At the entrance to the Temple of Apollo stood the maxim "know thyself" (lat. nosce te ipsum), whose modern reception tends to privilege retrospective introspection. In Classical Antiquity, however, this precept entailed a form of self-knowledge projected toward the future-one oriented toward action and virtue. Fernando de Rojas discerned in this ancient dictum a key to shaping figures such as Celestina and, with particular subtlety, Are & uacute;sa. This study examines the soliloquies found in Acts IV and IX of La Celestina, intending to identify the discursive tensions through which certain female characters articulate an incipient form of autonomy. It is argued that this dynamic finds its philosophical foundation in Plato's First Alcibiades, whose echoes resonate throughout the process of self-discovery these figures undertake within Rojas's text.
La Celestina, a work by Fernando de Rojas not intended for stage performance and scarcely yielding to narrative exposition, relies on a series of compensatory strategies to allow the audience to visualize the characters' gestures, movements, and facial expressions, as well as the spaces they occupy. Among these strategies, the extensive use of implicit stage directions stands out, as highlighted and classified by Maria Rosa Lida de Malkiel and other scholars. Indeed, in an entirely dialogue-driven work of this kind, every line becomes a source of visual information and effectively functions as an additional stage direction, especially in the absence of any scenic updates. Therefore, we may hypothesize that La Celestina, characterized a priori by a prominent visual potential conveyed solely through language, lends itself more readily than other works to graphic adaptation, distinguishing itself by a high degree of visual mediagenicity. We aim to examine this hypothesis through one of the few-paradoxically?-comic book adaptations of the work: the version by Victor Palmerin Navarro (MSPublishers, 2017). In this adaptation, which employs anachronisms and unexpected visual inventions forming a pop imagery and systematically modernizes the text, the illustrator makes full use of all the original stage directions and effectively exploits their considerable visual potential. We will highlight the disproportion between the visual and textual components, showing how the former, through the art of synthesis, comes to substitute for the latter; in other words, how La Celestina, a literary work with latent visual qualities, is transformed into a fully visual work that could almost dispense with the text entirely.
Sebasti & aacute;n Fern & aacute;ndez work la Tragedia Policiana it's part of a series from Celestina. The purpose of this article is to analyze the Apollonian traces within Fernandez's writings. According to the German philosopher Friedrich Nietzsche, the Apollonian is associated to order, to calmness and it's an individualization principle. Nonetheless, in order to give the Apollonian an important role he belittles the dionysiac, the god related to chaos and wine. Within this text the Apollonian traces showed thought-out Sebastian Fernandez's writings are highlighted in order to better comprehend the weight they have and how it encloses a definite ethical and moral standing. Looking through these ideas, the contempt towards dionysiac values proves the tendency to a moral life linked to order, to calmness and the individualization principle.
In this article we question the status of the Tragedia Policiana (1547) and, in particular, whether it is really a prequel (an analeptic continuation) of La Celestina (1499-1502), its hypotext. In this fourth instalment of a hitherto proleptic cycle, the author largely squanders the potential of the model work. Although he goes back to the past of the characters (Claudina and Celestina), this gesture is not accompanied by any renewed practice and frustrates the expectations he induces in the reader's mind. Throughout this contribution, we are inspired by some of Pierre Bayard's ideas, scattered throughout his work, as clues and suggestions that seem to us to be ideal for the study of a text that could have been what it is not.
This article presents the first comprehensive historiographical reconstruction of Celestina (1976), Miguel Sabido's debut film, long marginalized by Mexican film historiography and celestinesque scholarship. Drawing on archival materials, interviews, theatrical sources, and an analysis of Mexico's political and industrial landscape in the 1970s, the study demonstrates that the film emerged under hostile conditions shaped by institutional censorship, financial instability, and a delayed and fragmented release. It also examines the formative influence of earlier theatrical precedents on the film's conceptual development. The article argues that the film's dismissal stemmed from both aesthetic considerations and entrenched moral and literary prejudices surrounding << fidelity >> to Rojas's text. In contrast, it proposes understanding Sabido's work as an intermedial intervention that mobilizes eroticism, ritualized symbolism, and a hybrid visual language oscillating between the diegetic and the extrareal to explore the breakdown and restitution of moral order. By reassessing its symbolic density, narrative innovation, and theological framing, the study restores the film's significance as a politically disruptive and formally ambitious rereading of La Celestina, and as the most radical cinematic reinterpretation of the work produced outside Spain.
