La recepción de Terencio en la temprana imprenta manual y su repercusión sobre la caracterización genérica de «Celestina»una perspectiva visual

  1. Saguar García, Amaranta 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Journal:
Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro

ISSN: 2328-1308

Year of publication: 2023

Volume: 11

Issue: 1

Pages: 629-641

Type: Article

DOI: 10.13035/H.2023.11.01.34 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro

Abstract

Celestina is linked to Terenceʼs works since its origins: not only did contemporary readers identify it as a «terentian» work, but its earliest illustrated editions are indebted to the Strasbourg: Johannes Grüninger, 1496 edition of Terence’s Comoediae. Going back to the manuscript models of the incunabula editions of Terence, in this article is discussed how the way Terence’s Comoediae were illustrated in medieval and early modern Europe influences the way Celestina was illustrated, which results in two characteristic iconographic programmes: the Burgos and the Crombergerian one. Finally, it is suggested that printers choosing one programme or another affects how they perceived and received both Terence’s Comoediae and Celestina

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Data source: Dialnet