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This article tackles the issue of the genre inscription of the last tale of Cervantes’ Novelas ejemplares . It proposes, among other things, that Coloquio de los perros , through ironizing different degrees of verisimilitude, cancels all possibility of attaching any central meaning to Berganza’s account of his life as a dog. After revisiting some critical accounts, it sets this work in the literary tradition of Menippean satire and the comic-serious genres, as theorized by Bathin, pointing out its links to Lucian. The paper also stresses the role and function of heteroglossia and inserted genres in Coloquio de los perros , as well as other intertextual relations deployed in this tale.

La filiación genérica del <i>Coloquio de los perros</i>