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Noticias De Italia IV

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Noticias De Italia IV Noticias de Italia IV A finales de 1993, la editorial del Istituto Universitario Orientale de Ñapóles publicó un libro de Augusto Guarino, titulado La narrativa di Joan Timoneda. En este trabajo (reelaboración de su tesis doctoral), el autor se propone estudiar El sobremesa y £/ buen aviso y portacuentos, tomando como punto de partida el carácter cómico-humorístico de los breves textos que componen estas colecciones. Guarino estudia las formas de la comicidad, en su manifestación lingüística y narrativa, y su funcionamiento en la relación dinámica de implicación / transgresión con los códigos culturales de la sociedad contemporánea de Timoneda. Entre las publicaciones «de homenaje», salió a finales de 1993 De místicos y mágicos, clásicos y románticos. Homenaje a Ermanno Caldera (Messina, Armando Siciliano), que incluye algunos artículos sobre el Siglo de Oro. Alfonso D'Agostino, en «II certo e l'incerto. Riflessioni su alcuni versi di Garcilaso», subraya la dificultad de optar entre distintas lecciones de un texto, apoyándose en ejemplos de la Égloga II de Garcilaso y del soneto atribuido «Mario, el ingrato amor», recordando las varias opiniones de críticos como BJecua, Rico, Macri y Rosso Gallo. En su breve artículo titulado «Oriámbar», Mario Di Pinto reflexiona sobre el capítulo «Pastor» en De los nombres de Cristo de Fray Luis de León, analizando la peculiar utilización luisiana de un pasaje del Apocalipsis. Del mismo autor se ocupa Oreste Macri, en «II 'nostro' Fray Luis de León». Alessandro Martinengo («Saggio di traduzione e commento di una selva quevedesca») propone un ensayo de traducción al italiano y comentario de la silva de Quevedo «Esclarecidas señas da Fortuna». Jaime J. Martínez estudia «El Diálogo en laude de las mujeres de Juan de Espinosa», publicado en Milán en 1580. Lore Terracini reexamina el problema de las relaciones entre Nebrija y Valdés, estudiando los lugares del Diálogo de la lengua en los que se menciona a Nebrija («L'andaluso Nebrija nel Diálogo de la lengua di Valdés»). A comienzos de 1995 la editorial Bulzoni (Roma) publicó las actas del Congreso de la Asociación de Hispanistas Italianos (AISPI) que tuvo lugar en Roma el 12 y el 13 de noviembre de 1993 (véase «Noticias de Italia III», Criticón, 61, 1994, p. 99). El título del Congreso (y de las actas) es Scrittura e riscrittura: traduzioni, refundiciones, parodie e plagi. Al amparo de un título de alcance tan general, se colocan algunas ponencias centradas en temas del Siglo de Oro. Encarnación García Dini escribe acerca de «Los Dialoghi di Massimo Troiano (Venezia, Bolognino Zaltieri, 1569) entre traducción y refundición», Augusto Guarino sobre «Un tentativo di traduzione in italiano del Lazarillo nel primo Seicento»; Felice Gambin estudia «Le Delizie della Sacra Mensa, owero una ritrovata traduzione seicentesca de El Comulgatorio di Gracián», Angela Caracciólo Aric'i analiza «La riscrittura della favola pastorale da Sannazaro a Lope de Vega»; en fin, Laura Minervini investiga acerca de «L'attività di traduzione degli ebrei spagnolt nel XVI e XVII secólo». En los primeros meses de 1994, la editorial Giardini de Pisa publicó la edición de La caída para levantarse, de Francisco de Quevedo, al cuidado de Valentina Nider; la edición, enriquecida por notas puntuales y abundantes y por un index locorum, va precedida de un 180 FAUSTA ANTONUCCI Criticón, 65, 1995 denso estudio que analiza, entre otras materias, la estructura de La caída, las técnicas de utilización de los materiales escritúrales, y, más en general, la tipología del cuento hagiográfico en el siglo XVII. Hacia finales de 1994 apareció otra importante edición crítica: Los donaires de Matico, de Lope de Vega, al cuidado de Marco Presotto (Kassel, Reichenberger). Presotto nos ofrece por fin un texto fiable de esta preciosa comedia del primer Lope de Vega, optando —después de un esmerado cotejo de las muchas ediciones antiguas de la comedia, y del testimonio manuscrito que se encuentra en la Biblioteca de Palacio en Madrid— por utilizar como texto base la primera edición de la Parte I de Lope (Zaragoza 1604), pero insertando también las adiciones que se encuentran en el manuscrito de Palacio. En la introducción, el joven estudioso explica con abundancia de ejemplos los problemas ecdóticos que plantea el texto de la comedia, y formula algunas observaciones que pueden ser útiles para determinar la fecha de composición de Los donaires de Matico. Tuvo Jugar en Ñapóles, deJ 1 al 3 de diciembre de 1994, un encuentro de estudios, organizado por la cátedra de Lengua y Literatura española del Istituto Universitario Orientale, sobre «El teatro ibérico desde la época de Cervantes». Muchas ponencias se ocuparon de teatro del Siglo de Oro: Giovanni Bañista De Cesare habló de la visión cervantina de la «Comedia» en El rufián dichoso; Augusto Guarino dilucidó los mecanismos de transposición teatral de una «novella» italiana