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class="ds2-5-heading-sans-serif-sm">Patrizia Botta</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://uniroma1.academia.edu/">Università degli Studi "La Sapienza" di Roma</a>, <a class="u-tcGrayDarker" href="https://uniroma1.academia.edu/Departments/Dipartimento_di_Lettere_e_culture_moderne/Documents">Dipartimento di Lettere e culture moderne</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Patrizia" data-follow-user-id="47152139" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden 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class="data">1</p></div></a><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">hispanic philology<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="47152139" href="https://www.academia.edu/Documents/in/Spanish_Renaissance_and_Baroque_Art"><div id="js-react-on-rails-context" style="display:none" 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class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>137</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Articles-and-Book-chapters" data-toggle="tab" href="#articlesandbookchapters" role="tab" title="Articles and Book chapters"><span>1</span> <span class="ds2-5-body-sm-bold">Articles and Book chapters</span></a></li><li class="nav-chip more-tab" role="presentation"><a class="js-profile-documents-more-tab link-unstyled u-textTruncate" data-toggle="dropdown" role="tab">More  <i class="fa 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class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/109861572/Las_r%C3%BAbricas_en_el_Cancionero_General_de_Resende_II_"><img alt="Research paper thumbnail of Las rúbricas en el Cancionero General de Resende (II)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/109861572/Las_r%C3%BAbricas_en_el_Cancionero_General_de_Resende_II_">Las rúbricas en el Cancionero General de Resende (II)</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper 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data-click-track="profile-work-strip-title" href="https://www.academia.edu/109861569/Orduna_y_el_primer_Romancero_escrito">Orduna y el primer Romancero escrito</a></div><div class="wp-workCard_item"><span>Zenodo (CERN European Organization for Nuclear Research)</span><span>, Dec 1, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este número de Incipit que sale a los veinte años del fallecimiento de Germán Orduna (diciembr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este número de Incipit que sale a los veinte años del fallecimiento de Germán Orduna (diciembre de 1999) para recordarlo como persona y como estudioso, me es muy grato participar con esta breve nota, sea porque tuve el inmenso privilegio de gozar de su amistad, sea porque me impactó mucho en mi formación la lectura de sus escritos. Entre las 175 publicaciones que vienen enumeradas en su Bibliografía completa aparecida en los Studia in honorem Germán Orduna 1 , elegí los trabajos que versan sobre el primer Romancero escrito 2 , que son dos. En realidad, Germán Orduna en toda su carrera le dedicó ocho entregas al Romancero, ya reseñadas por Gloria Chicote (2001b) en una sesión 1 Funes y Moure (2001). La "Bibliografía" al cuidado de Leonardo Funes viene en las pp. 21-32. 2 Me ocupé en cambio de sus trabajos de tema celestinesco en Botta (2000-2001).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3c7d4489c414993c1a8e09bc90433c02" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107858089,"asset_id":109861569,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107858089/download_file?st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109861569"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109861569"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109861569; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=109861569]").text(description); $(".js-view-count[data-work-id=109861569]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 109861569; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='109861569']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 109861569, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3c7d4489c414993c1a8e09bc90433c02" } } $('.js-work-strip[data-work-id=109861569]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":109861569,"title":"Orduna y el primer Romancero escrito","translated_title":"","metadata":{"publisher":"CERN European Organization for Nuclear Research","grobid_abstract":"En este número de Incipit que sale a los veinte años del fallecimiento de Germán Orduna (diciembre de 1999) para recordarlo como persona y como estudioso, me es muy grato participar con esta breve nota, sea porque tuve el inmenso privilegio de gozar de su amistad, sea porque me impactó mucho en mi formación la lectura de sus escritos. 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Entre las 175 publicaciones que vienen enumeradas en su Bibliografía completa aparecida en los Studia in honorem Germán Orduna 1 , elegí los trabajos que versan sobre el primer Romancero escrito 2 , que son dos. En realidad, Germán Orduna en toda su carrera le dedicó ocho entregas al Romancero, ya reseñadas por Gloria Chicote (2001b) en una sesión 1 Funes y Moure (2001). La \"Bibliografía\" al cuidado de Leonardo Funes viene en las pp. 21-32. 