{"title":"米格尔·德·乌纳穆诺经典寓言的存在。在批评和互文之间","authors":"José Ramón del Canto Nieto","doi":"10.19130/iifl.nt.2021.39.2.79288","DOIUrl":null,"url":null,"abstract":"Unamuno’s interest in Classical fables, mainly those influenced by Aesopus, goes beyond the alleged fable’s morals. After practising a meticulous analysis of its elements and also an effective critique, he theorized about what surrounded the genre: its structure, its teachings, etc.; but he also assimilated Aesopus’ fables to his own works under different genres and adapted them to his interests as well as illustrated intertextuality.","PeriodicalId":34516,"journal":{"name":"Nova Tellus","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"La presencia de la fábula clásica en Miguel de Unamuno. Entre la crítica y el intertexto\",\"authors\":\"José Ramón del Canto Nieto\",\"doi\":\"10.19130/iifl.nt.2021.39.2.79288\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Unamuno’s interest in Classical fables, mainly those influenced by Aesopus, goes beyond the alleged fable’s morals. After practising a meticulous analysis of its elements and also an effective critique, he theorized about what surrounded the genre: its structure, its teachings, etc.; but he also assimilated Aesopus’ fables to his own works under different genres and adapted them to his interests as well as illustrated intertextuality.\",\"PeriodicalId\":34516,\"journal\":{\"name\":\"Nova Tellus\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-06-29\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Nova Tellus\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.19130/iifl.nt.2021.39.2.79288\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Nova Tellus","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.19130/iifl.nt.2021.39.2.79288","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
La presencia de la fábula clásica en Miguel de Unamuno. Entre la crítica y el intertexto
Unamuno’s interest in Classical fables, mainly those influenced by Aesopus, goes beyond the alleged fable’s morals. After practising a meticulous analysis of its elements and also an effective critique, he theorized about what surrounded the genre: its structure, its teachings, etc.; but he also assimilated Aesopus’ fables to his own works under different genres and adapted them to his interests as well as illustrated intertextuality.
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