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Ambivalence of Will in "La Celestina"
Hispania, 1964Fundamental interpretation of La Celestina seems to be based on one of two assumptions: that an irrepressible fate absolves the characters of final responsibility for their actions, that the work is extremely pessimistic and rather amoral; or that Rojase sees a moral purpose and is looking for some meaning to life which will be of value to his reader.*
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Hispanic Review, 1978
rELESTINA'S use of magic to strengthen and extend her ac-tivities as go-between has long been the subject of controversy. However, it was not until P. E. Russell published his "La magia como tema integral de la Tragicomedia de Calisto y Melibea" 1 that a strong case was made for its role as central to the dramatic action. The majority of critics before
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rELESTINA'S use of magic to strengthen and extend her ac-tivities as go-between has long been the subject of controversy. However, it was not until P. E. Russell published his "La magia como tema integral de la Tragicomedia de Calisto y Melibea" 1 that a strong case was made for its role as central to the dramatic action. The majority of critics before
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El amor hereos en La Celestina : la prescripción de Celestina
1999This thesis examines the lovesickness or lovers' malady of Calisto and Melibea as a pathogenic condition (amor hereos, aegritudo amoris) in Fernando de Rojas' La Celestina. (1499). This study focuses on differing Mediaeval attitudes with respect to passionate love, mostly from the point of view of medical treatises but including specific theologians ...
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Sympathy and Antipathy in La Celestina
Comparative Literature, 1987taken for the most part from Petrarch, is obviously crucial to the agonistic nature of the work.' It is largely composed of a long series of examples which illustrate the Heraclitean principle Omnia secundum litem fiunt, "todas las cosas ser criadas a manera de contienda o batalla."2 Although there is an atmosphere of struggle and contention throughout
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Romantic Elements in "La Celestina"
Hispania, 1961It is evident that every work of literature which merits the word "great" cannot readily be placed in any literary category, school, or specific "movement." By virtue of its universal appeal, a great piece of writing transcends these relatively restricted subdivisions and is a part of a totality which defies the simple label or "ism" of the critic ...
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