori e di vari spunti letterari e linguistici (come la retorica), in una miscellanea di temi conditi da una fitta rete di citazioni erudite. La tesi offre l’edizione critica dell’inedito manoscritto, corredata da un apparato di note di commento. Nell’introduzione, oltre alla descrizione del manoscritto e ai criteri di trascrizione, si contestualizza l’opera entro i confini del genere (fra dialogo, trattato e miscellanea) e se ne descrivono le tematiche, con particolare attenzione alle questioni retoriche relative alla forma metrica e sintattica del sonetto e l’apologia delle scelte linguistiche di Luis de Góngora.
The thesis offers a critical edition of an anonymous work of the second decade of the seventeenth century (Diálogos en que se contienen varias materias y se explican algunas obras de D. Luis de Góngora, Biblioteca Nacional de España, ms. 3906), which is another example of the controversy that arose following the publication of Soledades. The introduction contains the manuscript’s description, the criteria of transcription and the analysis of the work within the boundaries of the genre (dialogue between treatise and miscellanea). Furthermore, it describes the issues, with particular attention to those relating to the rhetorical and metrical form, the syntax of the sonnet and the apologia of the linguistic choices of Luis de Góngora.