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Bulletin of Spanish Studies
El presente artículo examina la tradición impresa de La hija de Celestina (Zaragoza y Lérida, 1612) y La ingeniosa Elena (Madrid, 1614), doble redacción de la novela picaresca (y femenina) que supuso la puesta de largo como narrador de Alonso Jerónimo de
Marta Fabbri
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El presente artículo examina la tradición impresa de La hija de Celestina (Zaragoza y Lérida, 1612) y La ingeniosa Elena (Madrid, 1614), doble redacción de la novela picaresca (y femenina) que supuso la puesta de largo como narrador de Alonso Jerónimo de
Marta Fabbri
semanticscholar +1 more source
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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La estructura de la "Celestina"
Hispanic Review, 1990Charles F. Fraker, James R. Stamm
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La Celestina: typologie postav
2018The presented bachelor thesis is focused on the typology of characters in literary work Celestina. Firstly, there is outlined general evolution of Spanish dramatic creation from the beginning to the Golden Age. After that, the work focuses only on the typology of the characters.
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