The Image of Celestina : Illustrations, Paintings, and Advertisements.

Format:

Book

Author/Creator:

Fernández, Enrique., author.

Series:

Toronto Iberic Series

Language:

English

Subjects (All):

Communication in marketing.

Physical Description:

1 online resource (305 pages)

Edition:

1st ed.

Place of Publication:

Toronto : University of Toronto Press, 2024.

Summary:

This book examines imagery of the eponymous character from La Celestinafrom the early sixteenth century until today.

Contents:

Table of Contents

Front Matter(pp. i-iv)

https://www.jstor.org/stable/10.3138/jj.11589046.1

Table of Contents(pp. v-vi)

https://www.jstor.org/stable/10.3138/jj.11589046.2

List of Illustrations(pp. vii-xii)

https://www.jstor.org/stable/10.3138/jj.11589046.3

Acknowledgments(pp. xiii-xiv)

https://www.jstor.org/stable/10.3138/jj.11589046.4

Summary of La Celestina (c. 1499)(pp. xv-2)

https://www.jstor.org/stable/10.3138/jj.11589046.5

Published at the end of the fifteenth century in Spain, the book originally entitled Comedy of Calisto and Melibea and later Tragicomedy of Calisto and Melibea and the Old Bawd Celestina eventually became known simply as La Celestina. It is a tragic love story believed to have served as an inspiration for Shakespeare's Romeo and Juliet. Not surprisingly, sometimes La Celestina is described as a "dirty" Romeo and Juliet because sexual activity and the worlds of prostitution and crime are explicit in the text. It is uncertain who the author or authors of La Celestina were, but a young student. . .

Introduction: The Visual Culture of Celestina(pp. 3-16)

https://www.jstor.org/stable/10.3138/jj.11589046.6

La Celestina (LC) is not only a crucial text in the history of literature but also the origin of myriad images at whose centre is the character of Celestina. She escaped the confines of the text to become a prototype, even a myth. This book refers to the whole of these images as Celestina's visual culture or visual legacy.² This legacy contains the images of the original literary character and those of the book eventually renamed for her, as well as those of the prototype and mythical figure she soon became. Some images in this visual corpus, such as the. . .

Chapter One Illustrating Celestina(pp. 17-66)

https://www.jstor.org/stable/10.3138/jj.11589046.7

The illustration of La Celestina started with the seventeen engravings in the Burgos edition (usually dated to 1499). Since then, around seventy illustrated editions have been published in two periods neatly separated by the two hundred years, between the early seventeenth and early nineteenth centuries, in which LC was not issued in any format. There are over thirty illustrated editions from the first period (1499-1616), while those published in the second period (1841-present) number in the forties. These two periods are separated not only in time but also in the technique and style of their images. The images. . .

Chapter Two Painting Celestina(pp. 67-114)

https://www.jstor.org/stable/10.3138/jj.11589046.8

This chapter studies Celestina images in pictorial formats, including oil paintings or etchings, that were created as independent works and not as illustrations for La Celestina. In most cases, these images differ from the book's illustrations in format and content. However, the distinction may become blurry, as in some of Picasso's engravings in his 347 Suite, which he later repurposed to illustrate an edition of LC. Except for these rare cases, the difference between the Celestina images examined in this chapter and the illustrations analysed in the preceding chapter is clear, and is reinforced by the fact that no specific. . .

Chapter Three Advertising Celestina(pp. 115-165)

https://www.jstor.org/stable/10.3138/jj.11589046.9

A new kind of Celestina imagery started to appear in the late nineteenth century: promotional images on book covers and, later, posters and lobby cards for stage and film adaptations. To keep costs down and expedite their production, most of these images are adaptations of previous ones. However, they are important for the study of the visual culture of Celestina because they have been widely circulated, reaching beyond readers and audiences. For people who never read the book or attended a performance of a stage adaptation, the concept of what La Celestina "is about" and what characterizes Celestina is based. . .

Conclusion: Kaleidoscopic Celestina(pp. 166-174)

https://www.jstor.org/stable/10.3138/jj.11589046.10

Reclaiming the visual culture of Celestina in its extended meanings reveals findings of interest for disciplines ranging from literature to art and sociology. The images offer us insights into the origins and reception of La Celestina. For some of the periods we have examined, these images are the most revealing - and sometime nearly the only - testimonies to its reception. At the same time, they provide us with information on themes ranging from the history of prostitution to social relations and women's position in society. From the point of view of art history, the images of Celestina constitute an ideal case. . .

Illustrations(pp. 175-210)

https://www.jstor.org/stable/10.3138/jj.11589046.11

Notes(pp. 211-234)

https://www.jstor.org/stable/10.3138/jj.11589046.12

Bibliography(pp. 235-278)

https://www.jstor.org/stable/10.3138/jj.11589046.13

Index(pp. 279-284)

https://www.jstor.org/stable/10.3138/jj.11589046.14

Back Matter(pp. 285-288)

https://www.jstor.org/stable/10.3138/jj.11589046.15.

Notes:

Includes bibliographical references.

Description based on publisher supplied metadata and other sources.

Other Format:

Print version: Fernández, Enrique The Image of Celestina

ISBN:

9781487549824