The repertoire of historic romances composed by Lorenzo de Sepúlveda since Crónica de Alfonso el sabio of Ocampo, was printed and circulated from the mid-xvith Century. We assume it reached a remarkable success, as it was printed at least 12 times (some, like the edition of Medina del Campo of 1562 were unknown until few years ago). It represents not only an example of canonization of a literary genre such as erudite epic poem, but it also gives us a very interesting testimony of how a literary work was first and foremost an editorial product, subject to the law of demand and supply, and therefore subject of a fierce competition between printers, as well as it was reproposed in many products such as rewrites, manipulations, remakes, in the perspective of a constant dynamism.

El Cancionero de romances de Lorenzo de Sepúlveda entre constantes y reescrituras

P. Laskaris
2019

Abstract

The repertoire of historic romances composed by Lorenzo de Sepúlveda since Crónica de Alfonso el sabio of Ocampo, was printed and circulated from the mid-xvith Century. We assume it reached a remarkable success, as it was printed at least 12 times (some, like the edition of Medina del Campo of 1562 were unknown until few years ago). It represents not only an example of canonization of a literary genre such as erudite epic poem, but it also gives us a very interesting testimony of how a literary work was first and foremost an editorial product, subject to the law of demand and supply, and therefore subject of a fierce competition between printers, as well as it was reproposed in many products such as rewrites, manipulations, remakes, in the perspective of a constant dynamism.
978-84-17107-95-6
El repertorio de romances históricos compuestos con explícito intento divulgativo por Lorenzo de Sepúlveda a partir de la Crónica de Alfonso el sabio de Ocampo y que circuló impreso a partir de mediados del siglo xvi, alcanzando un notable éxito editorial (se conocen ejemplares de 12 ediciones del repertorio), no solo representa un ejemplo de canonización de un género literario como el del romancero erudito, sino que nos brinda un testimonio muy interesante —por la propia articulación y variedad de las 12 ediciones conocidas, algunas hasta ahora ignoradas (como la de Medina del Campo de 1562)— de cómo una obra literaria fuese ante todo un producto editorial, sujeto a la ley de demanda y oferta, y por lo tanto objeto de una encarnizada competición entre impresores, y susceptible de reescrituras, manipulaciones, refundiciones, en la perspectiva de un constante dinamismo.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11586/256973
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