Entre burlas y veras: las estrategias reivindicativas de Manuela Tomasa Sánchez de Oreja y Francisca de Osorio, escritoras de almanaques by María Dolores Gimeno Puyol

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“A Quarter of an Hour before his Death, He Was Still Alive”: The Literary Character Image of La Palice and the Phenomenon of Nizy Style by Konstantin V. Dushenko

Subjects: “…burlesque literature…”
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La zurriaga: unas «octavas seriojocosas» atribuidas a Quevedo by María José Alonso Veloso

“…This article offers a modernized edition of La zurriaga, a series of «seriojocosas» (more or less burlesque) octaves attributed to Quevedo. The text, dated in 1632 in the burlesque preliminaries, was considered apocryphal by different editors, who proposed the eighteenth century as the time of composition and considered it a mere forgery of the Count of Saceda. …”
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Charlot, un clown raconte le mélodrame by Anne Poggioli

“…Charlie Chaplin’s work presents itself in his original form when, balancing between burlesque and pathos and for the most cathartic meeting, he invites both the framework of melodrama and the clown figure in front of his camera. …”
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« Vrai à cent pour cent » by Anne Roche

“…The author embraces this contrast to create an original work that runs the gamut from burlesque to tragedy with powerful emotional images.…”
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Godard et Gorin, marxistes « tendance Groucho » by Raphaël Jaudon

“…Both give birth to a scene for opposites: popular jokes and class struggle, American burlesque and experimental figures, Karl Marx and the Marx Brothers. …”
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Perception urbaine, distraction et stratification chez Benjamin, Eisenstein et Vertov by Pascal Rousse

“…La ville à l’écran est le substrat imaginaire et historique du cinéma. Mais le cinéma, burlesque et soviétique, transforme ce contexte tout en constituant sa mémoire. …”
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Karagheuz ou l’Orient parodique (Gautier, Constantinople, chapitre XIV) by Sarga Moussa

“…The stories present the characters and traditions of the population in a burlesque and subversive style. By contrasting the licentious figure of Karagiozis with established norms, Gautier shows that his experience as a traveller can be imaginatively shared even with readers who have remained in France.…”
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I frammenti di Ofelione comico (PCG VII, 97-99) by Menico Caroli

“…Some titles suggest a burlesque of myth, a trend that has often been seen to link Old and Middle Comedy.…”

Lope de Vega y las fiestas de Lerma de 1617 by Manuel Cornejo

“…In addition to the references in Lope’s letters, these two accounts –one burlesque, the other «serious» –which appear in his brilliant but little-known comedy Lo que pasa en una tarde, leave little room for doubt that Lope de Vega was present at these courtly festivities.…”
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Les Marranes by Albert Bensoussan

“…The literary expression “marranism” will thus be tackled through the “Duelos y quebrantos” mystery in Don Quixote, the burlesque poetry of Antón of Montoro and the works of Mateo Alemán where marranism becomes a fictional medium in Guzmán de Alfarache. …”
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Juanilla y Burguillos: comicidad, ingenio e irreverencia poética by Milagros Torres

“…This article explores the parodic and burlesque reinvention of the Petrarquist sonnet, around the figure of Juana, Juanilla, in the Rimas de Tomé de Burguillos (1634), a muse and washerwoman on Madrid’s river Manzanares. …”
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Dwaj ludzie z szafą w perspektywie genologicznej by Marek Hendrykowski

“…These include noir comedy, slapstick burlesque, existential drama, the thriller, and drama of the absurd, grotesque and macabre. …”
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Le discours narrativisé, un accélérateur du tempo flaubertien ? by Anne-Marie Paillet

“…Through stylistic analysis of this speed effect, supported by drafts, she highlights the reductive choice of verbs for the burlesque summary of Phedre’s tirade in Bouvard et Pécuchet, the role of pronominal anaphora in the rapid sequence of Deslaurier’s tactless conversation with Madame Arnoux (L'Éducation sentimentale), or the listing and marking of commonplaces, favoured by the nominal form of the narrativized speech, in an extract from the "Les Comices". …”
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Las figuras cómicas del mono y de los portadores de pintura corporal negra entre los nahuas prehispánicos y su transformación en la época colonial by Agnieszka Brylak

“…The article aims to study the phenomena of humor and laughter in pre-Hispanic Nahua culture, focusing on two burlesque figures: the monkey and the beings with black body painting. …”
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Deux romans de Kamel Daoud, entre militantisme satirique et symbiose interculturelle by Smail Mahfouf

“…Apparently, this writing takes the form of a satirical discourse that targets the sacred, either by either by holding an offensive, sarcastic discourse, or by engaging in an intertextual game marked by the burlesque disguise, the thematic transposition and the ironic quote. …”
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Anachronisme et humour : de l’usage intempestif de l’anachronisme dans la fiction en costumes by Bernard Papin

“…It explores the types of humour anachronism results from, in between "burlesque mockery" and "satirical pastiche" (Gérard Genette). …”
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Le chant novarinien en voix-poème : vers la justesse de l’oralité by Alexandra Gaudechaux

“…The song, at Novarina, would open on the memory of the subject in the process of saying itself, memory which mixes with history while reintroducing in a burlesque way, within the enclosure of the theater, words from below and popular songs.…”
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Lejos de Chile, lejos de Francia: los exiliados chilenos en Diálogos de exiliados de Raúl Ruiz by Michèle Arrué

“…This shifted portrayal generates highly burlesque situations as the country they mentally continue to live in is Popular Unity Chile (1970-73). …”
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Los microrrelatos cómicos y picarescos en la novela barroca: Céspedes y Meneses, Castillo Solórzano y Castelblanco by Christine Marguet

“…This article examines the presence of comical and/or picaresque micro-structures in spanish baroque novels with aristocratic protagonism –the novelistic equivalent of «courtship» short novels–. Elements such as burlesque poems and farces as interludes, comical or picaresque elements incorporated in the (auto)biography of characters, are embbedded in a continuum of more serious tone, inherited from noble novelistic genres, even if the novel aims to entertain. …”
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