This article focuses on the representation of the relation between widows and justice in the novella from the late Middle-Ages. As an incarnation of the weak citizen, widows were theoretically ...protected by judicial institutions especially against economic abuses. In the novella though, widows are often presented in an erotic way and their interactions with legal authorities often become a moralistic trial against themselves, leading to the loss of their honour and public reputation. The only exceptions are the cases of private justice, and/or when a man close to the judge is involved. The widow, despite the fact that she’s described as very vulnerable, is judged for her conduct instead of being protected against the offence she suffers. This element shows an ambiguous representation of justice, more worried about the preservation of moral standards than the citizens’ safety and the respect of the law.
The reception of La Princesse of Clèves in England bears witness to a failed encounter. Anonymously translated in 1679, the novel did not meet with the expected success. Although the translation was ...republished in 1688, the novel's reception was thwarted by the great success of the very free theatrical adaptation given by the playwright Nathaniel Lee in 1680 at Queen's Theatre, the text of which was published in 1689. Adapted specifically to the tastes of the Restoration, the play takes up only a few key scenes from the novel, and while the Prince and Princess of Cleves are more or less true to their models, the Duke of Nemours is portrayed as a libertine, in line with the “rakes” who had populated London comedies since the 1660s. This theatrical adaptation seems to have blurred the perception of the French novel in England, acting as a filter for its appreciation. It was not until the eighteenth century, almost half a century later, at a time when novels of sensibility became fashionable, that Mme de Lafayette's fiction enjoyed renewed interest in England. The Princess of Cleves, retranslated in 1720, was then included in several collections of continental novels published over the course of the century. This article looks at the reasons for this gap in the reception of La Princesse de Clèves, by studying the moment in English literary history, around 1680, when French novels were translated by the dozens. Should we explain the relatively lukewarm reception of La Princesse of Clèves in the seventeenth century as a result of the difference between English and French tastes? This article shows that while the novel certainly suffered from the confusion created by the theatrical adaptation of the play in 1680 or 1681, it also represented a form of novel that was difficult to transpose to England in 1679.
El objetivo de este trabajo es poner de manifiesto los elementos que la novela de Oyarzábal, El sembrador sembró su semilla (1923), presenta para reivindicar un tratamiento diferente del cuerpo ...femenino vertebrado a partir del motivo temático de la maternidad. La autora había practicado la escritura desde 1907 y la fama le llegó con el seudónimo de Beatriz Galindo, con el que firmaba los artículos que publicaba en el diario El Sol. Desde estos primeros años, Isabel Oyarzábal se muestra especialmente preocupada por la educación, las desigualdades entre sexos y el feminismo. En esta línea de denuncia se encuentra la novela cuyo estudio pretendemos abordar, centrada en la educación, la sexualidad y su implicación en la maternidad. Con ello se persigue demostrar que la escritora recoge en este texto presupuestos e ideas que serán objeto de amplia reflexión varias décadas después de la mano del feminismo de la diferencia.
The essay explores the meaning conveyed by the sense of smell in d’Annunzio’s first collection of novellas, Terra vergine (1882; 1884), paying particular attention to the synergies that arise between ...the smellscape, events and characters, in their dialectical confrontation with naturalistic and verist models, although already prepared to incorporate the mythical side.
Avantures et Lettres galantes, avec la Promenade des Tuilleries (1697) est un recueil de Louis de Mailly (1657-1724) qui comprend dix-sept nouvelles en prose et un long poème en vers. Parmi les ...nouvelles, "Avanture de Saint-Sirmon & de Vociane" se distingue, non par son intrigue, mais parce qu'elle contient, parfaitement intégrées, sept compositions en vers appartenant à cinq genres poétiques différents (chanson, épigramme, madrigal, portrait et sonnet). Ces formes brèves étaient très en vogue dans la France du XVIIe siècle, en particulier dans les salons mondains. Les compositions poétiques susmentionnées sont l'un des éléments clés du texte, mais il y en a d'autres, comme la réunion d'un groupe choisi, joyeux et cultivé, dans la maison d'une dame distinguée, pour se divertir avec des amusements littéraires, ainsi que la présence de certains archétypes tels que le plaisant, le pédant et le fâcheux. Tous ces ingrédients permettent à l'auteur de dépeindre avec beaucoup de vivacité une réunion mondaine telle que celles qui ont marqué la vie littéraire du Grand Siècle.
The theme of the ‘end’ is central to all Beppe Fenoglio’s work and is decisive in defining his very identity as an author. Rarely, both in unfinished novels and in works licensed by the author, does ...the conclusion allow the meaning of the story to be determined retrospectively. And the suspension of the ending is even more pronounced when it coincides with the thematisation of the ‘end’, that is, the death of a character. Death is a recurring event in Fenoglio’s stories, sometimes the subject of an obsessive precision, sometimes of an evident desire to remove it. This mechanism appears particularly pronounced in Il trucco (‘The trick’), from I ventitré giorni della città di Alba. Here death is the central theme, but also the instrument of a narrative experiment: death is announced, discussed, awaited but, ultimately, not represented. The ending thus becomes the place where a ‘trick’ is revealed that even involves the reader. This article proposes to tackle the ‘problem of the end’ in Fenoglio’s Il trucco, combining an analytical investigation of the text (aimed mainly at the use of shifting focalization and reticence) with some observations on the way in which the author reworks the potential of the short story, which by its very statute envisages the placement of the accent precisely on the ending.
El estudio comparado de la traducción castellana antigua del Decameron muestra la adaptación de la obra de Boccaccio al nuevo público, que determinó su recepción y su proyección en las letras ...hispánicas de los siglos siguientes. Este trabajo centra la atención en una serie de variaciones identificadas en la traducción del s. XV, para estudiar el cambio en la concepción global de la obra y en el modelo literario al que responden: si Boccaccio había inaugurado con el Decameron el género de la novella, la versión castellana parece indicar una clara vuelta a la tradición y a las características literarias de los exempla.
Las universidades de Ginebra y Córdoba vienen colaborando desde el año 2010 en el estudio y la edición crítica de la narrativa del Siglo de Oro, tareas que se adscriben a tres Proyectos de Excelencia ...I+D+i del MINECO. Fruto de dicha alianza, destacan el Congreso internacional Novela corta y teatro en el Barroco español (1613-1685) (uco, 29 de marzo de 2011) y el seminario Castillo Solórzano: poeta, historiador, hagiógrafo, dramaturgo (Ginebra, 27-28 de abril de 2016); sin orillar las tesis doctorales emanadas de los proyectos La novela corta del siglo xvii: estudio y edición. i (2010-2013), II (2013-2017) y ш (2017-2021), dirigidos por el profesor Rafael Bonilla Cerezo. Han visto la luz en la colección Prosa barroca de la editorial Sial Pigmalión (https://sialpigmalion.es/coleccion/academicas/prosa-barroca/).
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This article analyses the literary sources and accounts of Novella d’Andrea, the daughter of Giovanni d’Andrea, an eminent professor at the Bolognese Studium. The study examines the unprecedented ...case of a woman teaching law at the university in the first half of the fourteenth century, casting light on the cultural and family environment in which she grew up. The sources that conserve her memory are analysed, in particular the account provided by Christine de Pizan, with a new interpretation of her passage, but also those sources that have disseminated misleading information, generating confusion about the historical figure of Novella d’Andrea. The visual works of art that, like the literary accounts, have fuelled her myth include a work that has hitherto been ignored by historiography on Novella d’Andrea, the fourteenth-century woman who broke the glass ceiling.
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