2 Me ocupé en cambio de sus trabajos de tema celestinesco en Botta (2000-2001).","owner":{"id":47152139,"first_name":"Patrizia","middle_initials":null,"last_name":"Botta","page_name":"PatriziaBotta","domain_name":"uniroma1","created_at":"2016-04-16T08:34:35.036-07:00","display_name":"Patrizia Botta","url":"https://uniroma1.academia.edu/PatriziaBotta"},"attachments":[{"id":107858089,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107858089/thumbnails/1.jpg","file_name":"ojs_iibicrit__5.pdf","download_url":"https://www.academia.edu/attachments/107858089/download_file?st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Orduna_y_el_primer_Romancero_escrito.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107858089/ojs_iibicrit__5-libre.pdf?1701011605=\u0026response-content-disposition=attachment%3B+filename%3DOrduna_y_el_primer_Romancero_escrito.pdf\u0026Expires=1733923891\u0026Signature=VaHLphs8vlW5H0xZGvkWZW8HYyoODoE4iLB3ugeRar771R7EtpL7wBdyeEVFBrnR7lePVTBunwbnkESh8fStgBvdXBt17vphEfSeHpcNztvCiDbqV9JRzcqIY6VACgvlsgcLO0b9yAzbnvcYcJj4l-2tz1dvAljDdI4s3BgjRzyj1~2fOxLDByU3LLZ8kMUmGHC1ou8InKnMPgS5QJV9MYnyHTvMLmkCQU8JLvL1c9ZPRES8tXNs5~7uA2blQCV7ZlR3y4SaK7aart1LpRzF~dCieZTj2F9lvSk3HTTCivZqujp6K0Q8Q~x7O4n0VOW83CeqI5rGzhgPa1uM3g~weg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[{"id":35901199,"url":"https://zenodo.org/record/7853767/files/ojs_iibicrit,+5.pdf"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="109861565"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/109861565/Sobre_el_uso_del_etc%C3%A9tera_en_i_La_Celestina_i_"><img alt="Research paper thumbnail of Sobre el uso del «etcétera» en <i>La Celestina</i>" class="work-thumbnail" src="https://attachments.academia-assets.com/107858124/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/109861565/Sobre_el_uso_del_etc%C3%A9tera_en_i_La_Celestina_i_">Sobre el uso del «etcétera» en <i>La Celestina</i></a></div><div class="wp-workCard_item"><span>Celestinesca</span><span>, Jan 14, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En la obra de Fernando de Rojas, como es sabido, son muchas las citas de sentencias ajenas, tanto...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En la obra de Fernando de Rojas, como es sabido, son muchas las citas de sentencias ajenas, tanto de tipo culto como popular. Su número, muy elevado, y su gran concentración en algunas partes ha llevado a considerar al texto como una colección de máximas, o mejor, como una «Floresta de Filósofos» o «centón de sentencias» que el autor, con alarde de erudición, brinda a un público de finos entendedores. En algunos casos, se da tan por sentado el conocimiento de la máxima por parte del público que el autor, con suma elegancia y reticencia, corta la sentencia por la mitad y enuncia sólo su primer segmento, resumiendo con un «etcétera» la parte restante de la cita. Esta técnica de lo no dicho, de lo aludido con un «etcétera», por demás de añeja tradición, es un verdadero guiño al lector, ya que hace hincapié en su patrimonio mnemónico y le convida a completar la cita en su recuerdo y a desempeñar un rol activo en la lectura. Por otro lado, se trata de una técnica muy frecuente en La Celestina, y se halla en todas sus partes supuestas como 'separadas' (Auto i, Comedia, Tragicomedia conocidas respectivamente como partes A, B, C). Representa, pues, una constante estilística a lo largo de la obra, un verdadero estilema del autor, y asume el carácter de un elemento unificador que hasta la fecha no se ha tenido en cuenta ni en las discusiones sobre la autoría ni en los estudios estilísticos del texto. Veamos los ejemplos que ofrecen las múltiples redacciones de la obra 1. Cabe distinguir entre casos de «etcétera» propiamente dicho, esto es, usado explícitamente (primera sección) y casos en que el «etcétera» queda 1. Cito por mi edición y para comodidad del lector remito a las ediciones comerciales más difundidas:</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7921b853474ec0a1d17c6cce9ade5475" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107858124,"asset_id":109861565,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107858124/download_file?st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109861565"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109861565"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109861565; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=109861565]").text(description); $(".js-view-count[data-work-id=109861565]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 109861565; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='109861565']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 109861565, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7921b853474ec0a1d17c6cce9ade5475" } } $('.js-work-strip[data-work-id=109861565]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":109861565,"title":"Sobre el uso del «etcétera» en \u003ci\u003eLa Celestina\u003c/i\u003e","translated_title":"","metadata":{"publisher":"University of Valencia","grobid_abstract":"En la obra de Fernando de Rojas, como es sabido, son muchas las citas de sentencias ajenas, tanto de tipo culto como popular. Su número, muy elevado, y su gran concentración en algunas partes ha llevado a considerar al texto como una colección de máximas, o mejor, como una «Floresta de Filósofos» o «centón de sentencias» que el autor, con alarde de erudición, brinda a un público de finos entendedores. En algunos casos, se da tan por sentado el conocimiento de la máxima por parte del público que el autor, con suma elegancia y reticencia, corta la sentencia por la mitad y enuncia sólo su primer segmento, resumiendo con un «etcétera» la parte restante de la cita. Esta técnica de lo no dicho, de lo aludido con un «etcétera», por demás de añeja tradición, es un verdadero guiño al lector, ya que hace hincapié en su patrimonio mnemónico y le convida a completar la cita en su recuerdo y a desempeñar un rol activo en la lectura. 