Garcilaso de la Vega by Luis Merino-Jerez
According to the branch-like theory within textual analysis, in the ommentary of Garcilaso’s sonn... more According to the branch-like theory within textual analysis, in the ommentary of Garcilaso’s sonnet 7 El Brocense takes only the direct sources (Horacio, carm., 1, 5; and Bernardo Tasso), so that the reader can appreciate the commendable work of the poet. In the Anotaciones Herrera follows a different path from that established by El Brocense and in order to do that he widens the number of critical works (some are mere parallelisms) at the time that ighlights the influence of Virgilius (Aen. 12, 766- 769), accepting at face value his primacy in the imitation of Garcilaso.
As far as the adaptation of the topos is concerned, Garcilaso follows the same line of interpretation set up by the commentators of Horace (Pseudo-Acrón, Porfirión, Mancinelli and Landino) introducing an explicative comparison in the metaphor of the castaway lover («ha ya escapado/ libre de la tormenta en que se vido») which shows the lexical distinction stablished in Horace’s annotations between the castaway (euadere maris
pericula) and the lover (amore liberatus). Finally, Horace’s translations (carm. 1, 5), which are made by the commentators of Garcilaso (El Brocense and Jerónimo de los Cobos), are influenced by the text of sonnet 7.
Memory and Rhetoric by Luis Merino-Jerez
Daphnis , 2022
The Ars Memorativa by Publicius experienced a dilated process of transmission through an ample nu... more The Ars Memorativa by Publicius experienced a dilated process of transmission through an ample number of manuscripts and incunabula, which culminated in the edition of 1485 by Ratdolt. In the history of the text of Publicius's Ars memorativa the mss. add. 28805 from the British Library is very important, as it represents a different version of the text from that of the printed texts. It also includes illustrations of the doctrine that relate it to other manuscripts such as the MS 50D from the Winchester College Fellows' Library and the Cod. min. 113 from the Stadtbibliothek in Schaffhausen.
El teólogo en la España de la temprana modernidad, 2023
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
Archivum Fratrum Praedicatorum, 6, 2021
With this work, we intend to place the composition and publication of the Congestorium artificios... more With this work, we intend to place the composition and publication of the Congestorium artificiose memorie in the historical context of the author, Johannes Romberch. It considers that Romberch completed the work in 1513 (?) in a convent in the Dominican province of Teutonia, but he did publish it until 1520 in Venice. The time elapsed from the composition to the publication of the Congestorium largely coincides with Romberch’s journey through Italy, who left Cologne probably in 1514 and came back in 1520, after remaining in Rome, Bologna, and Venice. This period also coincides with the wellknown process against the humanist Johannes Reuchlin. Our purpose is, therefore, to discover the fundamental milestones of Romberch’s life and work in this period, examining possible connections in the development of the process against Reuchlin, in which Romberch played a secondary role. To this end, we will collect and analyze the information provided by the dedicatory epistles that serve as an introduction to the different works that Romberch published in Italy
between 1517 and 1520. In these epistles, Romberch gives an account
on the most important milestones of his career as a Dominican and
allows establishing the proper contextualization of the different works that he composed, especially the Congestorium artificiose memorie.
Ágora. Estudos Clássicos em Debate., 2022
The Oratio pro memoria by N. Mameranus is a plea in defence of memory presented in the context of... more The Oratio pro memoria by N. Mameranus is a plea in defence of memory presented in the context of the orationes quodlibeticae held in 1560 at the University of Louvain. Mameranus criticises the practice of reading speeches in writing. This chartaceus et sedentarius orator Mameranus does not consider him worthy of being called an orator. The main argument against reading is the tedium it causes in the audience and the inability to move the affections of the listeners. He proposes that memory should be reestablished as an essential part of oratorical practice.
