Le diable Boiteux

Lesage, Alain-René

doi:10.1515/9783111539539

Cited by 13 publications

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“…As an urban description, Vélez de Guevara's novel is loaded with notable irony regarding the customs and vices of the city's inhabitants in their daily practices, without posing a distance-or even a possible condition of superiority-in those it observes; instead the observed are not only defined, but matched to their onlookers. This is by no means something exclusive to Hispanic culture, since French literature also has its corresponding Le diable boiteux (1707) [5] by Alain-René Lesage which was very successful in France. In the roman, the names of the characters and the essence of Velez de Guevara are preserved.…”

Section: The Intermediality Of Contemporary Visual Artsmentioning

confidence: 99%

From the Crippled Devil to the Spectacular House: The Visual Representation of Intimacy in Painting, Comics, Film, and Television

Sanabria¹

2023

The Intermediality of Contemporary Visual Arts

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This work expands the literary topic of the interior of the home to its corresponding visual manifestations. Its main reference, the crippled devil, dates back to seventeenth century picaresque literature. It is the same century as the first visual representations of common, everyday life in Dutch painting. This study focuses on the visual and reflective evolution that is born with these paintings and takes the form of panoramic views in the graphic structure of the mid-nineteenth century vignette. A century later it evolves in comics, and then in cinema and television, emulating the structure of the literary movement. The content—the integration of characters in the same location—updates a satirical exhibition of the comedy of manners. However, television registers hilarious situations between its characters, which explains the success of the emblematic series, Aquí no hay quien viva, where the snooping of the characters is subrogated to the viewer, as Hitchcock did in Rear Window. Its protagonist, a revived crippled devil, goes beyond playful snooping. Thus, the representation of the interior of the home connotes vigilance if one thinks of the last of the houses built ad hoc: those of Big Brother. There, those who see can also take action, but it is a house designed to be looked at.

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Section: The Intermediality Of Contemporary Visual Artsmentioning

confidence: 99%