The literary characterization of the picara
as a prostitute offers a means of understanding the attitudes held toward women by their male authors (Zafra 22).
5) An early example in Spain is Francisco Lopez de Ubeda's La picara
FRUSTRATED Scotland boss John Jeffrey refused to blame card-happy Argentinian referee Manual Picara
for his side's defeat by England at Netherdale last night.
Castillo pursues his mode of reading through a number of major literary texts of the period: the picaresque novels Lazarillo de Tormes, Guzmdn de Alfarache, and La picara
Justina, in part 1, and, in part 2, Cervantes' novels Don Quixote and Persiles as well as selected examples of Cervantes' theater.
Mylne, Vivienne, "A Picara
in Candide: Paquette," College Literature 6 (1979): 205-10.
For examples: the unknown author of Lazarillo de Tormes did not intend to inscribe a political ideology of poverty; Guzman de Alfarache is too complex to be understood within converso culture alone; and the Picara
Justina is a comic mask for a male author who never questions the status of marginalized types.
En La nina de los embustes, Teresa de Manzanares: "Con lo vario de su condicion, [la picara
Teresa] fue malilla de todos estados" (Castillo Solorzano 215).
Their cause wasn't helped by Argentine official Manual Picara
sinbinning Stephen Jones, Al Dickinson and Mark McMillan.
Translated into English from Spanish, the essays in this collection provide a unique and highly engaging take on the works of four well-known Cuban writers: Ofelia Rodriguez Acosta, Lydia Cabrera, Maria Elena Cruz Varela, and Zoe Valdes (whom she respectively dubs the Utopian, the Founder, the Prophet, and the Picara
[the Crafty One]).
Moreover, the satirical work on a female syphilitic La picara
Justina, set in Toledo and drawn from a wealth of literary and popular sources, provides a possible window into attitudes towards the hospital's patients.
Carlos Dembowski, Washington Irving, Richard Ford, Gautier, Knapp, Didier, Borrow, Jacob, Davillier y otros anotaron en sus libros de viaje las coplas "llenas de intencion y double entendre" (Ford 362), que improvisaban arrieros, campesinos, estudiantes o la picara
ciega de Manzanares, que por unas monedas era capaz de repentizar en latin macarronico, a Isabel ii o a cualquiera dispuesto a rascarse el bolsillo por una carcajada.
The excellent concluding piece on Defoe's Moll Flanders by Tina Kuhlisch pursues the tradition of rogue literature into the eighteenth-century picaresque, illustrating the English transformation of the Spanish picara
from a figure rooted in a culture of blood, class, and honor to one based upon the values of self-improvement and middle-class capitalism.