Ágora. Estudos Clássicos em Debate, 2022
Aprendizaje significativo en Publicio: de las partes orationis gramaticales a la compositio retór... more Aprendizaje significativo en Publicio: de las partes orationis gramaticales a la compositio retórica Carlos Salvador-Universidad de Extremadura La memoria local en los manuales de Ianuae linguarum
Revista de Estudios Latinos, 2020
From the very title of the text (Congestorium) the idea has imposed itself that Romberch’s Conges... more From the very title of the text (Congestorium) the idea has imposed itself that Romberch’s Congestorium artificiose memorie is no more than a complex accumulation of materials about memory, from which only the doctrine concerning loci deserves to be rescued, to a large extent, because it serves to explain the texts of other authors who preceded him, like Publicius, and, like Dolce, those who followed him in the long history of the art of memory. And these are precisely the points with which this work will be concerned: first of all, to outline the context in which the work was composed; second, to specify the actual meaning of the term Congestorium from the influence of the humanist Iohannes Reuchlin; and third, to consider to what extent the use of classical sources and the recognized authority of authors such as Publicius, Petrus Ravennas, and Reuchlin allow us to catch some glimpses of a humanistic sensibility in Romberch, beyond his close relationship with the inquisitor of Cologne, Hoogstraten.
AUC PHILOLOGICA, 2020
Three stages can be distinguished in the history of the printed text of Iacobus Publicius's Ars m... more Three stages can be distinguished in the history of the printed text of Iacobus Publicius's Ars memorativa. The first one comprises two volumes pu blished in Toulouse and Paris, around 1477. The same stage in the composition of the text is also to be found in a later edition (around 1489). Two versions have been preserved of the second stage of the text: the version that is possibly earlier in time (around 1481) lacks tituli and even omits the author's name. It also contains several engravings, all of them with moving parts, representing the combination of imagines and literae reales. The second version of this second stage was published in Venice in 1482 at the Ratdolt printing press. The Ars memorativa was associated with two rhetorical treatises (Institutiones oratoriae and Ars epistolandi), and the resulting volume was published under the generic title Oratoriae artis epitomata. This version includes a mnemonic alphabet that largely coincides with the one presented in the 1481 version, although now almost all images are fixed. Regarding the text, the main novelty is a profound rearrangement of the contents throughout all the books. The last stage (1485, by Ratdolt) wants to achieve two aims: put the three books on the same level despite having been clearly in favour of the first one before, and homogenize the content of each of the three books. The result is a well-balanced work from a doctrinal point of view and an interesting one from the editorial, which both surely explain much of its success.
This paper aims to show the relationship between Benito Arias
Montano’s rhetoric theory of actio ... more This paper aims to show the relationship between Benito Arias
Montano’s rhetoric theory of actio exposed in his Rhetoricorum libri quattuor (1569), and composition of the emblems in his Humanae salutis monumenta (1571).
The present work consists of two fundamental parts. In the first of them we analyze different asp... more The present work consists of two fundamental parts. In the first of them we analyze different aspects of the doctrine contained in the Arts memoriae of the Renaissance, attending to its classical sources and noting the rhetorical affiliation of the same. The second part includes the edition and annotated translation of three texts about artificial memory: the chapter De memoria de los Rhetoricorum libri quinque de Jorge de Trebisonda (1433); The Phoenix of Pedro de Ravenna (1491) and Artificiosae memoriae ars (1582) by Francisco Sánchez de las Brozas, better known as El Brocense. These are three basic works to understand the importance and evolution of thinking about memory in the 15th and 16th centuries, and that for the first time are translated into a modern language.
La presente obra consta de dos partes fundamentales. En la primera de ellas se analizan diferentes aspectos de la doctrina contenida en las Artes memoriae del Renacimiento, atendiendo a sus fuentes clásicas y advirtiendo la filiación retórica de las mismas. La segunda parte incluye la edición y traducción anotada de tres textos sobre memoria artificial: el capítulo De memoria de los Rhetoricorum libri quinque de Jorge de Trebisonda (1433); el Phoenix de Pedro de Ravena (1491) y la Artificiosae memoriae ars (1582) de Francisco Sánchez de las Brozas, más conocido como El Brocense. Se trata de tres obras básicas para comprender la importancia y la evolución del pensamiento sobre la memoria en los siglos XV y XVI, y que por primera vez son traducidas a una lengua moderna.
