"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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Universidad Nacional Autónoma de México (México)
2019
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oai-TES0000022970 |
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DialNet |
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DialNet |
| language |
spa |
| topic |
La Celestina Celestina Pármeno discurso dialogismo microdiálogo polifonía palabra ajena vínculo discursivo contradicciones discursivas moral senequista tríada Celestina-Pármeno-Claudina Bajtín La Celestina Celestina Parmeno discourse dialogism micro-dialogue else’e as one’s own word polyphony discursive linkage discursive contradictions Seneca’s morale Celestina-Parmeno-Claudina’s triad Bakhtin |
| spellingShingle |
La Celestina Celestina Pármeno discurso dialogismo microdiálogo polifonía palabra ajena vínculo discursivo contradicciones discursivas moral senequista tríada Celestina-Pármeno-Claudina Bajtín La Celestina Celestina Parmeno discourse dialogism micro-dialogue else’e as one’s own word polyphony discursive linkage discursive contradictions Seneca’s morale Celestina-Parmeno-Claudina’s triad Bakhtin Flores Caballero, Sara Alicia "Aquel mudar de trajes”. La función constructiva de dos personajes en La Celestina mediante el intercambio dialógico. |
| description |
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. |
| author2 |
Miaja de la Peña, María Teresa (Universidad Nacional Autónoma de México) |
| author_facet |
Miaja de la Peña, María Teresa (Universidad Nacional Autónoma de México) Flores Caballero, Sara Alicia |
| format |
text (thesis) |
| author |
Flores Caballero, Sara Alicia |
| author_sort |
Flores Caballero, Sara Alicia |
| title |
"Aquel mudar de trajes”. La función constructiva de dos personajes en La Celestina mediante el intercambio dialógico. |
| title_short |
"Aquel mudar de trajes”. La función constructiva de dos personajes en La Celestina mediante el intercambio dialógico. |
| title_full |
"Aquel mudar de trajes”. La función constructiva de dos personajes en La Celestina mediante el intercambio dialógico. |
| title_fullStr |
"Aquel mudar de trajes”. La función constructiva de dos personajes en La Celestina mediante el intercambio dialógico. |
| title_full_unstemmed |
"Aquel mudar de trajes”. La función constructiva de dos personajes en La Celestina mediante el intercambio dialógico. |
| title_sort |
"aquel mudar de trajes”. la función constructiva de dos personajes en la celestina mediante el intercambio dialógico. |
| publisher |
Universidad Nacional Autónoma de México (México) |
| publishDate |
2019 |
| url |
https://dialnet.unirioja.es/servlet/oaites?codigo=283889 |
| work_keys_str_mv |
AT florescaballerosaraalicia aquelmudardetrajeslafuncionconstructivadedospersonajesenlacelestinamedianteelintercambiodialogico |
| _version_ |
1718346691126493184 |
| spelling |
oai-TES00000229702020-12-26"Aquel mudar de trajes”. La función constructiva de dos personajes en La Celestina mediante el intercambio dialógico.Flores Caballero, Sara AliciaLa CelestinaCelestinaPármenodiscursodialogismomicrodiálogopolifoníapalabra ajenavínculo discursivocontradicciones discursivasmoral senequistatríada Celestina-Pármeno-ClaudinaBajtínLa CelestinaCelestinaParmenodiscoursedialogismmicro-dialogueelse’e as one’s own wordpolyphonydiscursive linkagediscursive contradictionsSeneca’s moraleCelestina-Parmeno-Claudina’s triadBakhtinThe 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.La creación de los personajes de La Celestina representa múltiples y profundas significaciones en la relación entre el autor y su obra y el lector u oidor. Así como a partir del diálogo se puede analizar la psique de una persona, ha sido posible definir la estructura de la obra, la similitud de la legendaria alcahueta con las lenas milenarias, el lenguaje, las fuentes utilizadas, la filosofía moral y la parodia, la magia y la retórica entre muchos otros aspectos. Se analiza el vínculo oral que establecen los dos personajes estudiados en el que tiene lugar un campo de significados no explícitos en el texto que van desde enlaces en mensajes ocultos hasta anticipaciones del desenlace de cada uno de los personajes. La Celestina presenta un mundo muy diferente de aquellos desarrollados en textos antiguos o medievales. Su originalidad se refleja en distintos aspectos de la obra. En esta tesis se estudian aspectos como el uso exclusivo del diálogo como constructor de los personajes, así como de todos sus cambios y caracterizaciones de acuerdo con las emociones e intenciones que revela cada discurso, la complejidad del personaje de Celestina, los recursos retóricos y dialógicos que emplea esta figura para la consecución de sus fines, los giros en el comportamiento de los personajes y los trastoques que permiten evidenciar su construcción y evolución. Todos estos elementos hacen reflexionar sobre lo que advierte el Prólogo de la Tragicomedia: “Aquel mudar de trajes…”. Esta idea remite justamente a las mudanzas de distintos tipos que tienen lugar en el texto. Cada palabra, cada intervención (o ausencia) dialógica es una muestra determinante de que Celestina y Pármeno se “crean” mutuamente con muy diversas manifestaciones discursivas, desde la transformación de los personajes, los “silencios” o las “ausencias discursivas” de Pármeno, el microdiálogo y la polifonía desde la perspectiva bajtiniana. El objetivo es analizar los diálogos de los dos personajes, mostrar las facetas de Celestina y las contradicciones discursivas de Pármeno, delinear la evolución trágica que alcanzan a través del diálogo y determinar con todo esto una simbiosis dialógica entre Celestina y Pármeno unidos en su descenso hacia el fin fatídico, a través del análisis de lo que llamo “peldaños”, muy presentes también como escalones físicos que suben y bajan diversos personajes. Se hace énfasis en el uso de la palabra ajena, especialmente la referida a la tergiversación de la moral senequista gracias al uso de la palabra ajena, constante en los diálogos, sobre todo, de Celestina. Por último, estudia el vínculo triádico entre Celestina, Pármeno y Claudina y cómo Celestina y algunos rasgos de Claudina podrían ser vistos como caracterizadores de una misma persona, así como los motivos asociados a la muerte trágica de los dos personajes estudiados.Universidad Nacional Autónoma de México (México)Miaja de la Peña, María Teresa (Universidad Nacional Autónoma de México)2019text (thesis)application/pdfhttps://dialnet.unirioja.es/servlet/oaites?codigo=283889spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. 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