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dc.contributor.authorIglesias Crespo, Carlos
dc.date.accessioned2022-06-28T23:30:17Z
dc.date.available2022-06-28T23:30:17Z
dc.identifier.issn1475-3839
dc.identifier.urihttps://www.repository.cam.ac.uk/handle/1810/338408
dc.description.abstract‘Oro no rayó así flamante grana’ (1623), the last love sonnet by Luis de Góngora, has eluded the full comprehension of its critics since the seventeenth century due to its thematic ambiguity and formal obscurity. This article examines its critical reception with the tools afforded by François Recanati’s cognitive pragmatics to analyse how each critic has pragmatically responded to the sonnet’s interpretive cruxes. From this vantage point, it is hypothesised how it can also be read as an autobiographical and metaliterary statement. The results suggest that this sonnet might be three poems in one, functioning as a metaliterary emblem for the history of Petrarchism up to Góngora.
dc.description.sponsorship"La Caixa" Foundation
dc.publisherLiverpool University Press
dc.rightsAttribution 4.0 International
dc.rights.urihttps://creativecommons.org/licenses/by/4.0/
dc.title‘Que la beldad es vuestra, la voz mía’: A Cognitive Pragmatic Answer to a Gongorine Crux
dc.typeArticle
dc.publisher.departmentDepartment of Spanish and Portuguese
dc.date.updated2022-06-27T09:01:19Z
prism.publicationNameBulletin of Hispanic Studies (Liverpool)
dc.identifier.doi10.17863/CAM.85821
dcterms.dateAccepted2022-06-27
rioxxterms.versionAM
dc.contributor.orcidIglesias Crespo, Carlos [0000-0001-6804-4964]
dc.identifier.eissn1478-3398
rioxxterms.typeJournal Article/Review
cam.orpheus.counter21*
cam.depositDate2022-06-27
pubs.licence-identifierapollo-deposit-licence-2-1
pubs.licence-display-nameApollo Repository Deposit Licence Agreement
rioxxterms.freetoread.startdate2025-06-28


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Attribution 4.0 International
Except where otherwise noted, this item's licence is described as Attribution 4.0 International