Table Of Content

A Companion to Celestina The Renaissance Society of America Texts and Studies Series Editor-in-Chief Ingrid De Smet (University of Warwick) Editorial Board Anne Coldiron (Florida State University) Paul Grendler, Emeritus (University of Toronto) James Hankins (Harvard University) Craig Kallendorf (Texas a&m University) Gerhild Scholz-Williams (Washington University in St. Louis) Lía Schwartz Lerner (cuny Graduate Center) VOLUME 9 The titles published in this series are listed at brill.com/rsa A Companion to Celestina By Enrique Fernandez LEIDEN | BOSTON Cover illustration: ‘La Celestina’. Oil on canvas. Original painting by Rafael Ramírez Máro (2011, 120 cm × 200 cm). Location: RMI Institut Hauset, Belgium. Website: rafael.ramirezmaro.org. Photography by Jens Schultze. ©Rafael Ramirez Máro. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2017021294 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 2212-3091 isbn 978-90-04-34929-2 (hardback) isbn 978-90-04-34932-2 (e-book) Copyright 2017 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, ma 01923, usa. Fees are subject to change. This book is printed on acid-free paper and produced in a sustainable manner. Contents Preface ix List of Illustrations xi Notes on Contributors xiii Introduction 1 The Significance of Celestina 3 Joseph T. Snow Text, Origins and Sources 2 The Early Editions and the Authorship of Celestina 21 José Luis Canet 3 The Poetics of Voice, the Performance, and the Meaning of Celestina 41 Gustavo Illades Aguiar 4 Quotation, Plagiarism, Allusion, and Reminiscence: Intertextuality in Celestina 58 Amaranta Saguar García 5 Theater Without a Stage: Celestina and the Humanistic Comedy 74 Devid Paolini 6 Celestina in the Context of Fifteenth-Century Castilian Vernacular Humanism 94 José Luis Gastañaga Ponce de León 7 Minerva’s Dog and Other Problematic Points in Celestina’s Text 108 Fernando Cantalapiedra Erostarbe 8 Calisto and Leriano in Love 124 Ivy A. Corfis vi Contents 9 The Story of Hero and Leander: A Possible Unknown Source of Celestina 141 Bienvenido Morros Mestres Themes and Readings 10 “Aquellos antigos libros”: Approaches to Parody in Celestina 161 Ryan D. Giles 11 Risky Business: The Politics of Prostitution in Celestina 173 Enriqueta Zafra 12 A Guidebook for Two Cities: The Physical and the Political Urban Space in Celestina 188 Raúl Álvarez-Moreno 13 Magic in Celestina 205 Patrizia Botta 14 Lovesickness and the Problematical Text of Celestina, Act 1 225 Ricardo Castells 15 Jesus and Mary, Christian Prayer, and the Saints in Celestina 242 Manuel da Costa Fontes 16 Eating, Drinking, and Consuming in the Tragicomedia de Calisto y Melibea 262 Connie L. Scarborough Influence and Posterity 17 Modernity and Celestina: The Future of Our Past and of Our Present 275 Antonio Pérez-Romero 18 Celestina as a Precursor to the Picaresque 292 Ted L. L. Bergman Contents vii 19 Early Responses to Celestina: Translations and Commentary 305 Kathleen V. Kish 20 Celestina’s Continuations, Adaptations, and Influences 321 Consolación Baranda 21 Celestina and Agustín Arrieta’s China Poblana: Mexico’s Female Icon Revisited 339 Beatriz de Alba-Koch 22 The Images of Celestina and Its Visual Culture 362 Enrique Fernandez 23 Celestina in Film and Television 383 Yolanda Iglesias Electronic Resources, Editions, and Select Bibliography 403 Index 416 Preface In spite of the enormous success of Celestina in Spain soon after its publication, of its immediate translations into the main European languages, and of its influence in their literatures—it is said to have inspired Romeo and Juliet— this masterpiece has not made it into the world literature canon, in which Don Quixote continues to be the only representative of Spanish letters. Celestina’s exclusion is totally undeserved since its many merits include the pioneering of the same parodic treatment of other genres that Cervantes so successfully exploited. And this is only one of the creative paths opened by Celestina that left a strong imprint on world literature: the treatment of the marginalized members of society that the Spanish picaresque made into its anti-heroes is also clearly indebted to Celestina. Compared to the two mythical characters that Spanish literature has contributed to the world, Don Quixote and Don Juan, the bawd Celestina is barely known outside the Hispanic countries. It is difficult to ascertain why Celestina did not maintain the momentum of the first two centuries after its publication and today is relatively unknown in the international literary arena. Several factors seem to have conspired in this undeserved neglect. Celestina has a strong medieval component, which makes it a text difficult to follow for readers of later periods, who do not have the required patience for the erudition and rhetoric in its text. However, its otherwise entertaining dialogues and general plot are sufficiently “modern” as to be enthralling, even titillating, especially in the passages of open sexual content. On the other hand, Celestina has triggered a vast scholarship that continues to find new, surprising meanings and other features in its text. Although part of this scholarship was written in English, and some in French and German, the vast majority is in Spanish, and highly fragmented. Besides a few brief summa- ries of the main studies—as Peter N. Dunn’s 1975 Fernando de Rojas in Twayne’s World Authors Series, valuable but by now outdated—or collections of a few articles on specific subjects, there is not, even in Spanish, a book as compre- hensive and thorough on Celestina as the one we present here. This Companion to Celestina brings together twenty-three hitherto unpub- lished texts on the main aspects of Celestina, written by some of the leading experts in specific areas of its scholarship. The contributors were asked to sum- marize and evaluate the previous studies and then expand on them with their own research and opinions in mind. The results are chapters that offer to the non-specialists a brief overview of Celestina studies, allowing them to familiar- ize themselves with the main topics and methods that have punctuated the vast scholarship of this masterpiece. Those who already know the field will