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"Un maravilloso tapiz": Luis de Aranda, the Renaissance Glosa, and Its Readers

"Un maravilloso tapiz": Luis de Aranda, the Renaissance Glosa, and Its Readers <p>ABSTRACT:</p><p>The verse <i>glosa</i> emerged in sixteenth-century Spain as an important means of shaping the Renaissance reception of late medieval poetry, with the composition and publication of <i>glosas</i> on ballads and <i>can- cionero</i> verse. Building on recent scholarship, which has increasingly considered the verse <i>glosa</i> as an intertextual process, this article seeks to sketch out further lines of inquiry into the form&apos;s relationship with early modern concepts of authorship and poetic creativity. An examination of the Renaissance glosses composed by Luis de Aranda on key works of <i>cancionero</i> verse, along with their print and manuscript transmission, reveals that the <i>glosa</i> was understood as an authorial, and marketable, print product, as well as a creative, and often ambiguous, process through which the medieval poets of the past were canonized and the glossator might fashion himself as an author. The article concludes by considering how contemporary readers may have engaged with the <i>glosa</i>.</p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Hispanic Review University of Pennsylvania Press

"Un maravilloso tapiz": Luis de Aranda, the Renaissance Glosa, and Its Readers

Hispanic Review , Volume 86 (1) – Feb 9, 2018

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Publisher
University of Pennsylvania Press
Copyright
Copyright © 2008 University of Pennsylvania Press.
ISSN
1553-0639

Abstract

<p>ABSTRACT:</p><p>The verse <i>glosa</i> emerged in sixteenth-century Spain as an important means of shaping the Renaissance reception of late medieval poetry, with the composition and publication of <i>glosas</i> on ballads and <i>can- cionero</i> verse. Building on recent scholarship, which has increasingly considered the verse <i>glosa</i> as an intertextual process, this article seeks to sketch out further lines of inquiry into the form&apos;s relationship with early modern concepts of authorship and poetic creativity. An examination of the Renaissance glosses composed by Luis de Aranda on key works of <i>cancionero</i> verse, along with their print and manuscript transmission, reveals that the <i>glosa</i> was understood as an authorial, and marketable, print product, as well as a creative, and often ambiguous, process through which the medieval poets of the past were canonized and the glossator might fashion himself as an author. The article concludes by considering how contemporary readers may have engaged with the <i>glosa</i>.</p>

Journal

Hispanic ReviewUniversity of Pennsylvania Press

Published: Feb 9, 2018

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