Esta dissertação consiste na tradução anotada de duas novelas de Cervantes: O casamento enganoso e O colóquio dos cães, que fazem parte da coleção de doze novelas publicadas pelo autor em 1613 sob o título Novelas exemplares. As traduções são precedidas de um estudo no qual se discutem: a origem, a cronologia e a classificação das novelas, sua originalidade e exemplaridade, bem como os conceitos de admiratio e verossimilhança, aos quais os escritores do século XVII dedicavam especial atenção. / This dissertation consists of the annotated translation of two short novels by Cervantes: El casamiento engañoso e El coloquio de los perros, both part of the collection of twelve short novels published by the author in 1613, Novelas ejemplares. The translations are preceded by a study in which the following topics are examined: the origin, the chronology and the classification of the short novels, their originality and exemplariness, as well as the concepts of admiratio and verisimilitude, to which XVII century writers dedicated especial attention.

Esta dissertação consiste na tradução anotada de duas novelas de Cervantes: O casamento enganoso e O colóquio dos cães, que fazem parte da coleção de doze novelas publicadas pelo autor em 1613 sob o título Novelas exemplares. As traduções são precedidas de um estudo no qual se discutem: a origem, a cronologia e a classificação das novelas, sua originalidade e exemplaridade, bem como os conceitos de admiratio e verossimilhança, aos quais os escritores do século XVII dedicavam especial atenção. / This dissertation consists of the annotated translation of two short novels by Cervantes: El casamiento engañoso e El coloquio de los perros, both part of the collection of twelve short novels published by the author in 1613, Novelas ejemplares. The translations are preceded by a study in which the following topics are examined: the origin, the chronology and the classification of the short novels, their originality and exemplariness, as well as the concepts of admiratio and verisimilitude, to which XVII century writers dedicated especial attention.

One of the most salient characteristics of Cervantes's literary production is his fascination, one might even say his obsession, with the human capacity for transformation. Nearly all of his plays, novellas, and novels feature characters that adopt alternative identities and disguise or dissimulate their true, original selves. The Novelas ejemplares (1613) encompass a veritable cornucopia of characters that pass themselves off as another. There are women who pass as men, Christians as Turks, Catholics as Protestants, and noblemen as gypsies, among many others. Identity, or at least its appearance, is represented as fluid and malleable. By creatively controlling the signs that they project in public, the characters of the novellas demonstrate a remarkable ability to adapt to innumerable contingencies. Similarly, subjects of the Spanish empire, driven particularly by ethno-religious and socio-economic motives, utilized craft and guile to conceal their identity or simulate another. On a theoretical level, both in Spain and throughout Europe, intellectuals explored the human capacity for transformation, and there emerged a new sense of interiority. As Stephen Greenblatt observes, in the Renaissance, "there appears to be an increased self-consciousness about the fashioning of human identity as a manipulable, artful process" (2). In this study I examine the abundance of deceit and disguise in Cervantes's collection of twelve novellas within the work's sociohistorical context. Specifically, I analyze how the novellas are embedded in two particular threads of cultural discourse on human identity: Spanish social history and early modern European intellectual history. / text

El presente estudio se dedica a examinar cómo Miguel de Cervantes utiliza la idea del disfraz para transmitir crítica social en siete de sus novelas ejemplares. Este objetivo se logra mediante un análisis histórico literario tradicional que se apoya en una combinación de las consideraciones bajtinianas sobre lo carnavalesco como disfraz en la literatura, el aprovechamiento del pacto de lectura mencionado por Sánchez Zapatero (2010) y que consiste en un pacto implícito entre autor y lector, el cual exige que el autor siempre tenga que contar la verdad en sus narrativas y el lector tenga que confiar en que lo haga,, los conceptos de episteme, poder i saber construidos por Foucault en su propuesta historiográfica y nuestras interpretaciones independientes.

La première partie étudie la conception de la réception dans l'ensemble de l'œuvre cervantine. On mesure pourquoi l'auteur dénonce les récits chevaleresques, pastoraux et sentimentaux, coupables de provoquer une emprise fictionnelle exagérée et de proposer de dangereux modèles de comportements.<br />Les Nouvelles exemplaires (Novelas ejemplares) leur répondent par la reprise de scénarios tirés des contes de fées et des mythes tragiques (2e).<br />L'exemplarité se définit par la poétique sous-jacente à ces deux modèles : celle de l'initiation (3e). La thèse dégage deux axes d'éducation : l'initiation à l'humanité et l'éducation sentimentale. Cervantès propose d'abord quelques normes d'une « chevalerie » modernisée: placé au cœur de la cité, le héros exemplaire est l'instrument d'une véritable « civilisation des mœurs ». Sur la question sentimentale, le conte merveilleux se révèle fort pertinent: sa trame permet de conduire nos protagonistes vers l'heureux mariage en les contraignant à adopter une posture volontariste.