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Nuevos enfoques sobre la novela corta barroca


Edited By Mechthild Albert, Ulrike Becker, Rafael Bonilla Cerezo and Angela Fabris

En este volumen colectivo se reúnen miembros de diferentes equipos internacionales de investigación sobre la novela corta y los saberes del Siglo de Oro. El hilo conductor de los catorce ensayos incluidos se cifra en la tentativa de analizar – a la luz tanto de los rasgos más típicos como de la variedad y versatilidad que lo caracterizan – uno de los géneros más genuinos del Seiscientos, deudor, por un lado, del acervo de los ‘novellieri’ (a partir de Boccaccio, Bandello y Straparola), y, por el otro, de las «Novelas ejemplares» de Cervantes, con vistas a futuros desarrollos metodológicos e interdisciplinares.

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El actuar simulado de las figuras femeninas de María de Zayas y Juan de Piña




The knowledge of how to dissimulate can be observed –in embryonic form– in some of the female characters of the Decameron. Sometimes they are driven by the narrative logic of pretence or disguise (for instance in the case of the Madonna Isabella in VII, 6 or in the case of Zinevra in II, 9). Three hundred years later, the Spanish heroines use simulation to a greater extent and there is greater self-conscience, self-determination and awareness in their actions and conducts. Comparing, however, the misfortunate women in María de Zayas’ text with the skilful behaviour of the female co-protagonist in Casos prodigiosos y cueva encantada (1628) by Juan de Piña, a substantial difference can be observed: while the first women conceal or feign with varying degrees of success, the second female protagonist − madama Blanca − knows how to act by dissimulating her actions, intentions, gender or physiognomy in every circumstance. She does that to such a degree that she even determines the frequency of meetings with her lover and makes decisions concerning their future. These aspects lead to a consideration of the text Della dissimulazione onesta (1641) by the Neapolitan writer Torquato Accetto, who speaks about an accentuated pre-modern sensibility with regard to the anthropological category of dissimulation.

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