Abstract

This article establishes a comparison between Joan Roís de Corella’s mythological fables and Francesc Alegre’s translation of Ovid’s Metamorphoses into Catalan. The author proves by means of examples that Alegre drew on Corella’s Lamentacions and Parlament en casa de Berenguer Mercader while translating his work between circa 1472 and 1492. Further, he may have also known Corella’s Raonament de Telamó i Ulisses. Thus, even if Alegre based his text on the Latin poem, he surely completed the translation with the aid of other sources that are not made explicit, such as Bonsignori and Corella. In addition, the author suggests that Corella might have known and used Bonsignori’s Italian compilation or another version of Ovid’s poem which depended on it.

Abstract

In a text that anticipates and sums up part of the thesis defended in Joan Roís de Corella: La importància de dir-se honest [the importance of being honest], the author shows the poet as creator of an autonomous literary fiction basedon the mimesis of Aristotle' s Poètics, which distances the reader from the text and at the same time generates cathartis,piety and moral reflection.

Abstract

On the basis of a testament until now considered as lost, the author offers new documental evidence on Joan Roís de Corella's date of birth. This new information is particularly relevant at a moment when Corella's influence on writers, like for instance Joanot Martorell, is very much under scrutiny.

Abstract

The lost literature of an author provides data that, in spite of being partial, are important to better understand his preserved work and the complexity of his literary work. This article offers an approach to the losses experienced by Joan Roís de Corella’s literature down the centuries, in the full meaning of the term. It focuses on the analysis of the sources that supply information to establish a catalogue of these losses, as a starting point for subsequent work concerning the causes and periods of the disappearances.

Abstract

The «Elegia di madonna Fiammetta» has an evident impact of the story of Leandre and Hero, especially in the moments in which the lady suffers while waiting for her lover, who never comes. Fiammetta makes obvious this parallelism on several occasions, and manages to invent an end for the story loaded of pathos. Joan Roís de Corella realises about this relationship between both two works and makes the inverse path: he uses the tone and some narrative elements of the Elegia for writing his Leander and Hero. It is demonstrated that the so contreversial end of Corella’s story is not original of the Valencian, but it also depends on Boccaccio’s text.

Abstract

The author provides data concerning the interrealtion between Corella's work and that of some of hiscontemporaries -precisely Ausiàs March, Joan Moreno and Bernat Fenollar-. He analyses in detail the jovial poem dedicated to Bernat del Bosch - a character here identified as historical, and executed for his homosexuality.

Abstract

The article points out that the presence of Corellian fragments in Tirant does not only affect his published works,but also those that were never printed and that must have been orally transmitted. The author finds evidence of oral performance, and of a constant amplifying and simplifying process of a hypo-text, which seems to reflect an ornamental, free and creative use of paragraphs that does not influence the narrative flow.

Abstract

The author offers a commentary-edition of the famous Corellian prose work, putting forward an interpretation of its story line in autobiographical terms and placing it chronologically in the life of the writer, who might have turnedan authentic personal experience into a piece of literature.