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Su número, muy elevado, y su gran concentración en algunas partes ha llevado a considerar al texto como una colección de máximas, o mejor, como una «Floresta de Filósofos» o «centón de sentencias» que el autor, con alarde de erudición, brinda a un público de finos entendedores. En algunos casos, se da tan por sentado el conocimiento de la máxima por parte del público que el autor, con suma elegancia y reticencia, corta la sentencia por la mitad y enuncia sólo su primer segmento, resumiendo con un «etcétera» la parte restante de la cita. Esta técnica de lo no dicho, de lo aludido con un «etcétera», por demás de añeja tradición, es un verdadero guiño al lector, ya que hace hincapié en su patrimonio mnemónico y le convida a completar la cita en su recuerdo y a desempeñar un rol activo en la lectura. 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P. Botta)" class="work-thumbnail" src="https://attachments.academia-assets.com/98460002/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/96608755/Poesia_y_m%C3%BAsica_en_la_Roma_Barroca_el_cancionero_espa%C3%B1ol_Corsini_625_coord_P_Botta_">Poesia y música en la Roma Barroca:el cancionero español Corsini 625 (coord. P. Botta)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://lumsa.academia.edu/AvivaGarribba">Aviva Garribba</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/PatriziaBotta">Patrizia Botta</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/deboravaccari">debora vaccari</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El manuscrito Corsini 625 es un cancionero poético-musical de principios del s. XVII conservado e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El manuscrito Corsini 625 es un cancionero poético-musical de principios del s. XVII conservado en Roma, en la biblioteca de la Accademia dei Lincei, y es buen ejemplo de la gran vitalidad de la poesía española en Italia. Los 33 poemas recogidos pertenecen a la veta de la lírica hispánica tradicional y entre ellos destacan romances, letrillas satíricas, y varias pervivencias medievales. Algunos son de autores famosos, como Lope, Quevedo y Alcázar. Lo peculiar del cancionero es el alto número de poemas únicos que no constan en otras fuentes y que permanecieron inéditos hasta ahora. Otros textos, en cambio, solo circularon en Italia. También salientes son las variantes textuales, a menudo arcaicas y alejadas de las fuentes españolas de la época. La edición y el estudio del manuscrito fueron llevados a cabo por un equipo de ocho investigadores entre filólogos (Patrizia Botta, Aviva Garribba, Massimo Marini y Debora Vaccari), musicólogos (Francesco Zimei), paleógrafos (Cristina Mantegna y Francesca Santoni) e historiadores (Isabella Iannuzzi).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="36903e17760a449f3f9bba8d2c68b2e0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98460002,"asset_id":96608755,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98460002/download_file?st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96608755"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96608755"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96608755; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96608755]").text(description); $(".js-view-count[data-work-id=96608755]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96608755; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96608755']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96608755, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "36903e17760a449f3f9bba8d2c68b2e0" } } $('.js-work-strip[data-work-id=96608755]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96608755,"title":"Poesia y música en la Roma Barroca:el cancionero español Corsini 625 (coord. 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XVII conservado en Roma, en la biblioteca de la Accademia dei Lincei, y es buen ejemplo de la gran vitalidad de la poesía española en Italia. Los 33 poemas recogidos pertenecen a la veta de la lírica hispánica tradicional y entre ellos destacan romances, letrillas satíricas, y varias pervivencias medievales. Algunos son de autores famosos, como Lope, Quevedo y Alcázar. Lo peculiar del cancionero es el alto número de poemas únicos que no constan en otras fuentes y que permanecieron inéditos hasta ahora. Otros textos, en cambio, solo circularon en Italia. También salientes son las variantes textuales, a menudo arcaicas y alejadas de las fuentes españolas de la época. 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Patrizia Botta-Aviva Garribba-Massimo Marini-Debora Vaccari <a href="http://revistes.uab.cat/anuariolopedevega" rel="nofollow">http://revistes.uab.cat/anuariolopedevega</a> sources); 3) «Aquel sangriento paño descogiendo» (three octaves of endecasílabos extracted from the tragicomedia El bastardo Mudarra of 1612, referring to the famous line by Garcilaso, Ay dulces prendas por mi mal halladas). The three Roman versions are edited and their text is studied.