Book Called Celestina In The Library

Twenty-three hitherto unpublished contributions by leading experts that summarize and expand on the main areas of Celestina scholarship, offering a critical overview of the field together with innovative approaches and readings.

La Celestina, a Spanish literary masterpiece second only in importance to Don Quixote in Spanish literature, has been shaped by the inclusion of images from its very first edition in 1499. The subsequent five centuries were punctuated by many illustrated editions; imaginary portraits of the eponymous procuress Celestina by painters such as Murillo, Goya, and Picasso; and, more recently, screen and stage adaptations. Celestina became the prototype from which later representations of procuresses and bawds derived. The Image of Celestina sheds light on the visual culture that developed around La Celestina, including paintings, illustrations, and advertisements. Enrique Fernández examines La Celestina as a mixed-media text, incorporating methods from disciplines such as art history and women’s and cinema studies, and considers a variety of images including promotional posters, lobby pictures, and playbills of theatrical and cinematic adaptations of the book. Using a visual studies approach, The Image of Celestina ultimately illuminates the culture of Celestina, a mythical figure, who surpasses the literary text in which she originated.

Carefully and judiciously edited by Mac E. Barrick, the Tercera Celestina is a rare piece of Spanish Renaissance prose fiction, a literary masterpiece, and a mine of linguistic and proverbial materials.

Netherlandish Books offers a unique overview of what was printed during the fifteenth and sixteenth centuries in the Low Countries. This bibliography lists descriptions of over 32,000 editions together with an introduction and indexes.

H.A. Kelly explores meanings given to tragedy, from Aristotle's most basic notion (any serious story, even with a happy ending), via Roman ideas and practices, to the Middle Ages, when Averroes considered tragedy to be the praise of virtue, but Albert the