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La Celestina by Fernando de Rojas was published in Spain for the first time in 1499 as a comedy, and as a tragicomedy in 1502. The first Italian translation of the play was published in Rome in 1506 and gave birth to a parallel and complementary textual tradition on which the reception and translation of the play in other modern languages (such as French and German) were based. Given the wide success of Celestina in Italy, this essay focuses on the hybrid genre of the play, which can be placed at the crossroads of comic and tragic genres but also on the boundaries between narrative and theatrical modes of expression. It emphasizes the importance of Celestina ’s dialogic, parodic, and polyphonic structure, and its links with Dante’s Commedia and Boccaccio’s Decameron . Building on the “working hypothesis” of a Florentine genesis of Celestina , this essay explores its connection with humanist comedy and with Aretino’s comic-burlesque literature.   La Celestina de Fernando de Rojas fut publiee en Espagne pour la premiere fois en 1499 en tant que comedie, puis en 1502, en tant que tragicomedie. La premiere traduction italienne de la piece a ete publiee a Rome en 1506 et a donne le jour a une tradition textuelle complementaire et parallele, laquelle en a par la suite nourri la reception et la traduction en plusieurs langues modernes (en francais et en allemand par exemple). Etant donne le grand succes que recut La Celestina en Italie, cet essai se penche sur le genre hybride de la piece, qui participe egalement des genres tragique et comique, et qui, en outre, se situe a la frontiere des modes d’expression narratif et theâtral. Ces observations soulignent l’importance de la structure dialogique, parodique et polyphonique de La Celestina , ainsi que ses liens avec la Divine Comedie de Dante et avec le Decameron de Boccace. De plus, suivant l’hypothese de travail d’une genese florentine de La Celestina , cet article explore ses relations avec la comedie humaniste et la litterature comique-burlesque de l’Aretin.

The Reception of Fernando de Roja’s <i>Celestina</i> in Italy: A Polyphonic Discourse