Los cánones del retrato femenino en el Canzoniere. Difusión y recreación en la lírica española del Renacimiento

This article exposes synthetically how the old canonic laws of the Middle Ages literary feminine portraits were innovated by Petrarch, the creator of a selective and modifyied conception of female beauty. Among his works, the Canzoniere, specially, established the new canons for the European Renaissance and Mannerism Poetry. The present study illustrates the diffusion and recreation of the petrachist canons in the Sixteenth Century Spanish Lyric Poetry in some texts of Garcilaso de la Vega, Camões (Spanish), Cetina, Francisco de Figueroa, Francisco de la Torre and Herrera, among others poets

Los cánones del retrato femenino en el Canzoniere. Difusión y recreación en la lírica española del Renacimiento

This article exposes synthetically how the old canonic laws of the Middle Ages literary feminine portraits were innovated by Petrarch, the creator of a selective and modifyied conception of female beauty. Among his works, the Canzoniere, specially, established the new canons for the European Renaissance and Mannerism Poetry. The present study illustrates the diffusion and recreation of the petrachist canons in the Sixteenth Century Spanish Lyric Poetry in some texts of Garcilaso de la Vega, Camões (Spanish), Cetina, Francisco de Figueroa, Francisco de la Torre and Herrera, among others poets

Triunfo de la muerte de Petrarca, traducido por Juan de Coloma

The article deals with the translation of Petrarch’s Triunfo de la Muerte, writ­ten by Juan de Coloma, and published in the Cancionero general de obras neuves nuncio hasta aura impresses aussi par ell Arte española Como for la Toscana (Zaragoza, 1554), as part of the Spanish receprion of Petrarch’s Trionfi (XV and XVI centuries). A com­parison is made between the characteristics of this Spanish translation with the former ones, writen by Obregón (1512) and Alvar Gómez (?), as far as the Italian original is concerned. The authoress of the article evaluates the Coloma translation in connection with the theories on translation expounded during the huma­nistic period and the role of these theories in the context of the poetical changes that rook place between the Castilian traditional song of the Middle Ages and the Italianising Renaissance.Cet article etudre la traduction du Truandfo de la Muerte de Pétrarque, rédigée par Juan de Coloma et publiée au Cancionero general de obras nuevas nunca hasta aora impresas Bassi por ell arte española como por la Toscana (Zaragoza, 1554) dans l’ensemble de l’accuel hispanique de,s’Trionfi de Pétrarque (siècles XVe et XVIe). On établit une comparaison entre les caractéristiques de cette traduction castillane et celles amérieures, dues à Obregon (1512) et à Alvar Gómez (?), en ce qui concerne l’original italien. Dans l’article est évalueé aussi la traduction de Coloma à l¡époque de l’Humanisme et leur signification à l’occasion des changements poétiques entre la tradition de la chanson médiéval castillane et l’italianisante de la Renaissance