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The Auto de Guiomar do Porto must be placed at crossroads of the Renaissance Auto and the sequels of the Tragicomedy of Fernando de Rojas. My analysis is based on the concept of «representation», understood in three different ways. In a first theatrical sense, I will point out the similarities and differences between the Portuguese Auto and the imitations and sequels of La Celestina . From the point of view of the history of reading, I will highlight the influence that reading has on the protagonist's behaviour. And from an iconographic perspective, I will relate some passages of the Auto to the celestinesque iconsphere and visual culture at the time.

Guiomar do Porto o leer sin perder el hilo