"Aquel mudar de trajes”. La función constructiva de dos personajes en La Celestina mediante el intercambio dialógico.
The creation of La Celestina's characters represents multiple and profound meanings in the relationship between the author’s work and the reader or listener. Just as a persons’ psyche can be analyzed from the dialogue, it is been possible to define the structure of the work, the similarity of t...
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| Formato: | text (thesis) |
| Lenguaje: | spa |
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Universidad Nacional Autónoma de México (México)
2019
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| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaites?codigo=283889 |
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| Sumario: | The creation of La Celestina's characters represents multiple and profound meanings in the relationship between the author’s work and the reader or listener. Just as a persons’ psyche can be analyzed from the dialogue, it is been possible to define the structure of the work, the similarity of the legendary bawd with the ancient lena, the language, the sources used, the moral philosophy and the parody, magic and rhetoric among many other aspects. The oral bond established by the two characters studied, in which a field of non-explicit meanings in the text takes place, is analyzed, ranging from links in hidden messages to anticipations of the outcome for each character. La Celestina represents very different worlds from those developed in ancient or medieval texts. Its originality is reflected in different aspects of the work. In this thesis, aspects such as the exclusive use of dialogue as a constructor of the characters is studied, as well as all the changes and characterizations that correspond to the emotions and intentions that each speech reveals, the complexity of the character of Celestina, the rhetorical and dialogical resources used to achieve her ends, the twists in the behavior of the characters and the changes that make it possible to show their construction and evolution. All these elements reflect on what the Prologue to the Tragicomedy warns: "Aquel mudar de trajes ...". This idea refers precisely to the different changes that take place in the text. Each word, each dialogical intervention (or absence) is a decisive sample that Celestina and Parmeno mutually “create” each other as a character with very diverse discursive manifestations, from their transformation, the “silences” or the “discursive absences” of Parmeno, to micro-dialogue and polyphony from a Bakhtinian perspective. The objective is to analyze the dialogues of the two characters, to show the facets of Celestina and the discursive contradictions of Parmeno, tracing the tragic evolution that they achieve through dialogue and determine with all this a dialogic symbiosis between Celestina and Parmeno united in their descent towards the fateful end, through the analysis of what I call "steps", also very present as physical steps that go up and down various characters. Emphasis is placed on the use of the “another’s word”: else´s (referring to a moral figure) as one’s own word, especially what refers to the misrepresentation of Seneca’s morale thanks to constant use of else’s as one’s own word in the dialogues, above all, Celestina’s. Finally, it studies the triad relationship between Celestina, Parmeno and Claudina and how Celestina and some features of Claudina could be seen as characterizing the same person, as well as the reasons associated with the tragic death of the two characters studied. |
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