en La Duquesa de la Rosa de Alonso de la Vega; Marta Rosaría Alfani habló acerca de Lo fingido verdadero de Lope de Vega; Maria Grazia Scelfo acerca de No hay deuda donde hay agravio de Antonio de la Cueva; Fausta Antonucci trató de trazar algunas líneas clasificatorias pertinentes para el corpus de comedias que se centran en la conquista española de nuevos mundos; Carlos Romero sostuvo la autoría lopesca de La palabra vengada, comedia atribuida a Fernando de Zarate; Emilia Perassi estudió la percepción y la representación del cuerpo en el teatro de Juan Ruiz de Alarcón. El 15 y el 16 de marzo de 1995 tuvo lugar en Roma el Congreso anual de la Asociación de Hispanistas Italianos, cuyo tema se había fijado en el título «Scrittori 'contro': modelli in discussione nelle letterature ¡beriche». Merecen ser mencionadas las ponencias de Augusto Guarino («Contro natura? Motivi dell'incesto in alcuni scrittori del Siglo de Oro», que trató el tema del incesto en Timoneda, Villalón, Virués y Villaba y Estaña); de Anna Bognolo («Amadís encantado. Scrittori e modelli in tensione alla nascita del genere dei libros de caballerías», que estudia la posición de Páez de Ribera, Juan Díaz y Feliciano de Silva en orden al motivo narrativo de los encantamientos, y por lo tanto en orden a la cuestión de lo verisímil y de lo didáctico); y de Carmen Marchante («A. Belvedere e C. Celano rifacitori di Amparar al enemigo di Antonio de Solís», que aporta una interesante contribución al estudio de las relaciones entre la comedia española del siglo XVII y las traducciones-reelaboraciones de los dramaturgos italianos de la misma época). Por este último problema también se viene interesando un grupo de estudiosos coordenados por María Grazia Proferí, en el que participan hispanistas de las Universidades de Florencia, Pisa, Roma, Verona y Cagliari: se trata de un proyecto subvencionado en parte por el C.N.R. italiano, que se articulará en una serie de estudios sobre el Barroco. Uno de los grupos de trabajo (recogiendo las indicaciones de un proyecto pionero nacido en la Universidad de Milán, que también participa) se dedica precisamente al estudio de las traducciones de textos teatrales españoles del siglo XVII, que se llevaron a cabo en el mismo siglo en Europa. De momento, la investigación se centrará sobre todo en las traducciones italianas, estudiando las estrategias de la adaptación a otro contexto del código teatral de la Comedia española. Por fin, hay que mencionar un importante congreso internacional sobre «Formas del exilio», organizado por el Dipartimento di Iberistica de la Universidad de Venecia (28-29 de abril de 1995). El congreso se proponía enfocar el tema del exilio desde múltiples puntos de NOTICIAS DE ITALIA 181 vista (jurídico, histórico, filosófico-psicológico, literario) y en un marco cronológico y geográfico muy amplio. En el programa, muy denso, señalamos dos ponencias que se centraron en aspectos de la literatura española de los Siglos de Oro: Carlos García Gual («Los privilegios del desterrado según Fray Antonio de Guevara») y Jean-Pierre Étienvre («Los 'pasos perdidos' del peregrino en las Soledades de Góngora»). Noticias de Italia V En la Universidad de Cagliari (Departamento de Filologías y Literaturas Modernas) se desarrolló, el 11 y 12 de mayo de 1995, un seminario organizado por Giuseppina Ledda acerca de «La scrittura dell'effimero», dedicado a los alumnos del Doctorado en Literatura y Filología Hispánica con sede en la Universidad de Pisa. Abrieron los trabajos del seminario dos plenarias, de G. Ledda sobre los caracteres definitorios de las Relaciones de fiestas en el Barroco, y de Fernando R. de la Flor sobre «climax y crisis del modelo de relación de la fiesta académica barroca: Isla y La juventud triunfante». Después, Gianna C. Marras habló de la función de los sonetos en las justas poéticas; Inés Ravasini estudió la presencia del género de la glosa en las mismas justas; Valentina Nider analizó la significación de un pasaje polémico contra Gracián, que se encuentra en una relación de fiesta valenciana; Diego Símini describió una Noticia de Antonio Fajardo Acevedo acerca de una fiesta malagueña para la beatificación de San Juan de la Cruz. Siguieron tres ponencias que se centraban más bien en las posibles relaciones entre la literatura y la fiesta: Fausta Antonucci estudió la conexión entre el modelo de la fiesta palaciega y la estructura de las loas de Agustín de Salazar y Torres; Anna Bognolo estudió la evolución de la fiesta narrada y descrita en los libros de caballerías (con ejemplos muy sugerentes del Atnadís de Caula, Palmerín de Oliva, y Lepolemo, caballero de la Cruz); María Cruz García de Enterría habló de «Los pliegos de villancicos como literatura de fiesta». Cerraron los trabajos dos largas ponencias, de Sagrario López Poza sobre «La concurrencia entre lo sublime y lo grotesco como técnica persuasiva en la fiesta pública española», y de Blanca Periñán sobre cómo el «bufón» cuenta la fiesta, en Estebanillo González.
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