Updates: title page and digitisation of Zaragoza, Diego Hernández, 1545

Just a quick note on a recent update: A reader of this blog has drawn our attention to a digitisation of the 1545, Diego Hernández, Zaragoza edition of the Tragicomedia at the Biblioteca Digital Memoria de Madrid. Thanks to him we are, thus, able to provide you with a new title page at the relevant post, and a new link at our links section.

Remember that, if you have any relevant information regarding Celestina, you can let us know via the contact form.


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Two new videos of stage adaptations of Celestina

The first one is a production of Producciones Cañandonga, adapted and directed by Enrique Cancio, with the title “Amor de Calixto y Melibea… y la puta Celestina”.

The second one is a production of Sojoproduce, adapted and directed by Doriam Sojo, with the title “Celestina, Puta Vieja”.

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Wednesday, 1st February 2017 · 11:24

Paper on Celestina at the Biblioteca de Castilla-La Mancha: “Fernando de Rojas y el entorno social de La Celestina” (16th January 2017, Toledo)

In context of the conference series “Toledo, cine, literatura, historia”, Ángel del Cerro del Valle will be reading the paper “Fernando de Rojas y el entorno social de La Celestina“.

This event follows the screening of the 1969 film version by César Fernández Ardavín the last Wednesday, 11th January 2017. Unfortunately, we will not be able to attend, but for those in the vicinity, the conference takes place on Monday, 16th January 2017, from 19:00 to 21:00 at the Biblioteca de Castilla-La Mancha (Cuesta de Carlos V s/n, Toledo).

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Recording: Conference held at the XVIII Festival Celestina (26/08/2016)

The conference held at this year’s XVIII Festival Celestina is available on-line:

Conocimiento y notoriedad de La Celestina en Francia (in French, with simultaneous translation) – Silvianne Muller (Vert Saint Denis)

Should you also be interested in other events at the festival, they are available at the iVoox website of Radio Puebla as well.

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Official programme of the XVIII Festival Celestina in La Puebla de Montalbán (19th-28th August 2016)

festival-celestina-2016La Puebla de Montalbán Council has finally made available the official programme of the 2016 edition of the Festival Celestina. This year’s festival concentrates on the twinning between La Puebla de Montalbán and the french town of Vert Saint-Denis, so that this year’s paper on Celestina will be devoted to the topic “Conocimiento y notoriedad de La Celestina en Francia” (in French, with simultaneous translation). Surprinsingly enough, the person in charge of this paper, Silvianne Muller, is not known to us a celestinista, so that we would be very grateful if you could give us more information on her and her work.

As usual, we will not be able to take part in the festival,so that we invite you to send your impressions, were you to attend it.

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Two on-line projects on the early Celestina: HSMS-DLOST and TeXTReD

The Early “Celestina” Electronic Texts and Concordances exist in CD-ROM since 1997 but, despite their native digital format, they have not been made available on-line until the past year. Concretely in 2015 the Hispanic Seminary of Medieval Studies added Celestina to their list of available corpora at the Digital Library of Old Spanish Texts (HSMS-DLOST), and the Department of Spanish and Portuguese at the University of Wisconsin has only needed a few months to take advantage of this and launch their own website devoted to the early texts of Celestina as part of its own project TeXTReD.

Sin título 1The Early “Celestina” Electronic Texts and Concordances includes semi-paleographic transcriptions of all extant exemplars of the Comedia, of all known editions of the Tragicomedia in Castilian through 1530, and of the unique extant manuscript witness, totalling twenty-one transcriptions. In the HSMS-DLOST, these serve as a basis for interactive indexes (alphabetical, frequency, and reverse alphabetical) and concordances, their purpose being allowing scholars to do “detailed stylistic, lexical and textological studies to analyze more closely the questions of authorship and the relationship between Comedia and Tragicomedia printings”. Therefore, they serve a highly specialised function and are oriented towards a scholar audience.

Sin títuloBy contrast, the TeXTReD project sacrifices the interactivity of the HSMH-DLOST. It exclusively provides transcriptions, indexes, and concordances, in plain text, but it adds a visual component: besides the transcriptions, the indexes, and the concordances, of the HSMS-DLOST, the TeXTReD website provides links to digital facsimiles of some (three) of the transcribed texts; more specifically, those kept in the Hispanic Society of America. Moreover, there are digitisations of additional editions of Celestina kept at the Hispanic Society, in Spanish and in Italian, of the sixteenth and the seventeenth centuries, not relevant for the Early “Celestina” Electronic Texts and Concordances but still interesting for anyone working on Celestina. However, all this features are completely independent and there is no option for visualising text and facsimile simultaneously, therefore, this site is very interesting as a resource for teaching and/or research materials, but not a research tool in itself.

In conclusion, the TeXTReD project is particularly oblivious to the possibilities of Digital Humanities, while the HSMH-DLOST project takes advantage of the possibilities of linking contents, but is too static and does not include any visual component. However, despite these defects, both projects are a good point of departure and provide useful materials for further research and, above all, for future digital editions of Celestina.

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Celestinesque Website: CelestinaVisual.org

mainlogoDespite it having been on-line since long, I absolutely had forgotten to write a few words on this interesting on-line project launched and directed by Enrique Fernández Rivera (University of Manitoba), to which this blog has contributed some of its visual resources. Born with a similar purpose as, for example, the projects Banco de imágenes del Quijote: 1605-1905 or Iconografía del Quijote, and probably as a direct consecuence of the Biblioteca de obra: La Celestina of the Biblioteca Vitual Miguel de Cervantes virtually having been abandoned, CelestinaVisual.org aims to gather together as many on-line visual resources on Celestina as possible, including woodcuts, engravings and illustrations of ancient and modern editions of the text, but also depictions of celestinesque motifs in visual arts, generally speaking. This includes any form of painting, but also sculpture, stage adaptations and an interesting section on varia, in which coasters alternate with lottery tickets or high-school stop-motion animations.

The site, developed with Omeka, has a quite intuitive interface and, although its design could be improved with time and technical support, for an almost personal enterprise it is more than enough. Actually, I feel only the high amount of unnecesary intermediate steps to access certain collections could be criticised but, from my own experience with other content managements systems, I suspect this is related to how Omeka displays certain information by default. Other questionable aspect would be the lack of source attribution, not only because most images already were available on-line, the main contribution of CelestinaVisual.org being making all of them accessible -and searchable- in one place, but because users wanting to use the images with commercial purposes and, therefore, obliged to ask for the corresponding permissions do not know whom to address. Finally, CelestinaVisual.org being conceived as a mere repository, it lacks image, comparison and annotation/commentary tools, which, in any case, most users will not miss.

Due to the limited extent of its collections and its strictly informative character, CelestinaVisual.org is obviously better as a teaching resource than a research tool, however, it could become more useful with some private and institutional support. Individuals contributing their own images or pointing to some already existent ones would be of great help, however, the greatest boost this project should come from libraries (and museums) digitising and making freely available more content. In any case, it is an excellent initiative and I personally invite everyone to use it and keep it updated and alive.

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