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2023
Lo studio indaga l’enigmatica origine de La Celestina, un tema trascurato dalla critica, nonostante la vasta bibliografia sull’opera. Sebbene si siano analizzati aspetti come l’autorialità, il genere, le fonti, i personaggi e i temi centrali (amore, fortuna, magia, morte), la questione della genesi rimane irrisolta. Come è stato possibile comporre un’
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Lo studio indaga l’enigmatica origine de La Celestina, un tema trascurato dalla critica, nonostante la vasta bibliografia sull’opera. Sebbene si siano analizzati aspetti come l’autorialità, il genere, le fonti, i personaggi e i temi centrali (amore, fortuna, magia, morte), la questione della genesi rimane irrisolta. Come è stato possibile comporre un’
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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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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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