Entre teatro y novela: honor y venganza en Lope de Vega (El toledano vengado y La prudente venganza)

This article studies the relation between novel and theatre, with special attention to theory of the Lope de Vega’s Arte Nuevo and the theory of the novel, as references metaliterary, present in his four novels (Novelas a Marcia Leonarda). After is analized the specific case of the novel La prudente venganza in relation with his plays in which he approaches the topic of the adultery, studying how along his literary path he presents different cases with similar solutions, but with diverse nuance: from bloody public and collective revenge to privat revenge. In the last plays Lope doesn’t defend the revenge, more explicitly in the novel than in the tragedy, in fact in thenovel he comments - as narrator – the events

Explicitud, coherencia y cohesión en la traducción italiana del Guzmán de Alfarache

Barezzi’s translation of Guzmán de Alfarache shows interesting shifts in cohesion and coherence that coul be described using explicitation. The paper examines how these shifts have an effect on the use of connectors, on word order, on the interaction between text-knowledge and reader knowledge, on referential strategies and information status as well as on other inter and extra textual features. This limited research cannot provide evidence to support or reject the explicitation hypothesis, but its results show that an analysis in terms of coherence, cohesion and explicitation can provide a useful perspective for literary translation studies

Un ejemplo de la fortuna europea de Francesco D'Ambra, Los enredos de Martín, "compuesta por Cepeda"

Nell'articolo si individua la commedia italiana (I Bernardi di Francesco D'Ambra) da cui parte il processo di riscrittura di Cepeda per Los enredos de Martín, commedia spagnola in tre atti della fine del '500

"Progne y Filomena, una tragedia recuperada de la colección Gondomar"

This work analyzes a manuscript of the National Spanish Library (Ms. 14640) erroneously attributed to Guillén de Castro by Paz and Melia. It is a tragedy in four days entitled Progne Y Filomena which can be dated around the last third of the 16th century, deriving from Conde de Gondomar’s collection of dramatic works, as the notations in the first folio clearly indicate. The tragedy dramatizes the fable narrated by Ovid in the 6th section of his Metamorphoses (424-674) with a clear moral intention. This objective, together with elements of horror in the text, its metrics, its structure and the presence of moral figures, make of it a work clearly belonging to the dramatic landscape of the late 15th century