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Arte Nuevo Revista De Estudios Áureos Arte Nuevo Revista de estudios áureos I 2014 Université de Neuchâtel ARTE NUEVO: REVISTA DE ESTUDIOS ÁUREOS CONSEJO DE REDACCIÓN DIRECTOR: Antonio Sánchez Jiménez (Université de Neuchâtel) EDITOR GENERAL: Adrián J. Sáez (Université de Neuchâtel) MIEMBROS DEL CONSEJO Frederick A. de Armas (University of Chicago) Felipe B. Pedraza Jiménez (Universidad de Antonio Carreño (Brown University) Castilla-La Mancha) Santiago Fernández Mosquera (GIC- Pedro Ruiz Pérez (Universidad de Córdoba) Universidade de Santiago de Compostela) Germán Vega García-Luengos (Universidad Robert Folger (Universität Heidelberg) de Valladolid) Agustín de la Granja (Universidad de Julio Vélez Sainz (Universidad Complutense Granada) de Madrid) Ann L. Mackenzie (University of Glasgow) CONSEJO ASESOR EXTERNO Fausta Antonucci (Università di Roma Tre) A. Robert Lauer (University of Oklahoma) Álvaro Baraibar Echevarría (GRISO- Itzíar López Guil (Universität Zürich) Universidad de Navarra) José Manuel Lucía Megías (Universidad Hugo O. Bizzarri (Université de Fribourg) Complutense de Madrid) Manuel Ángel Candelas Colodrón Emmanuel Marigno (Université de Lyon) (Universidad de Vigo) Fernando Plata Parga (Colgate University) Antonio Cortijo Ocaña (University of California, Gonzalo Pontón (Universitat Autònoma de Santa Bárbara) Barcelona) Christophe Couderc (Université Paris Ouest- Marco Presotto (Universitá de Bologna) Nanterre La Défense) Victoriano Roncero (Stony Brook University) Enrico di Pastena (Università di Pisa) Javier Rubiera (Université de Montréal) Raymond Fagel (Universiteit Leyden) Guillermo Serés (Universitat Autònoma de Francisco Florit Durán (Universidad de Murcia) Barcelona) Luis Galván (GRISO-Universidad de Navarra) Diego Símini (Università del Salento) Jorge García-López (Universitat de Girona) Christoph Strosetzki (Universität Münster) Enrique García Santo-Tomás (University of Luc Torres (Université du Havre) Michigan-Ann Arbor) Alejandra Ulla Lorenzo (University College Rafael González Cañal (Universidad de Dublin) Castilla-La Mancha) Marc Vitse (Université de Toulouse-Le Mirail) Carlos M. Gutiérrez (University of Cincinnati) Thomas Weller (Leibniz-Institut für Luis Iglesias Feijoo (GIC-Universidade de Europäische Geschichte, Mainz) Santiago de Compostela) ARTÍCULOS SUMARIO ARTÍCULOS ÁLVAREZ FRANCÉS, LEONOR…………………………………………………………. 1 Fascination for the «Madritsche Apoll»: Lope de Vega in Golden Age Amsterdam ANTONUCCI, FAUSTA ………………………………………………………………...16 Para una relectura intertextual de El médico de su honra de Calderón JANSEN, JEROEN……………………………………………………………................ 40 That is Where God Comes in. Jacob Duym’s Ghedenck-boeck (1606) as Argumentative Discourse MORTIER, BIANCA DU……………………………………………………………...…64 In Search of the Origins of the huik: Did the Spanish Play a Part in Its Introduction? RONCERO, VICTORIANO…………………………………………………………...….75 The Spanish-Dutch War in Spanish 17th Century Painting and Theater SCHOKKENBROEK, JOOST C. A. …………………………………..…………………. 85 Co-operation in Times of War? Basque Expertise and Dutch Entrepreneurship in Arctic Whaling, 1612-1642 SÁEZ, ADRIÁN J. ………………………………………………………….………… 96 Más sobre Saavedra Fajardo en las luchas de papel del siglo XVII: la Carta de un holandés TRAMBAIOLI, MARCELLA………………………………………….………………. 106 El amigo hasta la muerte de Lope de Vega y El gallardo español de Miguel de Cervantes: entre intertextualidad y proyección autobiográfica HORST, DANIEL R. ……………………………………………………………..….. 134 The Duke of Alba: The Ideal Enemy RESEÑAS SÁNCHEZ JIMÉNEZ, ANTONIO……………………………………………………… 155 Cortijo Ocaña, Antonio, La porfía: identidad personal y nacional en Lope de Vega, Barcelona, Anthropos, 2013. ISBN: 978-84-15260-59-2. 253 páginas RUIZ PÉREZ, PEDRO……………………………………………………………..… 157 García Reidy, Alejandro, Las musas rameras. Oficio dramático y conciencia profesional en Lope de Vega, Madrid-Frankfurt, Iberoamericana-Vervuert, 2013. ISBN 978-84-8489-743-9. 440 páginas SÁNCHEZ JIMÉNEZ, ANTONIO…………………………………………………….... 162 Fernández, Laura y Gonzalo Pontón, Lope de Vega. Comedias. Parte XI, 2 vols., Madrid, Gredos, 2012. ISBN: 978-84-89790-00-1. 1074 y 1025 páginas SÁEZ, ADRIÁN J…………………………………………………………………... 170 Couderc, C., y H. Tropé (ed.), La tragédie espagnole et son contexte européen (xvie- xviie siècles), Paris, Presses Sorbonne Nouvelle, 2013. [Travaux du Centre de Recherche sur L’Espagne des XVIe et XVIIe siècles.] ISBN: 978-2-87854-611-8. 