This paper offers an overall study of the texts derived from the Spanish classical theater contained in the Orsi collection of the Estense Library of Modena, which has so far not been adequately investigated. The remarkable interest of Giovan Gioseffo Orsi (1652-1733) and his entourage for the Spanish theater emerged, played in the public theaters, private villas, academies and Jesuit colleges of Modena and Bologna between the end of the XVII and the beginning of the XVIII century. In addition, several unknown adaptations and remakes come to light, deriving from Spanish pièces included in the Diferentes autores collection - which had a considerable European circulation -, and some canovacci, long considered lost, dating back to the companies of the professional comedians Giovanni Andrea Cavazzoni and Luigi Riccoboni. The analysis conducted on some of these texts, of which there are multiple versions, allows us to go into the translator’s laboratory, greatly increasing our knowledge of the theatrical rewriting methods of the time.
This miscellaneous volume aims to commemorate the Iberian and European celebrations about Magellan that started in 2019. Specifically, the volume commemorates: the person and the image of Magellan on earth (celebrating the 500 years of his circumnavigation of the Earth) and in the universe (remembering the two Magellanic clouds); the Eddington’s journey and the Apollo XI flight to the moon, through many essays that investigate the concept of travel in its several attitudes (explorative, scientific, philosophical, introspective, literary) in Sciences and Humanities, from ancient to contemporary ages, in an intercultural perspective, following a thematic scheme and a cronological one as well, if it is possible.
La fortuna europea de Amar sin saber a quién de Lope de Vega, compuesta entre 1620 y 1622, se debe a la edición prínceps de la pieza (Parte XXII «extravagante», Zaragoza, 1630). En Italia, junto a Il finto paggio, overo amare e non sapere chi de Francesco Stramboli, publicado en 1685, se halla una desconocida traducción inédita, la anónima Amare senza sapere chi, conservada en el fondo Orsi de la Biblioteca Estense de Módena, que fue representada en Bolonia en 1708.
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