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="896d8fca1cd4a41c99007b83e95c1cff" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98277506,"asset_id":96329638,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98277506/download_file?st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96329638"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96329638"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96329638; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96329638]").text(description); $(".js-view-count[data-work-id=96329638]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96329638; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96329638']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96329638, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "896d8fca1cd4a41c99007b83e95c1cff" } } $('.js-work-strip[data-work-id=96329638]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96329638,"title":"Versiones romanas de tres textos de Lope","translated_title":"","metadata":{"volume":"25","publisher":"Universitat Autonoma de Barcelona","grobid_abstract":"http://revistes.uab.cat/anuariolopedevega VERSIONES ROMANAS DE TRES TEXTOS DE LOPE* 1 * La autoría de este trabajo se distribuye así: el apartado 0) es de Patrizia Botta, los apartados 1) y 2) de Debora Vaccari, el 3a) de Aviva Garribba y el 3b) de Massimo Marini. 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En estas páginas se ilustra el panorama general y el ciclo que constituyen y luego se examina uno de los textos tardíos, el publicado por un sefardí portugués en Amsterdam en 1688, que también pervivió en versiones musicales y satíricas en España y América latina.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="27a81d290f5a68067c97b98a8fa1c9fa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98258854,"asset_id":96331092,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98258854/download_file?st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96331092"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96331092"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96331092; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96331092]").text(description); $(".js-view-count[data-work-id=96331092]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96331092; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96331092']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96331092, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "27a81d290f5a68067c97b98a8fa1c9fa" } } $('.js-work-strip[data-work-id=96331092]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96331092,"title":"Inés de Castro en el Romancero áureo: Don Pedro a quien los crueles","translated_title":"","metadata":{"abstract":"La figura de Inés de Castro en los Siglos de Oro ha inspirado varios romances, en su mayoría en lengua española. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="96331089"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/96331089/La_magia_en_La_Celestina"><img alt="Research paper thumbnail of La magia en La Celestina" class="work-thumbnail" src="https://attachments.academia-assets.com/98258890/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/96331089/La_magia_en_La_Celestina">La magia en La Celestina</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Hablar de la magia en La Celestina (=LC) significa hablar de uno de los temas que más han sido di...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Hablar de la magia en La Celestina (=LC) significa hablar de uno de los temas que más han sido discutidos por los estudiosos celestinistas de todos los tiempos, desde las primeras alusiones en la época del mismo Rojas, hasta las más animadas polémicas de nuestros días. Se lía discutido sobre varíos puntos: sobre si la magia realmente existe en la obra, sobre el papel que pueda tener en el desarrollo de la acción dramática, sobre si Rojas creía realníente en sus efectos, sobre si Melibea es víctima de los hechizos de Celestina o si en cambio cae en la trampa de su incuestionable arte de persuasión. Se han preguntado adeniás los críticos si Celestina es bruja o es tan sólo hechicera, y en fin si el Diablo, invocado por la alcahueta, es algo meramente accesorio y ornamental o bien si interviene activamente a modificar la trama y a marcar el rumbo de los acontecimientos dramáticos. * En las páginas que se siguen se publica el texto de una conferencia leída en Almería en 1991 en oeasi~n de los «Cursos de Vera mio de la Universidad Complutense» (el curso, tiulado « Magia Alqui mia y Astrología en la Edad Media», fue di rigi do por el prof. Nicasio Salvador Miguel y t uva lugar del 29 de jul o al 2 de ag¿ís lo). Coma el programado val limen coleeti va ta rdase en aparecer, hemos jurete mido publicar la con terencia en las páginas de Dicea ¿la, que mmi uy amabí eme mime nos han sido proporcionadas por su Dired nr, al que quedamas muy agradecidos. rmatámiclose de un texto ama!, hemos que mido dejarlo tal cual estaba, mio aport anclo ni mielina clase (le correcciones e imiel uso ma mil e mien iencía las me feremicias al púbí ca estante, sin retocar siquiera las notas ni poner al día la bibliografía. Convencidos cíe que toda revisión después deun par de aflos implica inevitablemente una nueva estructuración dci t ma baj o entero, preferimos Ii mil arnas a publicar lo que pemisá banios a la altura del ve ma no cíe 1991. ma mite mi ie mida el est i o oral (le su exposí ci