Publication: La recepción de Terencio en la temprana imprenta manual y su repercusión sobre la caracterización genérica de "Celestina": una perspectiva visual
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2023
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Instituto de Estudios Auriseculares (IDEA)
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Abstract
"Celestina" no ha dejado de relacionarse con la obra de Terencio desde sus orígenes: no solo los lectores contemporáneos la identificaron como «terenciana», sino que sus ediciones ilustradas más tempranas están directamente en deuda con la de las "Comoediae" de Estrasburgo: Johannes Grüninger, 1496. Remontándose a los modelos manuscritos de las ediciones incunables ilustradas de Terencio, en este artículo se expone cómo la manera de ilustrar las comedias de Terencio en la Europa medieval y tempranomoderna repercute sobre la manera de ilustrar "Celestina" y da lugar a sus dos programas iconográficos característicos: el burgalés y el crombergueriano. Finalmente, se sugiere que la elección de uno u otro tiene consecuencias desde el punto de vista de la recepción y la percepción genérica de las "Comoediae" y de "Celestina" por parte de los impresores que los escogieron.
"Celestina" is linked to Terenceʼs works since its origins: not only did contemporary readers identify it as a «terentian» work, but its earliest illustrated editions are indebted to the Strasbourg: Johannes Grüninger, 1496 edition of Terence’s "Comoediae". Going back to the manuscript models of the incunabula editions of Terence, in this article is discussed how the way Terence’s "Comoediae" were illustrated in medieval and early modern Europe influences the way "Celestina" was illustrated, which results in two characteristic iconographic programmes: the Burgos and the Crombergerian one. Finally, it is suggested that printers choosing one programme or another affects how they perceived and received both Terence’s "Comoediae" and "Celestina".
"Celestina" is linked to Terenceʼs works since its origins: not only did contemporary readers identify it as a «terentian» work, but its earliest illustrated editions are indebted to the Strasbourg: Johannes Grüninger, 1496 edition of Terence’s "Comoediae". Going back to the manuscript models of the incunabula editions of Terence, in this article is discussed how the way Terence’s "Comoediae" were illustrated in medieval and early modern Europe influences the way "Celestina" was illustrated, which results in two characteristic iconographic programmes: the Burgos and the Crombergerian one. Finally, it is suggested that printers choosing one programme or another affects how they perceived and received both Terence’s "Comoediae" and "Celestina".