Como en este lugar perdido en el mundo, en la Biblioteca de los Misterios funciona la misma ley y se especula que han pasado un poco menos que cinco mil bibliote Su trabajo no es para nada sencillo: son miles los libros que llegan por mes a la biblioteca desde el infierno, robados a sus autores. Cuentan que en un pasillo desconocido, en un anaquel y en un estante secreto existe el libro escrito por Dios. Aun hoy pueden escucharse los lamentos de las viudas, los quejidos de los heridos, rebalsa lastimosamente de las canaletas de la ciudad la sangre derramada en vano. Nuevo post, sobre la bilbioteca maldita

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LC Home. Laredo College. Site Search. Search Options Catalog Discovery. Item request has been placed! Item request cannot be made. Processing Request. Revista de Estudios Hispanicos. Miguel de Cervantes presents in his novel of extreme jealousy the unhappy amorous relationship of the old Felipo Carrizales with the young Leonora.

The contempt that Carrizales feels for women after his youth stage and the molding process of Leonora recall the myth of Pygmalion. The novel employs this myth to warn about the inability of the visual sense as a way to uncover the poetic example of the novel and through it, theorize about the fallacy that the sensible world within a literary piece contains.

The inability of Carrizales to discern the truth in the feigned adultery of Leonora with Loaysa warns the reader about the inability of the visual sense to discern the reality of what one reads. At the same time, the novel evokes the myth of Narcissus through the transformation of Carrizales into a marble statue when he finds Leonora and Loaysa in the owner's bedroom, and after, with the repeated face-to-face meetings between Carrizales and Leonora.

The inclusion of the legend of Narcissus backs up the proposition that the myth of Pygmalion brings up regarding the deception of the visual sense. Furthermore, the novel of extreme jealousy shows an example that warns the reader about the careful interpretation of the emotional world, and teaches to not trust the visual sense at the time of uncovering the poetic example. La inhabilidad de Carrizales para discernir la verdad en el fingido adulterio de Leonora con Loaysa avisa al lector sobre la incapacidad del sentido visual para enjuiciar la realidad que uno lee.

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Revista de Estudios Hispanicos , [s. DOI Acesso em: 5 jun. Revista de Estudios Hispanicos , 46 3 , — EBSCOhost , doi Revista de Estudios Hispanicos [Internet].


Pygmalion (mythology)

Though Pygmalion is the Greek version of the Phoenician royal name Pumayyaton , [1] he is most familiar from Ovid 's narrative poem Metamorphoses , in which Pygmalion was a sculptor who fell in love with a statue he had carved. In book 10 of Ovid 's Metamorphoses , Pygmalion was a Cypriot sculptor who carved a woman out of ivory. According to Ovid, after seeing the Propoetides prostituting themselves, Pygmalion declared that he was "not interested in women", [2] but then found his statue was so beautiful and realistic that he fell in love with it. In time, Aphrodite 's festival day came, and Pygmalion made offerings at the altar of Aphrodite. There, too scared to admit his desire, he quietly wished for a bride who would be "the living likeness of my ivory girl. He kissed it again, and found that the ivory had lost its hardness. Aphrodite had granted Pygmalion's wish.


El engaño del sentido ocular en la Novela del celoso extremeño: Pigmalión y Narciso.






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