Reimagining Diego de San Pedro's Readers at Work: Cárcel de Amor

Miguel-Prendes, Sol

doi:10.1353/cor.2004.0013

Cited by 7 publications

(2 citation statements)

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“…The dedication to Jacquette appears in MS NAF 7552. 32 On reading and gender in Cárcel de amor and the Spanish sentimental romance, see Weissberger, 1997 andMiguel-Prendes, 2004. ornate eloquence as your excellency merits because my wits are too unfit and dull.'' 33 These courts and courtiers made up a multinational interpretive community, what we might call an international ''society of friends,'' to use Miguel Tamen's term, that is to say, a group of individuals -not necessarily bound by friendship per se -that shared the cultural tastes and expectations that made works of art and literature meaningful to the group as a whole.…”

Section: F R O M C á R C E L D E a M O R T O L A P R I S O N D ' A M mentioning

confidence: 99%

Reversing the Tapestry:Prison of Lovein Text, Image, and Textile^*

Francomano¹

2011

Renaiss. Q.

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Section: F R O M C á R C E L D E a M O R T O L A P R I S O N D ' A M mentioning

confidence: 99%

Reversing the Tapestry:Prison of Lovein Text, Image, and Textile^*

Francomano¹

2011

Renaiss. Q.

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“…21 In her analysis, she points out how Cárcel de amor is connected to a new "prayer book mentality," and is, thus, connected to private modes of reading based in the strengthening of the craft of contemplation through the use of visual recollections. While I fully accept the relation of the Cárcel de amor to new modes of religious meditation, which she characterizes as "a religious fervor that prepares the way for the inception of the devotio moderna."…”

Section: Th E Cárcel De Amor: Allegory and Its Effacementmentioning

confidence: 99%

Love's Subjects: The Alhambra Ceilings, Sentimental Fiction and Allegory

Martín

2008

Mediev Encount

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Th is article analyzes the way in which allegorical and narrative motifs work in the fourteenthcentury Alhambra ceilings and in fifteenth-century Castilian sentimental fiction. It argues that while the Alhambra ceilings, based on courtly allegory, convey a dignified statement concerning the potential of allegory to structure a political lesson while at the same time registering cultural assimilation and social crisis, allegory in sentimental fiction is problematized from the outset, showing that the genre's evolution renders allegory ineffective to account for love's subjectivity as it was attached to an outmoded courtly subjectivity. In this way, the painted ceilings of the Alhambra can be interpreted as a stage in the use of allegory in courtly context in the Iberian Peninsula within a larger group of works that make use of similar codes.

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