Manuscritos e incunables en el entorno de los Reyes Católicos: el cancionero EM6
This work studies the external data and the internal ones of the <em>cancionero </em>EM6, which is an important novelty, having received very little codicological attention. This is the text of the so-called philology. This is, however, the starting point for a methodology that combines...
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| Format: | article |
| Publication Date: | 2020 |
| Country: | España |
| Institution: | Universidad de Navarra |
| Repository: | Dadun. Depósito Académico Digital de la Universidad de Navarra |
| Language: | Spanish |
| OAI Identifier: | oai:dadun.unav.edu:10171/61844 |
| Online Access: | https://hdl.handle.net/10171/61844 |
| Access Level: | Open access |
| Keyword: | Martín de Mendieta Íñigo de Mendoza EM6 Pliegos poéticos Repertorio de los tiempos |
| Summary: | This work studies the external data and the internal ones of the <em>cancionero </em>EM6, which is an important novelty, having received very little codicological attention. This is the text of the so-called philology. This is, however, the starting point for a methodology that combines historiographical techniques with philological ones: the so-called material philology. Thus, the different sections of this <em>cancionero </em>are analyzed with ecdotic and philological criteria, from which the following is concluded: a) The textual stage of the <em>Coplas de la vita Christi </em>is immediately before its printed version and should be singled out in front of the testimony of the cancionero SA4a; b) the works that are copied next have differences of order, of duplicity and of mutilations with respect to the print form by Centenera in 1483, but they are undoubtedly a <em>codex descriptus </em>of this; c) it is delimited and confirms the materiality of the three printed sewn after Íñigo de Mendoza’s <em>cancionero</em>, whose dating coincides with the period of Isabel as queen of Portugal; d) it is determined that, like the three printed forms incorporated into this manuscript, the copy of the <em>Repertorio de los tiempos </em>comes from the incunabulum printed by Fadrique de Basilea in 1493 and not the one produced by Juan de Burgos in 1495. As a main conclusion, this <em>cancionero </em>is framed in the environment of the Catholic Monarchs and is attributed to Martín de Mendieta, a chamber man of the queen and of the Princess Isabel, from whom he keeps part of her personal books a few years after her death. |
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