Phoenix siue artificiosa memoria by Pedro de Rávena was widely circulated around 16th century Eur... more Phoenix siue artificiosa memoria by Pedro de Rávena was widely circulated around 16th century Europe. There are two keys to his success: his reputation for being an illustrious mnemonist that he managed to incorporate into his exhibitions on memory and the use of emotions when formulating mnemonic rules based on humour and eroticism. In addition, shortly before his death, in 1508, he published the brief additiones quaedam ad artificiosam memoriam in which he adds several new rules and, above all, disregards that which suggests using the image of beautiful youths to elaborate mnemonic scenes. This kind of retractatio is explained within the context of the controversy maintained by some theologians from Cologne.
In this paper we aim to explain the reasons for which, during the Renaissance,
the reading notas ... more In this paper we aim to explain the reasons for which, during the Renaissance,
the reading notas similitudines is preferred (as opposed to the commonly accepted
present-day notatas similitudines) in the passage Rhetorica ad Herennium (3,
37) that describes the function of the memoria artificialis and, more specifically, the
composition of imagines firmae.
En este trabajo intentamos explicar las razones por las que durante el Renacimiento se prefiere la lectura notas similitudines (frente a la comúnmente admitida hoy notatas similitudines) en el pasaje de la Rhetorica ad Herennium (3, 37) que describe el funcionamiento de la memoria artificialis y, más concretamente, la composición de imagines firmae.
El arte de memoria descrito por Trebisonda en el capítulo que dedica a este tema en el libro cuar... more El arte de memoria descrito por Trebisonda en el capítulo que dedica a este tema en el libro cuarto de sus Rhetoricorum libri quinque debe mucho a la Rhetorica ad Herennium en lo relativo a la disposición de loci o lugares mentales que sirvan de depósito a las imagines que elabora el usuario de esta técnica. Sin embargo, en la teoría sobre la composición de imágenes mentales para alimentar la memoria, Trebisonda dota de un nuevo sentido a la distinción antigua entre memoria rerum y memoria uerborum, pues los tipos de asociaciones o similitudines que se establecen en uno y otro caso son una adaptación de los tropos y de las figuras de dicción que el autor explica en otros capítulos de su obra. Todo ello se explica por concebir el arte de la memoria como un sistema de escritura mental, cuyas unidades expresivas se enfrentan a los mismos problemas de significación con los que topa la palabra escrita. En este sentido llama la atención que el autor admita incluso la elaboración de signos ad placitum, de acuerdo con sus convicciones neoaristotélicas.
Anuario de estudios filológicos, Jan 1, 2000
La recuperación de la memoria como parte de la retórica se debe, sobre todo, a Frances Yates, cuy... more La recuperación de la memoria como parte de la retórica se debe, sobre todo, a Frances Yates, cuyo libro, The Art of Memory 1 , ha señalado la influencia de la memoria retórica en la literatura y el arte del Medievo, del Renacimiento y del Barroco. Yates ha remontado el curso de los siglos con el propósito de encontrar las fuentes antiguas de la memoria retórica. Y entre estas fuentes ha colocado a Agustín, a quien, tras el libro de Yates, se ha terminado considerando el introductor de la memoria retórica en la tradición cultural cristiana.
Humanismo y pervivencia del mundo clásico: …, Jan 1, 1993
... Autores: Luis Merino Jerez; Localización: Humanismo y pervivencia del mundo clásico : actas d... more ... Autores: Luis Merino Jerez; Localización: Humanismo y pervivencia del mundo clásico : actas del I Simposio sobre Humanismo y pervivencia del mundo clásico, (Alcañiz, 8 al 11 de mayo de 1990) / José María Maestre Maestre, Joaquín Pascual Borea (coordinadores) / coord. ...
