000			02967cam a22003133u 4500
001			76459
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005			20260610134753.0
006			m
007			cr n
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040			_aUtSlPG
041		7	_aes _2iso639-1
050		4	_aPQ
100	1		_aMenéndez y Pelayo, Marcelino, _d1856-1912
245	1	0	_aOrígenes de la novela, Tomo III
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2025-07-07
508			_aAndrés V. Galia, Tony Browne, Santiago and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries)
520			_a"Orígenes de la novela, Tomo III" by Marcelino Menéndez y Pelayo is a literary-historical study and anthology written in the early 20th century. The volume examines the origins of the Spanish novel through “novelas dialogadas,” centering on La Celestina and its imitators, and pairs a substantial scholarly introduction with edited texts that illustrate language, style, and print conventions of the period. It combines close textual scholarship, source studies, and reception history to show how a dramatic form nourished both later theater and narrative fiction. The opening of the volume begins with the transcriber’s notes on typographic conventions, a reordering of index and errata, and a table of contents that previews an extensive introduction followed by representative dialogued fictions. The introduction then argues that La Celestina, though fundamentally a dramatic poem rather than a novel, is indispensable to a history of the Spanish novel because of its realist method and enduring influence. It traces early editions and transformations from Comedia to Tragicomedia, details added acts and prologues, and parses paratexts (including Alonso de Proaza’s acrostics) to discuss authorship. The study presents Fernando de Rojas as the principal (indeed likely sole) author, reviewing bibliographic evidence and archival findings that identify him as a converso jurist from Puebla de Montalbán/Talavera, probably finishing the work as a young university man, with Salamanca and humanist Latin comedies as formative context. It emphasizes the book’s design for reading rather than stage performance and shows how its form, sources, and language shaped both Spanish drama and prose narrative. (This is an automatically generated summary.)
534			_pOriginally published: _cMadrid: Casa editorial Bailly-Bailliére, 1905
653			_aSpanish fiction -- History and criticism
856	4		_uhttps://archive.org/details/orgenesdelanov01menuoft/page/2/mode/2up
856	4	0	_uhttps://www.gutenberg.org/ebooks/76459
999			_c117184 _d117184