دانلود کتاب El Amadís y el género literario de la historia fingida [thesis]

The first known edition of Rodríguez de Montalvo's Amadís de Gaula was published in Zaragoza in 1508 by Jorge Coci. Rodriguez de Montalvo's work was based on several earlier versions of the Amadís, unknown to us today, which he modernized in style, and restructured, significantly altering the conclusion. The new edition, divided into four books instead of three, as at least one of the previous versions had been, was an immediate success. Indeed, it became one of the most widely read prose narratives of the sixteenth century both in Spain and throughout much of the rest of Europe. Not only was it read in Spanish, as well as in French, Italian, German, English, Portuguese, Dutch, and Hebrew translations, but it was also continued in numerous sequels.

Inspite of the obvious importance of the Amadís during the Renaissance, it has only been studied, to date, in a piece-meal fashion. No comprehensive analysis has yet been undertaken of its structure, themes, style, literary antecedents, and its relations to the mayor Spanish prose narratives of the late fifteenth century. Consequently, inthepresent study we have attempted to carry out, as far as possible, a thorough reading of Rodríguez de Montalvo's masterpiece.

As a point of departure for our analysis we have chosen to focus upon the author's commentary about his own text, its sources, and its relation to other Medieval literary and historical works. Rodríguez de Montalvo's comments reveal that he uid not write in a haphazard manner, gratuitously piling one adventure atop another, hut rather that he had a clear sense of order as he revised the Amadís. In effect, he wrote following the conventions of what he belived to he a well established genre called "la historia fingida," which was closely related to both the chronicle and the pseudo-history.

We have attempted to read the Amadís as an "historia fingida," relating it to other members of the same genre and showing how it resembles and differs from the chronicle and the pseudo-history. This reading has permitted us to see close parallels between the Amadís, the Arthurian romances, the romances of antiquity, the chronicles and legal treatises of Alfonso X, and Boccaccio's Fall of Princes. It has also permitted us to discover a structural unity in the Amadís which hitherto has not been perceived by literary scholars.