Aunque Jiménez Patón sólo menciona al Brocense para criticar su actitud ante la retórica, lo cier... more Aunque Jiménez Patón sólo menciona al Brocense para criticar su actitud ante la retórica, lo cierto es que el Mercurius debe mucho al humanista extremeño, tanto a las diferentes versiones de su Rhetorica como a la Artifrciosae memoriae ars. Vives y palmireno, a quienes cita como fuentes, apenas prestan materiales. En cualquier caso, como otros humanistas del siglo anterior, Jiménez Patón acaba adoptando una posición ecléctica, pues, aunque condena la filiación retórica de la memoria, no duda en dedicarle
tres capñitulos en el cuerpo de su obra. En dos de ellos, la define en términos retóricos, más concretamente dispositivos; y en el tercero la pone a las puertas de la misma memoria artificial que practicaban los oradores antiguos y enseñan los rétores del Renacimiento y del Barroco.
Talia Dixit: revista interdisciplinar de retórica e …, Jan 1, 2007
The present work includes the translation into Spanish and the critical edition of the chapters "... more The present work includes the translation into Spanish and the critical edition of the chapters "On history" in the Rhetoricorum libri quinque of George of Trebizond. Numerous notes to the translation, as well as valuable indices and a brief introduction to the text are added, in which we have studied the main aspects of the rhetorical doctrine of Trebisond applied to the historiographic genre.
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Garcilaso de la Vega by Luis Merino-Jerez
As far as the adaptation of the topos is concerned, Garcilaso follows the same line of interpretation set up by the commentators of Horace (Pseudo-Acrón, Porfirión, Mancinelli and Landino) introducing an explicative comparison in the metaphor of the castaway lover («ha ya escapado/ libre de la tormenta en que se vido») which shows the lexical distinction stablished in Horace’s annotations between the castaway (euadere maris
pericula) and the lover (amore liberatus). Finally, Horace’s translations (carm. 1, 5), which are made by the commentators of Garcilaso (El Brocense and Jerónimo de los Cobos), are influenced by the text of sonnet 7.
Memory and Rhetoric by Luis Merino-Jerez
between 1517 and 1520. In these epistles, Romberch gives an account
on the most important milestones of his career as a Dominican and
allows establishing the proper contextualization of the different works that he composed, especially the Congestorium artificiose memorie.
Montano’s rhetoric theory of actio exposed in his Rhetoricorum libri quattuor (1569), and composition of the emblems in his Humanae salutis monumenta (1571).
La presente obra consta de dos partes fundamentales. En la primera de ellas se analizan diferentes aspectos de la doctrina contenida en las Artes memoriae del Renacimiento, atendiendo a sus fuentes clásicas y advirtiendo la filiación retórica de las mismas. La segunda parte incluye la edición y traducción anotada de tres textos sobre memoria artificial: el capítulo De memoria de los Rhetoricorum libri quinque de Jorge de Trebisonda (1433); el Phoenix de Pedro de Ravena (1491) y la Artificiosae memoriae ars (1582) de Francisco Sánchez de las Brozas, más conocido como El Brocense. Se trata de tres obras básicas para comprender la importancia y la evolución del pensamiento sobre la memoria en los siglos XV y XVI, y que por primera vez son traducidas a una lengua moderna.
the reading notas similitudines is preferred (as opposed to the commonly accepted
present-day notatas similitudines) in the passage Rhetorica ad Herennium (3,
37) that describes the function of the memoria artificialis and, more specifically, the
composition of imagines firmae.
En este trabajo intentamos explicar las razones por las que durante el Renacimiento se prefiere la lectura notas similitudines (frente a la comúnmente admitida hoy notatas similitudines) en el pasaje de la Rhetorica ad Herennium (3, 37) que describe el funcionamiento de la memoria artificialis y, más concretamente, la composición de imagines firmae.
tres capñitulos en el cuerpo de su obra. En dos de ellos, la define en términos retóricos, más concretamente dispositivos; y en el tercero la pone a las puertas de la misma memoria artificial que practicaban los oradores antiguos y enseñan los rétores del Renacimiento y del Barroco.
