Guzmán de Alfarache (Penguin Clásicos) by Mateo Alemán

By Mateo Alemán

Los mejores libros jamás escritos Edición de Florencio Sevilla Arroyo, Catedrático de Filología Española en los angeles Universidad Autónoma de Madrid

Escrita en dos partes que vieron los angeles luz respectivamente en 1599 y 1604, esta novela que narra los angeles turbulenta vida de un ladrón, estafador y proxeneta fue un éxito editorial en toda Europa. Guzmán de Alfarache es una de las obras más representativas de l. a. novela picaresca, aunque a diferencia de otras del género se centra menos en l. a. crítica social que en los angeles descripción del delito y sus consecuencias. Eso explica su desarrollo en dos planos, el de l. a. narración de las aventuras de Guzmán y el de las reflexiones moralizantes sobre el pecado y el sentido de los angeles vida, muy influidas por el misticismo y el pensamiento estoico.

Esta edición incluye una introducción que contextualiza los angeles obra, un aparato de notas, una cronología y una bibliografía esencial, así como también varias propuestas de discusión y debate en torno a los angeles lectura. Está al cuidado de Florencio Sevilla, catedrático de literatura española de los angeles Universidad Autónoma de Madrid.

«Tuvo mi juventud por padre al Vicio y mi vida madrastra en l. a. Fortuna.»

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Extra resources for Guzmán de Alfarache (Penguin Clásicos)

Example text

Perhaps most obviously, it can act as a reflexive device, foregrounding the act of looking and male voyeurism, making clear links between Harry’s gaze at the mirror surface and the spectator watching the film. But there are also intriguing similarities between this short sequence and other moments in the film. For instance, this is the same mirror that Monika looks in near the beginning of the film to tidy her hair before work, with the same non-diegetic music playing. In addition, the background fades to black, framing the mask-like face, refers back to the café sequence shortly before this where the same device is 32 The Films of Ingmar Bergman used when Monika stares straight at the camera.

Monika’s motivations for escape are crucial. The film significantly highlights Monika’s working-class roots, suggesting that her escape is more vital than Harry’s is, but less goal orientated. Her defiance is more active – she actively leaves her job, she actively leaves home – and more desperate, since the alternative seems to be either financial dependence on a man (with a suggestion of prostitution) or poverty and a repetition of her mother’s role. A closer look at the narrative devices that form the foundation for Bergman’s 1940s and early 1950s films will help to highlight striking similarities and differences in Summer with Monika.

Summer Interlude can be seen as a model film, working with certain formulations that are extended, challenged or disputed in later Bergman films. The relationship between the theatrical and psychological mask ‘works’ in Summer Interlude via an intricately structured system of motifs that continues into later Bergman films, such as The Seventh Seal (1956), The Face (1958) and The Rite (1967). However, Summer Interlude’s binary The Mask and Identity: Summer Interlude’s Legacy 29 oppositions, of false mask against true identity, contrast with the very different mind-set seeping into other Bergman films, where notions of ‘truth’ (and ‘reality’) are less fixed, for example, in Fanny and Alexander (1981/2) which can be analysed in light of postmodernist concepts of multiplicity and masquerade.

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