un</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="73966b8488e1f1973e1ea6ffb4f8f0ad" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98258890,"asset_id":96331089,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98258890/download_file?st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96331089"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96331089"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96331089; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96331089]").text(description); $(".js-view-count[data-work-id=96331089]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96331089; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96331089']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96331089, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "73966b8488e1f1973e1ea6ffb4f8f0ad" } } $('.js-work-strip[data-work-id=96331089]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96331089,"title":"La magia en La Celestina","translated_title":"","metadata":{"grobid_abstract":"Hablar de la magia en La Celestina (=LC) significa hablar de uno de los temas que más han sido discutidos por los estudiosos celestinistas de todos los tiempos, desde las primeras alusiones en la época del mismo Rojas, hasta las más animadas polémicas de nuestros días. 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Coma el programado val limen coleeti va ta rdase en aparecer, hemos jurete mido publicar la con terencia en las páginas de Dicea ¿la, que mmi uy amabí eme mime nos han sido proporcionadas por su Dired nr, al que quedamas muy agradecidos. rmatámiclose de un texto ama!, hemos que mido dejarlo tal cual estaba, mio aport anclo ni mielina clase (le correcciones e imiel uso ma mil e mien iencía las me feremicias al púbí ca estante, sin retocar siquiera las notas ni poner al día la bibliografía. 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Entre las 175 publicaciones que vienen enumeradas en su Bibliografía completa aparecida en los Studia in honorem Germán Orduna 1 , elegí los trabajos que versan sobre el primer Romancero escrito 2 , que son dos. En realidad, Germán Orduna en toda su carrera le dedicó ocho entregas al Romancero, ya reseñadas por Gloria Chicote (2001b) en una sesión 1 Funes y Moure (2001). La "Bibliografía" al cuidado de Leonardo Funes viene en las pp. 21-32. 2 Me ocupé en cambio de sus trabajos de tema celestinesco en Botta (2000-2001).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3c7d4489c414993c1a8e09bc90433c02" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107858089,"asset_id":109861569,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107858089/download_file?st=MTczMzkyMDI5Miw4LjIyMi4yMDguMTQ2&st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109861569"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109861569"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109861569; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=109861569]").text(description); $(".js-view-count[data-work-id=109861569]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 109861569; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='109861569']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 109861569, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3c7d4489c414993c1a8e09bc90433c02" } } $('.js-work-strip[data-work-id=109861569]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":109861569,"title":"Orduna y el primer Romancero escrito","translated_title":"","metadata":{"publisher":"CERN European Organization for Nuclear Research","grobid_abstract":"En este número de Incipit que sale a los veinte años del fallecimiento de Germán Orduna (diciembre de 1999) para recordarlo como persona y como estudioso, me es muy grato participar con esta breve nota, sea porque tuve el inmenso privilegio de gozar de su amistad, sea porque me impactó mucho en mi formación la lectura de sus escritos. 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Su número, muy elevado, y su gran concentración en algunas partes ha llevado a considerar al texto como una colección de máximas, o mejor, como una «Floresta de Filósofos» o «centón de sentencias» que el autor, con alarde de erudición, brinda a un público de finos entendedores. En algunos casos, se da tan por sentado el conocimiento de la máxima por parte del público que el autor, con suma elegancia y reticencia, corta la sentencia por la mitad y enuncia sólo su primer segmento, resumiendo con un «etcétera» la parte restante de la cita. Esta técnica de lo no dicho, de lo aludido con un «etcétera», por demás de añeja tradición, es un verdadero guiño al lector, ya que hace hincapié en su patrimonio mnemónico y le convida a completar la cita en su recuerdo y a desempeñar un rol activo en la lectura. Por otro lado, se trata de una técnica muy frecuente en La Celestina, y se halla en todas sus partes supuestas como 'separadas' (Auto i, Comedia, Tragicomedia conocidas respectivamente como partes A, B, C). Representa, pues, una constante estilística a lo largo de la obra, un verdadero estilema del autor, y asume el carácter de un elemento unificador que hasta la fecha no se ha tenido en cuenta ni en las discusiones sobre la autoría ni en los estudios estilísticos del texto. Veamos los ejemplos que ofrecen las múltiples redacciones de la obra 1. Cabe distinguir entre casos de «etcétera» propiamente dicho, esto es, usado explícitamente (primera sección) y casos en que el «etcétera» queda 1. Cito por mi edición y para comodidad del lector remito a las ediciones comerciales más difundidas:</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7921b853474ec0a1d17c6cce9ade5475" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107858124,"asset_id":109861565,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107858124/download_file?st=MTczMzkyMDI5Miw4LjIyMi4yMDguMTQ2&st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109861565"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109861565"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109861565; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=109861565]").text(description); $(".js-view-count[data-work-id=109861565]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 