As far as the adaptation of the topos is concerned, Garcilaso follows the same line of interpretation set up by the commentators of Horace (Pseudo-Acrón, Porfirión, Mancinelli and Landino) introducing an explicative comparison in the metaphor of the castaway lover («ha ya escapado/ libre de la tormenta en que se vido») which shows the lexical distinction stablished in Horace’s annotations between the castaway (euadere maris
pericula) and the lover (amore liberatus). Finally, Horace’s translations (carm. 1, 5), which are made by the commentators of Garcilaso (El Brocense and Jerónimo de los Cobos), are influenced by the text of sonnet 7.
between 1517 and 1520. In these epistles, Romberch gives an account
on the most important milestones of his career as a Dominican and
allows establishing the proper contextualization of the different works that he composed, especially the Congestorium artificiose memorie.
Montano’s rhetoric theory of actio exposed in his Rhetoricorum libri quattuor (1569), and composition of the emblems in his Humanae salutis monumenta (1571).
La presente obra consta de dos partes fundamentales. En la primera de ellas se analizan diferentes aspectos de la doctrina contenida en las Artes memoriae del Renacimiento, atendiendo a sus fuentes clásicas y advirtiendo la filiación retórica de las mismas. La segunda parte incluye la edición y traducción anotada de tres textos sobre memoria artificial: el capítulo De memoria de los Rhetoricorum libri quinque de Jorge de Trebisonda (1433); el Phoenix de Pedro de Ravena (1491) y la Artificiosae memoriae ars (1582) de Francisco Sánchez de las Brozas, más conocido como El Brocense. Se trata de tres obras básicas para comprender la importancia y la evolución del pensamiento sobre la memoria en los siglos XV y XVI, y que por primera vez son traducidas a una lengua moderna.
the reading notas similitudines is preferred (as opposed to the commonly accepted
present-day notatas similitudines) in the passage Rhetorica ad Herennium (3,
37) that describes the function of the memoria artificialis and, more specifically, the
composition of imagines firmae.
En este trabajo intentamos explicar las razones por las que durante el Renacimiento se prefiere la lectura notas similitudines (frente a la comúnmente admitida hoy notatas similitudines) en el pasaje de la Rhetorica ad Herennium (3, 37) que describe el funcionamiento de la memoria artificialis y, más concretamente, la composición de imagines firmae.
tres capñitulos en el cuerpo de su obra. En dos de ellos, la define en términos retóricos, más concretamente dispositivos; y en el tercero la pone a las puertas de la misma memoria artificial que practicaban los oradores antiguos y enseñan los rétores del Renacimiento y del Barroco.
the different organization of the doctrines. The attitude when composing a rhetoric manual, the assessment made of the sources used and the different opinion regarding the survival of the genus judiciale allow us to affirm that El Brocense was thinking about Nebrija’s work when he composed the prologue of his Ars dicendi.
Ramist theory of the analysis in their observations on Hor., Carm., 3,I. On
establishing the quaestio, the two humanists reach diferent interpreta
tions, both in the expression and in the concept. C1. Mignault summarizes
the content of the poem in sequences which follow one another chronologically and carries ont a religious reading of the text: the serenity of the spirit (animi tranquillitas) is the only means of achieving the uita beata. Francisco Sánchez avoids the Christian reading andproposes a rational interpretation in the manner of syllogism: we must aim at uita tenuis because it is only way of life whichprovides us with a tranquil life (uita tuta).
escribano-pintor que no usa letras sino imágenes. Como las letras de la escritura, las imágenes no son sino herramientas de la reminiscentia. Esta es en el fondo la misma doctrina de la que parten los tratadistas del arte de la memoria, cuyo objetivo no es otro que encontrar mecanismos para garantizar la perdurabilidad y la fidelidad al contenido de las imágenes mentales.
1942 on the Humanist Luis Vives. The presence in this study of some glimpses of the emblematic tradition allows us to interpret this work as a kind of autobiographical encoding. I begin by analyzing the complex editorial history of the text from its intial formulation down to its definitive version. I then continue on to study the image of Vives as a doctor melifluus and point out the importance of bees in Gregorio Marañón’s narration of the life and work of the Humanist. The classical texts that inspired Marañón and the meaning of some emblems mentioned in the essay allow us to establish both a literary and biographical parallelism between the author and the object of his study, as if Gregorio Marañón was trying to see himself in the mirror of Luis Vives.