La Celestina, como ficou conhecida a Tragicomedia de Calisto e Melibea, de Fernando de Rojas, é uma obra fundamental da cultura hispânica. Devido a sua forma essencialmente dramática, já foi adaptada para o palco em inúmeros países e em diferentes épocas. No Brasil, entre os anos de 1969 e 1970, ocorreram três diferentes montagens profissionais de La Celestina. Este estudo procura analisar a encenação ocorrida em São Paulo, sob direção de Ziembinski, partindo do texto adaptado por Eudinyr Fraga e do material histórico coletado durante a pesquisa. Também procura estabelecer um diálogo com as duas outras encenações ocorridas em Porto Alegre e no Rio de Janeiro. Além disso, esse trabalho identifica e analisa o interesse dos encenadores brasileiros em montar o clássico espanhol no contexto brasileiro do regime militar, partindo da hipótese de que essas encenações poderiam significar uma opção estética de atuação política frente à repressão vivida no regime militar. Nesse sentido, foram considerados o contexto histórico-social e as opções estéticas que direcionavam o fazer artístico daquela época como essenciais para estabelecer as relações de significados do objeto estudado. No caso da montagem paulista de La Celestina, verificou-se um propósito político claramente definido que procurou levar aos palcos, por meio de uma encenação audaciosa e crítica, a questão da falta de liberdade política, da repressão e da luta de classes. Isso permitiu incluir a peça de Ziembinski no conjunto das manifestações estéticas de resistência ao regime militar brasileiro. / La Celestina, as it is known the Tragicomedy of Calisto and Melibea, by Fernando de Rojas, is a fundamental work of Hispanic culture. Due to its essentially dramatic style it has been already adapted in many countries and in different times. During 1969 and 1970, three different professional performances of La Celestina took place in Brazil. The objective of this study is to analyze the performance done in São Paulo, under the direction of Ziembinski, based upon the adapted text written by Eudinyr Fraga and the historical material collected during the research. Also it aims at establishing a dialogue with the two other performances occurred in Porto Alegre and Rio de Janeiro. Besides it this paper identifies and analyzes the Brazilian artists interest in producing the classic Spanish play in the Brazilian context of military dictatorship, setting forth the hypothesis that those performances could signify an aesthetics of political action in opposition to the repression lived during the military dictatorship. In this sense, it was taken into account the social-historical context and the aesthetics options that directed the artistic doing of those times as essential facts to establish the relationships of meanings in the studied object. In the case of the performance of La Celestina in São Paulo, it is noticeable a political purpose clearly defined, which wants to bring to the stages, by means of an audacious and critical play, the questions regarding the lack of political freedom, the repression and the class struggle. This allowed to include Ziembinski\'s play in the group of the aesthetics manifestations in resistance to Brazilian military dictatorship.

Humans seem to have a cognitive predisposition for perceiving different concepts in terms of opposite extremes, which in turn fosters an either / or mentality where only two contrary views are possible - tertium non datur. This tendency is also reflected in Don Quixote, where the arrangement of multiple and diverse elements through dualistic patterns is so prevalent, and represent such an essential structural characteristic, that it becomes Cervantes’s own ars poetica. However, once readers look beyond the apparent dichotomies, a higher degree of complexity emerges. We can debate whether Don Quixote is either crazy or sane using the Aristotelian aut / aut logic, but a different possibility would also be enlightening - tertium datur. This dissertation offers an alternative critical framework which combines cognitive theories of categorization and perception with the ideas of Heraclitus, Abelard’s Sic et Non, and Bart Kosko’s Fuzzy Thinking based on Lofti Zadeh’s Fuzzy Logic. Through the new fuzzy and (ambi)valent logic Don Quixote can be perceived simultaneously as crazy and sane - sic et non - since both possibilities are valid at the same time. This new approach reveals that Cervantes employs dualities - equal and opposing elements - not to simplify but rather to make us reflect and deepen our knowledge of the human condition. Thus, Don Quixote functions as a mirror (speculum) in numerous levels, since the text’s self-reflexive structure can in turn provoke reflections and interpretations ad infinitum. Chapter 1 of the dissertation explores the long tradition surrounding the use of dualities from classical antiquity to the Early Modern period from a binary perspective. Chapter 2 establishes a theoretical framework based on a fuzzy and (ambi)valent cognitive categorization and perception. That framework is then applied in chapter 3 to the dichotomies explored in chapter 1, and then, in chapter 4, to the dualistic categories and schemata in Don Quixote. Chapter 5 analyzes the interconnectedness of cognitive entities which are typically studied separately: the author (Cervantes), the text (Don Quixote), and the readers (the critics), along with their respective contexts. Thus, this is both a critical / analytical study as much as a meta-analytical / meta-critical endeavor.