272 páginas Álvarez Francés 1 FASCINATION FOR THE «MADRITSCHE APOLL»: LOPE DE VEGA IN GOLDEN AGE AMSTERDAM Leonor Álvarez Francés Universiteit van Amsterdam Fascinación por el «Apolo madrileño»: Lope de Vega en Ámsterdam durante el Siglo de Oro Fascination for the «Madritische Apollo»: Lope de Vega in Golden Age Amsterdam RESUMEN: El presente artículo estudia el modo en que las obras de teatro españolas en su traducción al neerlandés fueron vendidas en Ámsterdam entre 1617 y 1672, con un especial énfasis en las obras de Lope de Vega. La notable popularidad de este autor es analizada en términos cuantitativos y cualitativos; a saber, empleando datos numéricos para identificar cuántas de las obras traducidas eran suyas para después examinar la frecuencia y la manera en que fue mencionado. Este método ha demostrado ofrecer nuevas perspectivas para el estudio de las imágenes de «el otro», dado que la estrategia de venderlas como «españolas» o «neerlandesas» refleja los gustos, intereses y debates predominantes en la sociedad de entonces. PALABRAS CLAVE: Lope de Vega, Siglo de Oro neerlandés, estrategias de mercado, imagología, opinión pública. ABSTRACT: This article studies the manner in which Spanish theatre plays in their Dutch translation were sold in Amsterdam between 1617 and 1672, with an emphasis in Lope de Vega’s works. His remarkable popularity is analysed in quantitative and qualitative terms; that is, employing numeric data concerning how many of the translated plays were his, while also paying attention to how often his name was mentioned and in which fashion. This method has proved insightful when studying images of «the other», for the manner of selling these translations as «Spanish» or «Dutch» reflects the reigning tastes, interests and debates in society. KEY WORDS: Lope de Vega, Dutch Golden Age, marketing strategies, imagology, public opinion. Arte Nuevo, 1, 2014: 1-15 Álvarez Francés 2 It is vox populi that many Spanish drama authors, with Lope de Vega as leading figure, were translated1 in Amsterdam in the Golden Age. Their works became significantly popular in the local theatre, the Schouwburg, which triggered discussions between writers concerning the style they should be employing for their plays, either a classicist one, or that of the nueva comedia. With the opening of the Schouwburg in 1638, the need for theatre plays increased enormously and could not be satisfied by local writers alone. The presence of these translations has as well been analyzed as a proof of the changing taste of the public, which was undoubtedly the case; but they have never been used for further study of images of the other, of the enemy. In her study about the images the Dutch had of the Spanish around 1650, Marijke Meijer Drees states that «there had always been [throughout the seventeenth century] admiration for Spain»2 giving as an example, among other signs, the enormous amount of Dutch literature that was influenced by Spanish examples. However, her research is based on political texts and all of her sources circulated in elite and learned circles. The present paper aims to get closer to the evolution of public opinion concerning the Spanish by studying Lope de Vega’s popularity as well as the manner his plays were brought in the book market of seventeenth-century Amsterdam. Through the study of marketing strategies this article thus contributes to the field of Imagology, which originates in Comparative Literature. Image studies or Imagology is an approach that aims at surveying explicit images of the own nationality as well as those concerning the other identified groups. It was severely criticised -among others- by Wellek in 1963 for its underlying patriotism, which led to a positivistic, nationalist study, and was therefore detrimental to the research3. Accordingly, Imagology has been stripped off an essentialist point of view throughout the twentieth century and images have been progressively regarded as constructed ideas. This implies that researchers do not consider the existence of a ‘Spanish character’ for instance, but rather of an ‘idea of what is Spanish’, either conceived by the Spanish self or by other groups. In addition, the interaction and 1 The terms ‘translation/translated’ and ‘adaptation/adapted’ will be used indistinctly in this article given that no study has been dedicated to establishing the category the great majority of these plays pertain to. 2 Meijer Drees, 1997: 79. 3 Wellek, 1963. Arte Nuevo, 1, 2014: 1-15 Álvarez Francés 3 synchronism of these ideas are taken into account when carrying out an imagological analysis, thus respecting their susceptibility to change in contact with other images and their evolution through time. In 2007 the encyclopaedic compendium Imagology: The cultural construction and literary representation of national characters: A critical survey assembled by editors Beller and Leerssen was published. It reviews the history of images since Antiquity, the history of the field itself, and presents its key concepts and objectives4. Questions I have tried to answer using my sources are: How popular was Lope de Vega? How were
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