Tragicomédia

En el siguiente trabajo se estudia el tema de la evolución de Melibea en la obra La Celestina. Esta evolución supone una transformación del personaje a nivel psicológico y social: Melibea cambia su pensamiento y esto se ve reflejado en su actitud.

En este trabajo voy a tratar de abordar los insultos y las maneras despectivas de dirigirse a la mujer en el libro de La Celestina, escrito por Fernando de Rojas en 1499. La Celestina como nombre popularizado ya que se trata de la Tragicomedia de Calisto y Melibea.
El punto de vista desde el que voy a tratar dicho tema es: organizar los insultos para que sea más sencillo ubicarlos en el libro y en el contexto, así como los personajes que interfieren en esos insultos, ya estén presentes o sean otros personajes los que los utilizan. Para no extenderme más de la cuenta en la elaboración del trabajo únicamente a mayores, siguiendo la dinámica de mi tema, voy a tratar un monólogo de uno de los personajes para ver más en profundidad la visión que tenían las mujeres sobre otras mujeres en el libro. He utilizado el Diccionario de injurias de los siglos XVI y XVII para ver si las palabras que he encontrado eran o no insultos así como el nuevo tesoro lexicográfico por si no encontraba dichos insultos en el anterior, por último he utilizado CORDE para ver en que más obras aparecían estos insultos.

Human experiences provide content and perspectives to works of literature. Tragedy and comedy are commonly known as two major categories of human experiences and they have been carried over into works of literature under these terms, particularly as provided by Aristotle, and with tragicomedy given a secondary position. However, as provided by means of a critical approach, this essay shows that this tradition misses one other major category of human experiences which should have also been carried over into literature and this gap has been inadvertently sustained over the centuries. This other category is what this foundational work both establishes and explores as 'inversion', which refers to the cumulative result of a series of human actions and circumstantial events occurring in real life or in literary plots which leave the public or audience firmly convinced a particular individual or a main character has ended on a tragic note or as a loser whereas deep within his or her heart and for some strong reasons, and probably known only to a few, he or she is equally convinced he or she ended on a note of comedy or as a winner. Alternatively, 'inversion' could be that while the public or audience is convinced everything ended on a note of comedy or victory, the individual or main character is convinced it all ended on a note of tragedy or defeat. Inversion is also distinguishable from tragicomedy. Thus, exploration of inversion in literary works henceforth will be important for the future of literature.

Abstract: This paper, which evaluates the theoretical underpinnings of tragicomedy, examines the ideas on literary decorum that formed the basis for the traditional definitions of the different dramatic genres. Within this context, an argument is made that the emergence of the ‘third genre’ was associated with changing views on the adaptation of theater to bring it into line with the concept of literary decorum. It is suggested that this concept gradually ceased to shape the sorts of characters associated with different genres and eventually came to determine only the style that was used, depending on the dramatic situation and social standing of the characters.

Scholarly research in opera studies has already highlighted the protagonism of women in seventeenth-century librettos. Now it might be worthwhile to zoom in on the figure of the female enchantress by examining, in particular, the librettos of Ottavio Tronsarelli (La catena d'Adone, 1626) and Giacinto Andrea Cicognini (Giasone, 1649). In these two works the multi-faceted notion of melancholy proves to be an invaluable critical tool which sheds light on the hybrid nature of this emergent theatrical genre and on the dual personality of the enchantress. In fact, the female protagonist is a typically melodramatic heroine, capable of throwing emotional tantrums of weepings and laments, as well as a witch, who, if crossed, will bite back, curse and cast evil spells.
Such representations of "melancholic" female protagonists draw on a robust literary tradition which is revisited but also re-defined by the two writers, who either reinforce old epistemological categories or produce new ones, in line with the cultural shifts that were taking place in the early Seventeenth century. Melancholy, when explored through the figure of the enchantress in the works of these two librettists, reflects broader parameters of literary and cultural change in early Seventeenth-century Italian society. This shift is symptomatic of a wider epistemological crisis, as writers of the period tried to bridge the gap between rooted paradigms that drew on Renaissance perceptions of the occult as well as dramatic theories and emergent science-based, public-oriented paradigms. By relying so heavily on the ancient tópos of the enchantress to portray their heroines, and by highlighting their enchantresses' dual nature, both writers were engaging their audiences in the ongoing Querelle des femmes, as well as expressing male anxieties about women’s roles in Seventeenth-century Italian society.

