<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2215-2636</journal-id>
<journal-title><![CDATA[Káñina]]></journal-title>
<abbrev-journal-title><![CDATA[Káñina]]></abbrev-journal-title>
<issn>2215-2636</issn>
<publisher>
<publisher-name><![CDATA[Universidad de Costa Rica]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2215-26362021000300057</article-id>
<article-id pub-id-type="doi">10.15517/rk.v45i3.48969</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Del progresismo ilustrado al conservadurismo burgués. Un análisis comparatístico de La Cenerentola de Rossini, y Cendrillon de Massenet]]></article-title>
<article-title xml:lang="en"><![CDATA[From progressivism to bourgeois conservatism. A comparative analysis of La Cenerentola, by Rossini, and Cendrillon, by Massenet]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Orlante]]></surname>
<given-names><![CDATA[Emiliano]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Buenos Aires (UBA) Instituto de Filología y Literaturas Hispánicas Dr. Amado Alonso Facultad de Filosofía y Letras]]></institution>
<addr-line><![CDATA[Buenos Aires ]]></addr-line>
<country>Argentina</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2021</year>
</pub-date>
<volume>45</volume>
<numero>3</numero>
<fpage>57</fpage>
<lpage>84</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_arttext&amp;pid=S2215-26362021000300057&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_abstract&amp;pid=S2215-26362021000300057&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_pdf&amp;pid=S2215-26362021000300057&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo se propone explorar la relación entre las versiones de las óperas La Cenerentola (1817), de Gioachino Rossini (1792-1868), y Cendrillon (1894/5), de Jules Massenet. A su vez, dichas obras musicales se analizarán con relación a las fuentes literarias más relevantes del cuento popular: La Cenicienta de Charles Perrault y de los hermanos Grimm. Dadas la distancia temporal y geográfica entre los textos que integran el corpus de este trabajo y la diferencia en cuanto a géneros -relato maravilloso y ópera- se adopta una perspectiva metodológica comparada que posibilita analizar los sentidos literarios que construyen cada una de las piezas musicales y los vínculos que pueden establecerse entre ellas sin desatender a las variables contextuales y estilísticas. El estudio de estas relaciones permite proponer como hipótesis de lectura que, mientras Cendrillon se construye como expresión acabada de una burguesía conservadora en clave musical, La Cenerentola, en cambio, revela, mediante procedimientos artísticos, su dimensión ilustrada.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article sets out to explore the relation between Charles Perrault's and the Grimm brothers' Cinderella and the operas'La Cenerentola(1817), by Gioachino Rossini (1792-1868), andCendrillon(1894/5), by Jules Massenet. Given the temporal and geographic distance between the texts and their difference in terms of genre -fairytale and opera, this paper adopts a comparative methodology of the study. This methodological approach allows to analyze the literary meanings constructed by each piece and the bonds between them, without ignoring contextual and stylistic aspects. Studying these relations makes it possible to pose the following hypothesis: whereasCendrillonemerges as a musical expression of the conservative bourgeoisie,La Cenerentola reveals its enlightened dimension through artistic devices.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[ópera del siglo XIX]]></kwd>
<kwd lng="es"><![CDATA[comparatística]]></kwd>
<kwd lng="es"><![CDATA[cuento de hadas]]></kwd>
<kwd lng="es"><![CDATA[Rossini]]></kwd>
<kwd lng="es"><![CDATA[Massenet]]></kwd>
<kwd lng="en"><![CDATA[19th-century Opera]]></kwd>
<kwd lng="en"><![CDATA[Comparatives]]></kwd>
<kwd lng="en"><![CDATA[Fairy tales]]></kwd>
<kwd lng="en"><![CDATA[Rossini]]></kwd>
<kwd lng="en"><![CDATA[Massenet]]></kwd>
</kwd-group>
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<source><![CDATA[Concepts of Criticism]]></source>
<year>1963</year>
<page-range>282-95</page-range><publisher-loc><![CDATA[New Haven y Londres, Estados Unidos e Inglaterra ]]></publisher-loc>
<publisher-name><![CDATA[Yale University Press.]]></publisher-name>
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<person-group person-group-type="author">
<name>
<surname><![CDATA[Woolf]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Professions for Women]]></article-title>
<source><![CDATA[The Death of the Moth and Other Essays]]></source>
<year>1970</year>
<page-range>235-42</page-range><publisher-loc><![CDATA[Orlando, Estados Unidos ]]></publisher-loc>
<publisher-name><![CDATA[Harcourt Brace and Company.]]></publisher-name>
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</article>
