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espanolTras la publicacion de la Comedia de Calisto y Melibea en 1499, La Celestina se convertiria en uno de los libros mas profusamente ilustrados del siglo xvi. Este articulo analiza el lenguaje corporal y la gestualidad en las xilografias de las portadas de sus primeras ediciones, confirmando que la mayoria se integra en el marco iconografico de la tradicion teatral, orientada a la legibilidad de sus ilustraciones para ayudar a los lectores a comprender el texto. Tanto impresores como entalladores gozaban de flexibilidad al resumir el argumento o codificar emociones en la pagina impresa, lo que los llevaria a operar con tres programas iconograficos diferentes: el encuentro de los amantes en el huerto de Melibea, la representacion de Celestina en el dormitorio de Melibea, y la condensacion del argumento en un escenario teatral poblado por grupos de figuras y acciones sucesivas. En estas tres visualizaciones, los cambios en el lenguaje corporal de los personajes ofrecian diferentes lecturas de sus intenciones, sentimientos y motivaciones. EnglishFollowing the 1499 publication of the Comedia de Calisto y Melibea, Celestina became among the most profusely illustrated sixteenth-century books. This article analyses the body language featured in the title-page woodcuts of its early editions. Conceiving the woodcuts as belonging to a particular historical time, the study confirms that most contemporary printers conceived the work as part of a dramatic iconographic tradition and were openly concerned with the legibility of illustrations that would help readers understand the text. Printers and engravers enjoyed certain flexibility as they summarized the plot of the (tragi)comedy and codified emotions on the page, while operating under three distinctive iconographic programs: the lovers’ encounter in Melibea’s garden, Celestina depicted in Melibea’s bedroom, and a condensation of the plot on a theatrical stage populated by groups of figures and successive actions. In these, changes in body language or the depiction of the scene convey different readings of the characters’ intentions and inner feelings.

Gestures as a Transnational Language through Woodcuts: <i>Celestina</i>’s Title Pages