All’interno delle opere critiche e letterarie di Giovan Battista Giraldi Cinzio si riscontrano molteplici riferimenti alle commedie di Plauto e Terenzio. Giraldi, infatti, adduce spesso l'esempio dei due commediografi latini per giustificare le eterodosse scelte formali
e contenutistiche applicate alle proprie tragedie. Il principale inserto di natura formale tratto dalla commedia classica e introdotto in tragedia è il prologo separato. Tra le scelte di contenuto, invece, la più eclatante è l'inserimento del lieto fine a conclusione di un testo tragico. Il rimando all’auctoritas di Plauto diventa determinante nel momento in cui Giraldi giustifica l’inserimento di elementi comici nella materia tragica, rifacendosi in particolare alla definizione di «tragicomoedia» enunciata dall’autore latino nell’«Amphitruo». Le fonti terenziane e plautine sono solitamente citate da Giraldi in maniera esplicita; tuttavia, egli ne fa anche un interessante uso implicito, ad esempio nel prologo dell’«Altile». Nel presente intervento forniremo un saggio delle riprese delle commedie di Plauto e Terenzio contenute nella produzione critica e teatrale di Giraldi, riservando una particolare attenzione a sei elementi tratti dal genere comico ed inseriti in quello tragico. Presenteremo inoltre una breve ricognizione delle edizioni di Plauto e Terenzio circolanti nell’ambiente di Giraldi.

A partir das considerações de Mikhail Bakhtin sobre os gêneros do discurso, o dialogismo e o plurilingüismo e sobre o discurso no romance, o presente trabalho propõe uma abordagem da incorporação de traços composicionais da Tragédia na Comédia Anfitrião, de Tito Mácio Plauto, bem como do seu funcionamento dentro do texto plautino. Através desses conceitos, foi possível lançar uma outra luz sobre essa utilização de traços genéricos estranhos à Comédia, o que possibilitou uma leitura que destacasse a vinculação entre a história do mito do nascimento
de Hércules tal qual representado pelo comediógrafo latino e as estruturas composicionais da peça, para além de ressaltar, nos moldes do dialogismo e do plurilingüismo bakhtinianos, o tratamento cômico dispensado por Plauto aos traços trágicos por ele incorporados.

This article deals with genetic connections between Fyodor Dostoevsky and Catherine Breillat—using psychoanalysis and philosophy that integrates Plato and Aristotle with Kleinian psychoanalysis. The article develops the notion of two kinds of love, good and bad, distinguishing Freud’s work on instincts referencing Plato’s "Symposium," from Klein’s interest in the function of instincts in human relations. The article discusses issues of intimacy— specifically destructive and creative forces—as conflicting forces to better understand the dynamics of tragic love stories. It then discusses the way that understandings of tragedy, comedy, and tragicomedy help us conceptualize mistakes and learning in intimate relations. It does this by considering the notion of “noble error” discussed in Plato’s "Symposium," and the notion of tragedy in Aristotle’s "Poetics," dealing with the magnitude of such “error” and its consequences. The article then uses these concepts to describe differences in narration and characterization in Dostoevsky’s "The Idiot" and Breillat’s "Bad Love." It suggests that, ultimately, the tension of intimacy leads to the need for symbolic death in the form of relief from intimacy—which, when taken to the extreme, can lead to a “noble error” of real death and resulting in tragic love