REIMAGINING DIEGO DE SAN PEDRO'S READERS AT WORK: CÁRCEL DE AMOR Sol Miguel-Prendes Wake Forest University Envisioning Diego de San Pedro's readership has proved a vexed question. The difficulty in objectively reconstructing any sentimental fiction's readership dirough documentary sources leads Carmen Parrilla in a recent article to resort to complementary principles. Under the influence of reader-reception theory, in particular the outlining of the horizon of expectations to hypodiesize a Model Reader who decodes the textual cues proposed by the authorial function, Parrilla presumes a public analogous for that of cancionero poetry. It is fully acquainted wiüi the religio amoris fhat articulates erotic desire in terms of Christian love and stresses die contemplation of the lover's sufferings. The social environment for these sentimental reflections is die royal or nobiliary courts or ofher culturally refined circles ("La ficción Determining die audience for cancionero poetry dirough documentary sources, however, presents similar difficulties. A possible solution to this quandary may lie in Ana M. Gómez-Bravo's examination of cancionero poetry as a group practice within the limits of noble patronage. She advocates a re-evaluation of premodern audiorship as a social process through an analysis of the culture, social groups, historical development and the
La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures – La corónica: Journal of Medieval Hispanic Languages, Literatures & Culture
Published: Apr 4, 2004
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