The Reception of Fernando de Roja’s <i>Celestina</i> in Italy: A Polyphonic Discourse
Why this work is in the frame
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Bibliographic record
Abstract
La Celestina by Fernando de Rojas was published in Spain for the first time in 1499 as a comedy, and as a tragicomedy in 1502. The first Italian translation of the play was published in Rome in 1506 and gave birth to a parallel and complementary textual tradition on which the reception and translation of the play in other modern languages (such as French and German) were based. Given the wide success of Celestina in Italy, this essay focuses on the hybrid genre of the play, which can be placed at the crossroads of comic and tragic genres but also on the boundaries between narrative and theatrical modes of expression. It emphasizes the importance of Celestina’s dialogic, parodic, and polyphonic structure, and its links with Dante’s Commedia and Boccaccio’s Decameron. Building on the “working hypothesis” of a Florentine genesis of Celestina, this essay explores its connection with humanist comedy and with Aretino’s comic-burlesque literature.
 La Celestina de Fernando de Rojas fut publiée en Espagne pour la première fois en 1499 en tant que comédie, puis en 1502, en tant que tragicomédie. La première traduction italienne de la pièce a été publiée à Rome en 1506 et a donné le jour à une tradition textuelle complémentaire et parallèle, laquelle en a par la suite nourri la réception et la traduction en plusieurs langues modernes (en français et en allemand par exemple). Étant donné le grand succès que reçut La Celestina en Italie, cet essai se penche sur le genre hybride de la pièce, qui participe également des genres tragique et comique, et qui, en outre, se situe à la frontière des modes d’expression narratif et théâtral. Ces observations soulignent l’importance de la structure dialogique, parodique et polyphonique de La Celestina, ainsi que ses liens avec la Divine Comédie de Dante et avec le Décaméron de Boccace. De plus, suivant l’hypothèse de travail d’une genèse florentine de La Celestina, cet article explore ses relations avec la comédie humaniste et la littérature comique-burlesque de l’Arétin.
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it