Tragicomedy and novelistic discourse in Celestina /

In Celestina, the hero Calisto parodies the courtly lover, the heroine Melibea lives through classical examples and popular song, Calisto's servants Sempronio and Parmeno parody students' knowledge, the bawd and go-between Celestina deals a blow to the world of wisdom literature, and Melib...

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Bibliographic Details
Main Author: Severin, Dorothy Sherman
Format: Book
Language:English
Published: Cambridge ; New York : Cambridge University Press, 1989
Cambridge ; New York : 1989
Cambridge ; New York : 1989
Series:Cambridge Iberian and Latin American studies
Cambridge Iberian and Latin American studies
Subjects:
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245 1 0 |a Tragicomedy and novelistic discourse in Celestina /  |c Dorothy Sherman Severin 
260 |a Cambridge ;  |a New York :  |b Cambridge University Press,  |c 1989 
260 0 |a Cambridge ;  |a New York :  |b Cambridge University Press,  |c 1989 
264 1 |a Cambridge ;  |a New York :  |b Cambridge University Press,  |c 1989 
300 |a 143 p. :  |b ill. ;  |c 22 cm 
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490 1 |a Cambridge Iberian and Latin American studies 
500 |a Includes index 
500 |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC  |5 CTY 
504 |a Bibliography: p. 131-138 
504 |a Bibliography: pages 131-138 
504 |a Includes bibliographical references and index 
504 |a Includes bibliography 
505 0 |a Machine derived contents note: 1. Introduction: Celestina and novelistic discourse; 2. The prefatory material: the author's ambivalent intentions; 3. Genre and the parody of courtly love; 4. From parody to satire: clerical and estates satire; 5. Verbal humour and the legacy of stagecraft; 6. The rhetorical shift from comedy to tragedy: ironic foreshadowing and premonitions of death; 7. Is Melibea a tragic figure?; 8. Pleberio's lament, Cr̀cel de Amor, and the Corbacho; 9. Conclusion: Rojas' ambivalence towards literature; Notes; Bibliography; Index 
520 |a In Celestina, the hero Calisto parodies the courtly lover, the heroine Melibea lives through classical examples and popular song, Calisto's servants Sempronio and Parmeno parody students' knowledge, the bawd and go-between Celestina deals a blow to the world of wisdom literature, and Melibea's father Pleberio gives his own gloss on the lament. There is also a fatal clash between two literary worlds, that of the self-styled courtly lover (the fool) and the prototype picaresque world of the Spanish Bawd and her mentors (the rogues). The voices of Celestina are parodic, satiric, ironic and occasionally tragic, and it is in their discourse that the dialogic world of the modern novel is born 
520 |a In order to make this book accessible to a wider English-speaking readership, quotations from the text are accompanied by English translations, mainly from the seventeenth-century English version by James Mabbe. --Book Jacket 
520 |a The late fifteenth-century Spanish masterpiece Celestina is one of the world's classics. In this important study, Dorothy Sherman Severin, investigates how Fernando de Rojas' work in dialogue, which parodies earlier genres, is a precursor of the modern novel 
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