In lieu of an abstract, here is a brief excerpt of the content:

"LOS QUILATES DE SU ORIENTE" La pluralidad de culturas en la Península Ibérica durante la Edad Media y en los albores de la Modernidad, A Conférence in honor of Francisco Márquez Villanueva, presented by Harvard University, Real Colegio Complutense, Faculty of Arts and Sciences, Graduate School of Arts and Sciences, and the Department of Romance Languages and Literatures, Cambridge, Massachusetts, January 17-18, 2003, and organized by Ángel Sáenz-Badillos, Luis M. Girón Negrón, and Mary M. Gaylord. Reported by Samuel G. Armistead University of California-Davis This conference, in honor of our dear friend and admired colleague , Professor Francisco Márquez Villanueva (Arthur Kingsley Porter Research Professor of Romance Languages and Literatures, at Harvard University) comprised a total of twenty-one papers pertaining to Medieval and Golden Age Spanish, Spanish American, Portuguese , Mozarabic, Hispano-Jewish, and Hispano-Arabie literature. Considerations of space oblige us to concentrate here on those contributions which have some direct connection with the Hispanic Middle Ages or which concern Muslim or Jewish topics. The sessions were inaugurated by Professor Márquez Villanueva, in a plenary lecture concerning "Elipando de Toledo y los orígenes del mozarabismo". In Elipando (717-807?), archbishop (from 755), and his support of the Adoptionist heresy -modeled on the syncretic perspectives of Near Eastern Christianity which favored a peaceful symbiosis with Islamic power- Márquez sees "la primera figura, en términos cronológicos, de la interacción cultural que después se llamaría mudejarismo y con toda justicia podríamos considerarle [a Elipando] como el primer gran mozárabe". U corónica 31.2 (Spring, 2003): 321-26 322Samuel G. ArmisteadLa corónica 31.2, 2003 Benjamin Liu (University of Connecticut), '"De la propiedad que el dinero ha': Economics of Good Love". Liu characterizes Juan Ruiz's ambivalent discourse, both for and against money and its absolute power. Money can redeem or it can crush; it is the great equalizer. In Juan Ruiz's open-ended book, money, in its kaleidoscopic, multivalent power to transform human destiny and the dynamic vitality of its incessant circulation, parallels Buen amor itselfas a key component in the complex, colorful, ever-evolving, and ephemeral reality, so dear to the poet, who represented it as crucial to his world view in LBA. Gregory Hutcheson (University of Louisville), "Rereading Relecciones: New Thoughts on El BuenAmor". Hutcheson studies sexual desire and "the repeated enactment of desire", as crucial motivations in LBA. Noting that "La Batalla de Don Carnal y Doña Quaresma" is as much about sex as it is about food, he sees the episode as a minefield of sexual connotations and innuendoes, which privileges desire beyond any specific sexual limitations and beyond heterosexuality, counter to Claudio Sánchez Albornoz's simplistic pretensions in España: Un enigma histórico: "Y en el clérigo de Hita triunfaba la robusta, natural y simplista concepción heterosexual del amor de la Castilla de su época ..." (Buenos Aires: Sudamericana, 1971. 1: 458-59). Carmen Hsu (Universität Bielefeld), "Sobre el tema celestinesco chino yJin Ping Mei". Hsu emphasizes the importance of the go-between in Chinese culture and literature, where Celestinesque old ladies appear often and can be represented either as kind and helpful, or as evil, perverse, and even criminal figures. Hsu singles out the aged crone, Wang Pou (Old Lady Wang) in theJin Ping Mei, as particularly striking in her close resemblance to Fernando de Rojas's Celestina. Known as yao pou (literally 'tooth-old woman'), that is 'vieja de mucha labia', she is past master in the psychological manipulation of her customers . In her total expertise and in the great variety of her many callings, she impels us to recall her dynamic Hispanic counterparts: Juan Ruiz's Trotaconventos and Rojas's Celestina. Wang Pou's talents include "curandera, partera, vieja religiosa, corredera, buhonera, vendedora de joyas, afeites y adornos, casamentera, costurera, sangradora, vendedora de mujeres, de concubinas y esclavas". Particularly striking is one of her nicknames: ma pou Uu (literally, 'yeguasvieja -seis', where the number six signifies 'many' andyeguas designates 'women'). So Wang Pou is the seller of many women.1 There are vari1 Inevitably, we must...


Additional Information

Print ISSN
pp. 321-326
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.