Natalia Fernández at the cycle “La Celestina: Representaciones de un clásico” (11/05/2021): “Referentes pictóricos del teatro: Celestina y compañía”

Last week the Universidad de Cantabria uploaded to one of its Youtube accounts Joseph T. Snow’s paper at the cycle “La Celestina: Representaciones de un clásico” (see the relevant post here). This week it is the turn of Natalia Fernández’s paper “Referentes pictóricos del teatro: Celestina y compañía” which has been uploaded for everyone who could not attend the live event to watch. Enjoy it.

Joseph T. Snow at the cycle “La Celestina: Representaciones de un clásico” (07/05/2021): “Un clásico en escena por el mundo”

Last Friday, 7th of May 2021, Joseph T. Snow inaugurated the conference cycle “La Celestina: Representaciones de un clásico” at the Aulas de Extensión Universitaria of the Universidad de Cantabria (Spain) with a paper entitled “Un clásico en escena por el mundo”, in which he shared with the in-person and virtual audience his knowledge about the stage adaptations of Celestina. His talk was streamed via Youtube and the recorded version is now available for everyone who, like me, missed the date to watch (embedding is disabled for this video, therefore, I give the URL).

Remember that the conference cycle continues this week with the paper “Referentes pictóricos del teatro: Celestina y compañía” by Natalia Fernández (Universidad de Sevilla), which will take place at the Paraninfo of the Universidad de Cantabria, Sala Fray Antonio de Guevara, tomorrow, Tuesday 11th of May 2021 at 19:30. More information and bookings here (I do not know if it will be streamed AND recorded, as well).

Celestinesca‘s new website!

I am finally allowed to disclose a project in which José Luis Canet and I have been working since the beginning of 2021: Celestinesca‘s new website!

With the purpose of making reading, finding and quoting articles easier, and centralising the submission and peer-review processes, Celestinesca has moved to Open Journal Systemss (OJS). OJS is the most widely used journal publishing platform and it allows readers, authors, reviewers and editors to keep track of everything that is going on in the journal, from new issues to the status of a submission or the changes made to an article.

Celestinesca‘s new website has been designed with accessibility and ease of use in mind (at least as much as the template has to offer). Its inteface is simple and intuitive, and can be viewed in monitors, tablets and mobile phones. We have chosen a clean layout and a regular-sized, sans-serif typeface that can be read comfortably in both, big and small screens.

Despite important, aesthetics were not the central reason for this refurbishment. Our main purpose was to adapt Celestinesca to the indexing requirements of platforms such as Latindex or Web of Science or Scopus, without which it is impossible nowadays to measure the actual impact of any journal. With these changes, we hope to improve the metrics of the articles published in Celestinesca, which –in my opinion– are unjustly low. Celestinesca being an essential journal –actually, THE essential journal– for celestinesque scholarship and well-cited, it is not fair for authors that its metrics do not reflect this importance just because a few metadata are missing.

With this purpose, Celestinesca‘s articles from 2003 onwards do now have a DOI, so that they are easier for robots such as those scanning the internet for Google Scholar to identify as scholarly articles and to trace brack where they have been cited (NOTE: for this to be really effective, we need to start adding the DOI to the bibliographic reference every time we cite Celestinesca). Articles include comprehensive metadata as well, which are central for being indexed in the above mentioned platforms and, what is much more important from the point of view of the researcher, can be interpreted by bibliographic software such as, for example, Zotero, so that you never have to enter the bibliographic information by hand again. AND there is a search function that makes finding articles much easier.

In addition, we have worked hard to put all the relevant information about the journal together. The section “Acerca de la revista” gives a comprehensive overview on the journal’s members, its editorial policies, the submission and the peer-review processes, the copyright of the articles and the history of Celestinesca. There is even a renewed editorial team, with new and old faces.

To round things up, we have added two direct links to Celestinesca related sites: Anejos de la revista Celestinesca and the bibliographic database Bibliografía celestinesca. And a news section, but it is a little bit empty now.

With regard to the new submission and peer-review processes, everything will be made through OJS. No panic! There is a step-by-step guide for authors and a step-by-step guide for reviewers. And, if you still have problems, you can always contact us at the brand new e-mail address

Due to my personal implication in the project, I might not be the best person to say this, but the new website of Celestinesca is much better than the old one. I hope you like it as much as I do and, above all, I hope that the aim of making metrics reflect the real relevance of Celestinesca for celestinesque scholarhip is met.

Vanessa Pintado discusses Celestina at the Tertulias de Arte Hispano of the Hispanic Society of America

If you are subscribed to the Celestina mailing list, you are already familiar with this recording of the paper Vanessa Pintado (Hispanic Society Museum & Library Assistant Curator of Manuscripts and Rare Books) read at the Tertulias de Arte Hispano of the Hispanic Society of America. I have to thank Enrique Fernández (once more!) for this information.

Last 1st of September, Vanessa Pintado made this general overview of her work on Celestina and, more precisely, on the unique copy of the Burgos Comedia (in English). There are interesting details on the history of this very rare copy and the problematic status of its last page, with the printer’s device, which ellaborate on previous work by John O’Neill (Curator of Manuscripts and Rare Books at the Hispanic Society of America) and the research of expert book historians.

A preliminary approach to some of the issues highlighted in the presentation can be found in the speaker’s contribution to the edited volume De la piedra al pixel : reflexiones en torno a las edades del libro (México: UNAM, 2016), with the title “El impresor Fadrique de Basilea y los grabados de La Celestina de Burgos de 1499″.

For O’Neill’s work on the history of the Burgos Comedia, please see his “Of Forgeries and French Bibliophiles: A Re-examination of the Printer’s Device Found in the Burgos Edition of Celestina” in Two Spanish Masterpieces. A Celebration of the Life and Work of María Rosa Lida de Malkiel (New York: HSMS, 2013).

Celestinesca‘s issue for the year 2020 is out!

No better way to end 2020 than with a new issue of Celestinesca, the academic journal that, since 1977, published all kind of articles on Celestina, its continuations and everything celestinesque. This is its 44th issue and, from the point of view of its almost 500 pages (!), it seems that celestinesque scholarship is still well and alive. You can access the full issue here.

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