Abstract

After highlighting the variety and extent of literary texts in the last decades of the 15th century and the importance of the literary tradition, the unsuitability of critical assumptions like the radical separation of profane and religious literature is pointed out. An example of this is given with the study of the «Istòria de la Passió» (Story of the Passion) by Fenollar/Martines, in which profane techniques are used and the March/Corella/Fenollar relationship is made clear. In the second part, the «Col·loqui de dames» (Ladies’ Dialogue) is read as an exaggerated counterpoint to the feminine chastity circulated in religious writings.

Abstract

This article identifies the ambitions and literary motifs of the various works in the «Cançoner» and questions the concept of “satire” for defining them as a whole. Considering the transgressions contained in it as a literary product with no subversive aim clears the way for viewing it as a set of cleverly combined elements of satire, parody and burlesque, following on from compositions like the «Col·loqui de dames» (Ladies’ Dialogue), and allowing different parodical readings from amorous and Boccaccian points of view.