Arturo Farinelli y los orígenes del hispanismo italiano

The Hispanic works written by Arturo Farinelli cover five main fields of investigation: the literary relations between Spain and Germany, the relations between Spain and Italy, the study of La Vida es sueño and Don Juan, and the stories of travels along Spain. Focusing in his Hispanic studies, the article shows that Farinelli's interest in Spanish matters were born between 1892 and 1907, just during his stay in Innsbruck, where he moved to work as a teacher in the Handelsacademie. In this sense, the article deals with the genesis of one of his most acclaimed works, Italia e Spagna, published in 1929, showing, at the same time, the ambiguous relation established with other famous Italian writers devoted to the Hispanis studies, such as, for example, Benedetto Croce

Tradiciones poéticas y perpectivas ideológicas en el cancionero amoroso de Garcilaso

Los intentos de valoración global de la poesía de Garcilaso de la Vega se han realizado principalmente al amparo de dos conceptos diversos, el de cancionero – término o noción presente también en el título de mi ponencia– y el de trayectoria

La novela picaresca entre realismo y representación de la realidad: el caso del Buscón

El autor investiga sobre el concepto de realismo a través de las páginas del Buscón. Se discute sobre el tópico de la literatura realista española y su relación con un estilo literario que triunfa en la segunda mitad del siglo XIX. Para Antonio Gargano hay que tener en cuenta la distancia cómica que el lector está obligado a tomar cuando lee la novela picaresca. The author analyses the concept of Realism throughout the pages of the Buscón by Quevedo. Mainly, he tries to discuss on the well-known topic of Spanish realistic literature and its relations with the literary style of the second half of the XIXth Century. The clue to understand the difference is the funniness of the picaresque novel

Petrarch and La Celestina anew: The World as a Battlefield between “conscripta remedia” and “laberinth of errors”

From Deyermond (“The name of Petrarch is almost the first thing that catches the eye when one opens La Celestina) to Ruiz Arzalluz (“The work that most often surfaces when reading La Celestina […] is the Latin work of Petrarch”), the subject matter of the relationship between the Spanish tragicomedy and the Latin work of the Aretino occupies a central place in the studies on Rojas’ masterpiece. In the framework represented by this tradition of studies, which goes back to the unfinished La Celestina commented, this contribution focuses on the “extreme case” of the wonderful second prologue of the Tragicomedia with the aim to establish a collation between this text and the written one, which is no less remarkable than the Prefatio of the second book of De remediis, and to point out at some differences in meaning that emerge from their different arrangement with the final and fundamental purpose of pointing out a the consequences that these prologues –with their differences and similarities– produce in their respective textual contexts