109861565; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='109861565']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 109861565, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7921b853474ec0a1d17c6cce9ade5475" } } $('.js-work-strip[data-work-id=109861565]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":109861565,"title":"Sobre el uso del «etcétera» en \u003ci\u003eLa Celestina\u003c/i\u003e","translated_title":"","metadata":{"publisher":"University of Valencia","grobid_abstract":"En la obra de Fernando de Rojas, como es sabido, son muchas las citas de sentencias ajenas, tanto de tipo culto como popular. 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Por otro lado, se trata de una técnica muy frecuente en La Celestina, y se halla en todas sus partes supuestas como 'separadas' (Auto i, Comedia, Tragicomedia conocidas respectivamente como partes A, B, C). Representa, pues, una constante estilística a lo largo de la obra, un verdadero estilema del autor, y asume el carácter de un elemento unificador que hasta la fecha no se ha tenido en cuenta ni en las discusiones sobre la autoría ni en los estudios estilísticos del texto. Veamos los ejemplos que ofrecen las múltiples redacciones de la obra 1. Cabe distinguir entre casos de «etcétera» propiamente dicho, esto es, usado explícitamente (primera sección) y casos en que el «etcétera» queda 1. 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P. Botta)" class="work-thumbnail" src="https://attachments.academia-assets.com/98460002/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/96608755/Poesia_y_m%C3%BAsica_en_la_Roma_Barroca_el_cancionero_espa%C3%B1ol_Corsini_625_coord_P_Botta_">Poesia y música en la Roma Barroca:el cancionero español Corsini 625 (coord. P. Botta)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://lumsa.academia.edu/AvivaGarribba">Aviva Garribba</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/PatriziaBotta">Patrizia Botta</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/deboravaccari">debora vaccari</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El manuscrito Corsini 625 es un cancionero poético-musical de principios del s. XVII conservado e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El manuscrito Corsini 625 es un cancionero poético-musical de principios del s. XVII conservado en Roma, en la biblioteca de la Accademia dei Lincei, y es buen ejemplo de la gran vitalidad de la poesía española en Italia. Los 33 poemas recogidos pertenecen a la veta de la lírica hispánica tradicional y entre ellos destacan romances, letrillas satíricas, y varias pervivencias medievales. Algunos son de autores famosos, como Lope, Quevedo y Alcázar. Lo peculiar del cancionero es el alto número de poemas únicos que no constan en otras fuentes y que permanecieron inéditos hasta ahora. Otros textos, en cambio, solo circularon en Italia. También salientes son las variantes textuales, a menudo arcaicas y alejadas de las fuentes españolas de la época. 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Patrizia Botta-Aviva Garribba-Massimo Marini-Debora Vaccari <a href="http://revistes.uab.cat/anuariolopedevega" rel="nofollow">http://revistes.uab.cat/anuariolopedevega</a> sources); 3) «Aquel sangriento paño descogiendo» (three octaves of endecasílabos extracted from the tragicomedia El bastardo Mudarra of 1612, referring to the famous line by Garcilaso, Ay dulces prendas por mi mal halladas). The three Roman versions are edited and their text is studied.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="896d8fca1cd4a41c99007b83e95c1cff" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98277506,"asset_id":96329638,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98277506/download_file?st=MTczMzkyMDI5Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96329638"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96329638"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96329638; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96329638]").text(description); $(".js-view-count[data-work-id=96329638]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96329638; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96329638']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96329638, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "896d8fca1cd4a41c99007b83e95c1cff" } } $('.js-work-strip[data-work-id=96329638]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96329638,"title":"Versiones romanas de tres textos de Lope","translated_title":"","metadata":{"volume":"25","publisher":"Universitat Autonoma de Barcelona","grobid_abstract":"http://revistes.uab.cat/anuariolopedevega VERSIONES ROMANAS DE TRES TEXTOS DE LOPE* 1 * La autoría de este trabajo se distribuye así: el apartado 0) es de Patrizia Botta, los apartados 1) y 2) de Debora Vaccari, el 3a) de Aviva Garribba y el 3b) de Massimo Marini. 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En estas páginas se ilustra el panorama general y el ciclo que constituyen y luego se examina uno de los textos tardíos, el publicado por un sefardí portugués en Amsterdam en 1688, que también pervivió en versiones musicales y satíricas en España y América latina.