The Bible serves as a source for Celestina, but biblical references and reminiscences in the text do not derive from the Scriptures themselves, but from secondary and even tertiary sources. These represent the typical medium of access to the Bible of laymen and, in the case of Celestina, of a very specific group of laymen: university members, which formed the original audience of the work and shared a same way of reading it. Therefore, biblical intertextuality in Celestina is defined by the relation of university members to these sources. When analysed from the perspective of university readers, Celestina becomes a pseudo-contemplative work to which the principles of visual mental representation of affective meditation apply. If read making use of these principles, the didactic and moralising message of the preliminary texts is confirmed and Celestina reveals itself as an admonitory tale against carnal love. Moreover, it appears as a counterfeit sentimental romance, concretely, a reply to "Cárcel de amor", to contemporary love habits and to courtly customs. In addition, reading Celestina from the perspective of an university audience offers a new view on the misuse of biblical references. Instead of being representative of a heterodox attitude toward the Scriptures, these function as a condemnation of the bad use of auctoritates in dialectic contexts. As a result, Celestina can be related to a reformist current in the university world, which was particularly critical to Scholasticism and its teaching methodology. In this sense, Celestina aligns itself with Humanism and, specifically with Christian Humanism. Finally, analysing Celestina from the point of view of university readers explains why a work, which had been originally conceived as a didactic and moralising text, was criticised in the sixteenth century for being inmmoral: audience and times had changed.

Joseph ben Samuel Tsarfati, one of the great Jewish poets and scholars of the Italian Renaissance, first translated the Spanish work Celestina (1499) by Fernando de Rojas into Hebrew in 1507. At present, only Tsarfati’s introductory poem to his translation remains. This study seeks to answer the questions: What may have been Tsarfati’s motivation to translate Celestina into Hebrew so soon after its Spanish composition? How might a Jewish audience in Rojas’s day have understood his work? In response to these questions, this study will primarily concern itself with the similarities between Rojas’s and Tsarfati’s historical situations and the literary interests that they expressed in their works, interests that could have drawn Tsarfati to translate Rojas’s work. Close readings of sections of Celestina, as well as an overview of Tsarfati’s two hundred and thirty-poem corpus and close readings of several of these poems, make up the most important part of this study’s analysis. Through this analysis, I argue that both Rojas and Tsarfati stood as transitional figures during a period of literary change, which allowed them to explore and exhibit similar themes and interests in their works. Their works thus served as a type of “go-between,” moving their audiences from the attitudes and behaviors of one era into those of a new era. Additionally, and more importantly, both men found themselves at the nexus, or point of contact, between two cultures. Rojas – as a converso serving as a lawyer and leader of a Christian community – and Tsarfati – serving as a Jewish physician to the pope – were both in a position to feel the heavy pressures of the dominant culture and to communicate with their Jewish culture in ways that subverted that pressure and power. Both Rojas and Tsarfati were fascinated with the power of language to conceal and reveal meaning and to exert influence. As men of their time, both saw romantic love as having true, intrinsic value, but at the same time used it as a metaphor for the false hope offered by the dominant culture. / text

En este trabajo pretendemos analizar el personaje de Celestina y el mundo de la prostituciónclandestina en la Tragicomedia de Calisto y Melibea de Fernando de Rojas en su contextosociohistórico. La obra se escribió en el momento de un cambio fundamental en el mundo dela prostitución en la sociedad española medieval y el objetivo de nuestro trabajo es analizarcómo estos cambios se han reflejado en la obra estudiada, en particular en la vida y accionesde uno de sus personajes, Celestina. Nos interesa investigar cómo se presenta este personajeen relación a la prostitución, cómo los cambios sociohistóricos en el mundo de la prostituciónde la TCM han afectado a la vida y acciones de Celestina y qué tipos de prostituciónclandestina se retratan en la obra en relación con ella. Primero presentamos la situación contemporánea en el mundo de la prostitución en Españaen la Baja Edad Media en el momento en que se introdujeron los burdeles públicos y seprohibió la prostitución libre, los cambios en la estructura existente de la prostitución que estecambio supuso y los tipos de prostitución clandestina que cristalizaron tras este cambio. Estecontexto nos permite realizar el análisis del personaje de Celestina, concebir su perfil ehistoria, analizar las causas de los acontecimientos en su vida y comprender los motivos desus decisiones y acciones. Finalmente se presentan dos tipos de la prostitución clandestina ysu relación con Celestina. La elección de Celestina como sujeto literario analizado nospermite capturar de manera bastante detallada el cambio sociohistórico de la época. El punto de partida ideológico para la realización de nuestro análisis radica en el abordajesocial y psicológico que nos permite analizar el personaje de Celestina sin juzgar ni condenarsu vida y comportamiento, sino comprenderlos y explicarlos dentro de su dimensión social ypsicológica.

