Le navire de la reine et du saint esclave de la Méditerranée au Brésil

Dès la seconde moitié du XVIIe siècle, le commerce d’esclaves africains organisé par les protestants, se fonda sur la vision capitaliste et sur les investissements, sans manifester un grand intérêt pour le cheminement spirituel des convertis. De leur côté, les catholiques, après les décrets du Concile de trente, donnèrent plus d’importance à l’instruction religieuse avant et après le baptême. Nombre de missionnaires se prononcèrent sur la condition de l’esclavage, même dans sa dimension jurid..

Le navire de la reine et du saint esclave de la Méditerranée au Brésil

Dès la seconde moitié du XVIIe siècle, le commerce d’esclaves africains organisé par les protestants, se fonda sur la vision capitaliste et sur les investissements, sans manifester un grand intérêt pour le cheminement spirituel des convertis. De leur côté, les catholiques, après les décrets du Concile de trente, donnèrent plus d’importance à l’instruction religieuse avant et après le baptême. Nombre de missionnaires se prononcèrent sur la condition de l’esclavage, même dans sa dimension jurid..

Session Paper

Benedetto Manasseri da San Fratello (Messina, Sicily) became the first black canonical saint in 1807. The Sicilian-born son of African parents (1524), was first a hermit, and then a lay friar of the reformed minor order of St. Francis of Assisi. He died in Palermo in 1589. From the beginning of the 17th century his name and cult was connected in Brazil to the Catholic Rosary, together with the name and cult of three other black “saints”: Elesbão/Elisbão (from Abyssinia), Efigênia/Ifigênia (from Nubia), Antônio de Noto/Categeró (an African hermit who died in 1550 in Sicily, as Benedict did). It would be interesting to discuss the development of the four names in the Portuguese of Portugal and in the Portuguese of Brazil. The subject of my paper is the different forms of the names of the first hagionyms on three Continents, Europe, Africa and America: Benedetto da San Fratello (Italy), Benito de Palermo (Spain and Spanish speaking countries in America), Benedito/ Bento (Portugal, Brazil, Angola), and Bieito (Galicia). It is very interesting to notice the Portuguese development from Bento to Benedito in the first half of the 17th century, and the influence of this change on the names of popes in Portuguese, including our present Pope, Benedict XVI

La traducción del teatro áureo en Italia, desde el siglo XIX hasta nuestros días. Constantes y variables en la formación de un canon

This essay aims to provide an over view of the Italian translations of Spanish Golden Age theatre from the 19th centur y to the present, identifying above all the differ-ences in the approach to Spanish texts compared to previous centuries and the distinc-tive features of each historical-cultural period within this long span of time. Romantic translations (a period marked by the great collections of theatrical texts by Monti and La Cecilia) were characterised by their marked preference for religious and honour-based dramas and for the works of Calderón; while the 20th centur y saw a general reworking of the corpus of translated texts, with a stable presence of Calderón and the recover y of the dramas on peasant honour by Lope de Vega. The emergence and affirmation of the poetic translation is highlighted, from the early experiments of the 1920s to the general acceptance of our days, and the role hispanists and writers played in this choice. An analysis of the corpus of translation collections in the 20th and 21st centuries, as well as of the many individual translations, also shows how the canon of the Spanish Golden Age theatre has changed both on the academic and editorial side