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="27a81d290f5a68067c97b98a8fa1c9fa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98258854,"asset_id":96331092,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98258854/download_file?st=MTczMzkyMDI5Miw4LjIyMi4yMDguMTQ2&st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96331092"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96331092"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96331092; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96331092]").text(description); $(".js-view-count[data-work-id=96331092]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96331092; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96331092']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96331092, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "27a81d290f5a68067c97b98a8fa1c9fa" } } $('.js-work-strip[data-work-id=96331092]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96331092,"title":"Inés de Castro en el Romancero áureo: Don Pedro a quien los crueles","translated_title":"","metadata":{"abstract":"La figura de Inés de Castro en los Siglos de Oro ha inspirado varios romances, en su mayoría en lengua española. 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Se lía discutido sobre varíos puntos: sobre si la magia realmente existe en la obra, sobre el papel que pueda tener en el desarrollo de la acción dramática, sobre si Rojas creía realníente en sus efectos, sobre si Melibea es víctima de los hechizos de Celestina o si en cambio cae en la trampa de su incuestionable arte de persuasión. Se han preguntado adeniás los críticos si Celestina es bruja o es tan sólo hechicera, y en fin si el Diablo, invocado por la alcahueta, es algo meramente accesorio y ornamental o bien si interviene activamente a modificar la trama y a marcar el rumbo de los acontecimientos dramáticos. * En las páginas que se siguen se publica el texto de una conferencia leída en Almería en 1991 en oeasi~n de los «Cursos de Vera mio de la Universidad Complutense» (el curso, tiulado « Magia Alqui mia y Astrología en la Edad Media», fue di rigi do por el prof. Nicasio Salvador Miguel y t uva lugar del 29 de jul o al 2 de ag¿ís lo). Coma el programado val limen coleeti va ta rdase en aparecer, hemos jurete mido publicar la con terencia en las páginas de Dicea ¿la, que mmi uy amabí eme mime nos han sido proporcionadas por su Dired nr, al que quedamas muy agradecidos. rmatámiclose de un texto ama!, hemos que mido dejarlo tal cual estaba, mio aport anclo ni mielina clase (le correcciones e imiel uso ma mil e mien iencía las me feremicias al púbí ca estante, sin retocar siquiera las notas ni poner al día la bibliografía. Convencidos cíe que toda revisión después deun par de aflos implica inevitablemente una nueva estructuración dci t ma baj o entero, preferimos Ii mil arnas a publicar lo que pemisá banios a la altura del ve ma no cíe 1991. ma mite mi ie mida el est i o oral (le su exposí ci un</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="73966b8488e1f1973e1ea6ffb4f8f0ad" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98258890,"asset_id":96331089,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98258890/download_file?st=MTczMzkyMDI5Miw4LjIyMi4yMDguMTQ2&st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96331089"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96331089"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96331089; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96331089]").text(description); $(".js-view-count[data-work-id=96331089]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96331089; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96331089']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96331089, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "73966b8488e1f1973e1ea6ffb4f8f0ad" } } $('.js-work-strip[data-work-id=96331089]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96331089,"title":"La magia en La Celestina","translated_title":"","metadata":{"grobid_abstract":"Hablar de la magia en La Celestina (=LC) significa hablar de uno de los temas que más han sido discutidos por los estudiosos celestinistas de todos los tiempos, desde las primeras alusiones en la época del mismo Rojas, hasta las más animadas polémicas de nuestros días. Se lía discutido sobre varíos puntos: sobre si la magia realmente existe en la obra, sobre el papel que pueda tener en el desarrollo de la acción dramática, sobre si Rojas creía realníente en sus efectos, sobre si Melibea es víctima de los hechizos de Celestina o si en cambio cae en la trampa de su incuestionable arte de persuasión. Se han preguntado adeniás los críticos si Celestina es bruja o es tan sólo hechicera, y en fin si el Diablo, invocado por la alcahueta, es algo meramente accesorio y ornamental o bien si interviene activamente a modificar la trama y a marcar el rumbo de los acontecimientos dramáticos. * En las páginas que se siguen se publica el texto de una conferencia leída en Almería en 1991 en oeasi~n de los «Cursos de Vera mio de la Universidad Complutense» (el curso, tiulado « Magia Alqui mia y Astrología en la Edad Media», fue di rigi do por el prof. Nicasio Salvador Miguel y t uva lugar del 29 de jul o al 2 de ag¿ís lo). Coma el programado val limen coleeti va ta rdase en aparecer, hemos jurete mido publicar la con terencia en las páginas de Dicea ¿la, que mmi uy amabí eme mime nos han sido proporcionadas por su Dired nr, al que quedamas muy agradecidos. rmatámiclose de un texto ama!, hemos que mido dejarlo tal cual estaba, mio aport anclo ni mielina clase (le correcciones