This doctoral dissertation examines the presence and function of the sense of smell in Early Modern Spanish literature. It studies the use of the olfactory in key works of the period and analyzes how each one reflects a certain contemporary aspect of Spanish culture and society. Though its role in literature has not been considered as widely as that of the other senses, smell's indubitable presence in the works and its unique qualities allow for a singular approach to the texts in question as they serve to preserve the beliefs, themes and trends of Renaissance and Golden Age Spain. This work analyzes four texts, one from the late Middle Ages and three from the Early Modern period: Fermoso cuento de una santa enperatrís que ovo en Roma & de su castidat (14th century); La Celestina, Fernando de Rojas (1499); Don Quijote, Miguel de Cervantes y Saavedra (1605 and 1615); "La inocencia castigada," María de Zayas (in Desengaños amorosos - 1647). These selected works permit an analysis of the function of smell within a variety of themes and across the span of the period. Serving to orient us in our search for literary scent, Chapter 1 presents considerations for the study of the olfactory in literature - how the senses have been perceived over time, how smell differs from the other senses and how smells are represented verbally. Chapter 2 deals with Fermoso cuento de una santa enperatrís que ovo en Roma & de su castidat and the way that the medieval saint-sinner dichotomy is reflected in pleasant and foul smells, respectively. Chapter 3 reviews the historical, cultural and social changes that took place in Iberia from the end of the Middle Ages into the Early Modern period to better understand changing perceptions and how they appear in literature during this time. Chapter 4 studies La Celestina and the title character's sensorial (olfactory) manipulation of others in the work. Chapter 5 looks at the role of smell, contrasted with the other senses, in Don Quijote's creation of Dulcinea. Chapter 6 analyzes the martyrdom of women in marriage as presented through smell in "La inocencia castigada." The epilogue briefly considers the role of smell in Lazarillo de Tormes and its implications for further study of the olfactory in literature. / Spanish

Esta investigación tiene como objetivo hacer una relectura de La Celestina, escrita por Fernando de Rojas, publicada en el 1499, manteniéndose hasta hoy uno de los grandes clásicos de la literatura española y fuente inagotable de investigaciones. Teniendo en cuenta las tradiciones judias como uno de los subtextos presentes en la obra, nuestro estudio va a poner de relieve elementos que presentan esta posible relación, además de contribuir con algunas reflexiones sobre el criptojudaismo aplicado a la literatura, a través de Umberto Eco (1997), en Interpretación y sobreinterpretación; Benedito Nunes (2007), en Hermenéutica y poesia, el pensamiento poético, además de Antoine Compagnon (2009) en ¿Literatura para qué? De primero se hizo una investigación cualitativa de los aspectos históricos y culturales inherentes a los judíos. En ese sentido fueron utilizados como fuentes los trabajos de Henry Kamen (1966, 2004), Nicholas Lange (2007), Ricardo Forster (2006), Toby Green (2011) y los estudios celestinescos desarrollados por Dorothy S Severin (2000) y Lluís Francesc Cardona Castro (1994). Los conocimientos acerca de la Cábala, del tarot, de los mitos y de la mística judía fueron obtenidos por medio de Carlos Campani (2011), Gershon Scholem (1978), Irene Gad (1994), Sallie Nichols (1995) y Samuel Gabirol (1988). Solo a partir de esos estudios se dio un espacio seguro para empezar una interpretación hermenéutica, con el objetivo de sacar de La Celestina su probable carácter criptojudaico. / Esta pesquisa pretende fazer uma releitura da peça La Celestina, escrita por Fernando de Rojas, publicada em 1499, mantendo-se até nossos dias como um dos grandes clássicos da literatura espanhola e fonte inesgotável de diferentes pesquisas. Ao considerarmos as tradições judaicas um dos subtextos presentes nessa obra, nosso estudo pretende destacar elementos que demonstrem essa possível relação, além de contribuir com algumas reflexões sobre o criptojudaísmo aplicado à literatura, através de Umberto Eco (1997), em Interpretação e Superinterpretação; Benedito Nunes, em Hermenêutica e poesia, o pensamento poético e Antoine Compagnon (2009), em Literatura para quê? De início, fez-se necessária uma pesquisa qualitativa buscando uma aproximação com os aspectos históricos e culturais do povo judeu. Nessa pesquisa prévia, utilizamos como referencial teórico Henry Kamen (1966, 2004), Nicholas de Lange (2007), Ricardo Forster (2006), Toby Green (2011), além dos estudos celestinescos de Dorothy S Severin (2000) e de Francesc Lluís Cardona Castro (1994). Os embasamentos sobre a Cabala, o tarô, os mitos e a mística judaica foram estudados a partir de Carlos Campani (2011), Gershon Scholem (1978), Irene Gad (1994), Sallie Nichols (1995) e Samuel Gabirol (1988). Somente a partir daí, com uma leitura hermenêutica, houve um ambiente propício frente à busca por elementos que atribuíssem a La Celestina um caráter criptojudaico.

This study explores the intersection of the philosophy of Martin Heidegger and Spanish literature. The study examines the Heideggerian authenticity and inauthenticity of two characters in the literature: Melibea in La Celestina by Fernando de Rojas and Grisóstomo in Don Quijote de la Mancha by Miguel de Cervantes. Heidegger’s concept of authenticity is the ability of the individual to live in the world according to her own desires, outside of the influence of others. Both die by suicide, but Melibea is an authentic character in Heideggerian terms and Grisóstomo is inauthentic. At the end of her life, Melibea has resolved all anxiety into resoluteness and is determined to live life in her own terms. Grisóstomo, however, dies inauthentically, full of anxiety and subject to the will of Others. He never leaves the influence of others to live a life of his own determination.