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La idea dialéctico-hermenéutica de experiencia, entendida como Erfahrung, reivindica el lugar de esta en el lenguaje, sosteniendo que no es necesario desterrarla al territorio de lo a-racional y prelingüístico. Tanto Gadamer como también Agamben, a pesar de sus diferencias, han mostrado la incontestable vinculación entre experiencia y lenguaje: este es el lugar de la verdad de la experiencia, aunque esta no sea científica. Una experiencia no puede ser tal si no puede ser transmitida. La actual experiencia de crisis se muestra, también, como una crisis de experiencia. Los seres humanos tienen su arraigo en un mundo significativo, que es el de la experiencia, el de experiencias verdaderas. Y verdaderas son las que se pueden convertir en una gran o pequeña historia.

Review of Bulletin of Spanish Studies (University of Glasgow), LXXXIX 4, monographic Exploring the Print World of Early Modern Iberia, ed. A. Wilkinson Reseña de Bulletin of Spanish Studies (University of Glasgow), LXXXIX 4, monográfico Exploring the Print World of Early Modern Iberia, ed. A. Wilkinson  

The typographical language of Justus Lipsius's Politicorum libri sex (1589) is a crucial element for understanding its compositio. The page layout, designed by Lipsius (1547-1606) probably in collaboration with his printer, displayed the author's inventive methods and writing strategies. All Latin editions of the Politica followed the precise typographic design of the editio princeps. The work was disseminated across seventeenth-century Europe by different printers without changes to its fundamental material features, including its typography. Something different happened, however, with the various vernacular editions of the Politica. All of them redesigned Lipsius's typography. These editions refashioned the display of sententiae and provided visual uniformity to the page, transforming the text from a compendium of interrelated commonplaces into a dense treatise. In this article I focus on the changes and accommodations evidenced in Bernardino de Mendoza's Spanish translation. In this case, an exceptional document survived that allows one to examine the different interventions in the process of accommodation of the Politica: the printer's copy and the manuscript supervised by Mendoza, approved and licensed by the Council of Castile, and used by the Imprenta Real in Madrid to print Los seis libros de las Políticas (1604).

The typographical language of Justus Lipsius'sPoliticorum libri sex(1589) is a crucial element for understanding itscompositio. The page layout, designed by Lipsius (1547–1606) probably in collaboration with his printer, displayed the author's inventive methods and writing strategies. All Latin editions of thePoliticafollowed the precise typographic design of the editio princeps. The work was disseminated across seventeenth-century Europe by different printers without changes to its fundamental material features, including its typography. Something different happened, however, with the various vernacular editions of thePolitica. All of them redesigned Lipsius's typography. These editions refashioned the display ofsententiaeand provided visual uniformity to the page, transforming the text from a compendium of interrelated commonplaces into a dense treatise. In this article I focus on the changes and accommodations evidenced in Bernardino de Mendoza's Spanish translation. In this case, an exceptional document survived that allows one to examine the different interventions in the process of accommodation of thePolitica:the printer's copy and the manuscript supervised by Mendoza, approved and licensed by the Council of Castile, and used by the Imprenta Real in Madrid to printLos seis libros de las Políticas(1604).