e imiel uso ma mil e mien iencía las me feremicias al púbí ca estante, sin retocar siquiera las notas ni poner al día la bibliografía. Convencidos cíe que toda revisión después deun par de aflos implica inevitablemente una nueva estructuración dci t ma baj o entero, preferimos Ii mil arnas a publicar lo que pemisá banios a la altura del ve ma no cíe 1991. ma mite mi ie mida el est i o oral (le su exposí ci un","publication_date":{"day":null,"month":null,"year":1994,"errors":{}},"grobid_abstract_attachment_id":98258890},"translated_abstract":null,"internal_url":"https://www.academia.edu/96331089/La_magia_en_La_Celestina","translated_internal_url":"","created_at":"2023-02-05T03:56:56.462-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":47152139,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":98258890,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/98258890/thumbnails/1.jpg","file_name":"oaiart.pdf","download_url":"https://www.academia.edu/attachments/98258890/download_file?st=MTczMzkyMDI5Miw4LjIyMi4yMDguMTQ2&st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_magia_en_La_Celestina.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/98258890/oaiart-libre.pdf?1675598744=\u0026response-content-disposition=attachment%3B+filename%3DLa_magia_en_La_Celestina.pdf\u0026Expires=1733923891\u0026Signature=L7NSqzkDDLkGJ3zutNl7e7BU8GX8HytluFC8dbSs4e1InMBfxsYTkWstWmRLZtysu1zRxDRRdaBUg4vXxVXC8zWo6tch70rPTz~B-D-0moR0PqHkjgFHXhp0YqtYt25wqDX2BstYRRvs8CJurP9U05oslyXryLOdME-FFSh-Pd07A~wZdC2XQ8ugcE81qJuxN2XlUaJsBeKzfx7WPSDZxQl4V-uBNU57viggi67ThGs-0xMnGCdQ5M0q41vGn87vpQCVNuySF5ZBC1Np5Ld5YEqlnZxTAky2H0ozu-u8qGwH0zHm0deE7x6RXzt84zQye6wwxeQLchGqPtK4QJ7uZg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"La_magia_en_La_Celestina","translated_slug":"","page_count":31,"language":"es","content_type":"Work","summary":"Hablar de la magia en La Celestina (=LC) significa hablar de uno de los temas que más han sido discutidos por los estudiosos celestinistas de todos los tiempos, desde las primeras alusiones en la época del mismo Rojas, hasta las más animadas polémicas de nuestros días. Se lía discutido sobre varíos puntos: sobre si la magia realmente existe en la obra, sobre el papel que pueda tener en el desarrollo de la acción dramática, sobre si Rojas creía realníente en sus efectos, sobre si Melibea es víctima de los hechizos de Celestina o si en cambio cae en la trampa de su incuestionable arte de persuasión. Se han preguntado adeniás los críticos si Celestina es bruja o es tan sólo hechicera, y en fin si el Diablo, invocado por la alcahueta, es algo meramente accesorio y ornamental o bien si interviene activamente a modificar la trama y a marcar el rumbo de los acontecimientos dramáticos. * En las páginas que se siguen se publica el texto de una conferencia leída en Almería en 1991 en oeasi~n de los «Cursos de Vera mio de la Universidad Complutense» (el curso, tiulado « Magia Alqui mia y Astrología en la Edad Media», fue di rigi do por el prof. Nicasio Salvador Miguel y t uva lugar del 29 de jul o al 2 de ag¿ís lo). Coma el programado val limen coleeti va ta rdase en aparecer, hemos jurete mido publicar la con terencia en las páginas de Dicea ¿la, que mmi uy amabí eme mime nos han sido proporcionadas por su Dired nr, al que quedamas muy agradecidos. rmatámiclose de un texto ama!, hemos que mido dejarlo tal cual estaba, mio aport anclo ni mielina clase (le correcciones e imiel uso ma mil e mien iencía las me feremicias al púbí ca estante, sin retocar siquiera las notas ni poner al día la bibliografía. 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El códice es de origen andaluz y de fecha temprana (1570-1580) y pertenece, pues, a la misma época y a la misma zona en que se van formando las primeras colecciones de Padilla. Del cotejo entre los testimonios se concluye que este manuscrito nos guarda lecturas arcaicas y a menudo coincidentes con la redacción primitiva del Autógrafo de Padilla y asimismo que es depositario de estrofas y versos que se perdieron en el resto de la tradición.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f10075acd1b6d069f64e7f9a9e3110c4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98258831,"asset_id":96331078,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98258831/download_file?st=MTczMzkyMDI5Miw4LjIyMi4yMDguMTQ2&st=MTczMzkyMDI5MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96331078"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96331078"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96331078; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96331078]").text(description); $(".js-view-count[data-work-id=96331078]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96331078; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96331078']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96331078, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f10075acd1b6d069f64e7f9a9e3110c4" } } $('.js-work-strip[data-work-id=96331078]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96331078,"title":"Cinco poemas de Padilla en la versión del Ms. Reg.Lat. 1635","translated_title":"","metadata":{"abstract":"En la entrega se estudia la difusión en Italia de los poemas de Padilla y se analizan las variantes de cinco textos documentados en los florilegios del autor (el Autógrafo y dos impresos por él cuidados) y en un cancionero conservado en Roma, el manuscrito de la Biblioteca Vaticana Reg.Lat.1635 que perteneció a la reina Cristina de Suecia. 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