THE GENDERED TAXONOMY OF SPANISH ROMANCE Barbara E Weissberger Old Dominion University The word is out: the sentimental romance is dead at the tender young age of fourteen.1 Its untimely demise was announced in Joseph Gwara and E. Michael Gerli's long-awaited Studies on die Spanish Sentimental Romance (1440-1550): Redefining a Genre. Many of the essays in the volume belie the optimistic project announced in its subtide, beginning with Gwara's prefatorial lament that "a unified sentimental genre is a chimera" (vii). In the volume's first essay, Michael Gerii persuasively argues that the genre's foundational text, Siervo libre de Amor, traditionally linked to the forms and techniques ofLatin and Italian amatory prose, is most extensively indebted to two fourteenth-century French allegorized journeys of the soul (3-19). The final exemplar of the genre, Processo de cartas de amores, is similarly excised by Marina Brownlee, who states categorically that "despite its traditional attribution, I maintain that Processo, by being exclusively epistolary, could not be further from the sidered a distinguishing generic feature concludes that "lyric is not a generic trait" (202) . Finally, in die case ofJuan de Flores, the writer who elicits the most interest in the collection (and in sentimental
La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures – La corónica: Journal of Medieval Hispanic Languages, Literatures & Culture
Published: Apr 4, 2000
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