Abstract In Fernando de Rojas’ La Celestina truth and truth-telling are dangerous activities that could lead the characters to be harmed or killed. After Michel Foucault’s 1983 series of conferences and classes at the University of California, Berkeley, and the Collège de France, parrhesia, the freedom to speak the truth, has become an important literary tool through which literary critics understand the way in which individuals interact and manipulate the truth. In Celestina, all characters are aware of the danger of truth-telling, and Celestina converts the truth into an art form. This study shows that Celestina was aware of the perils involved in conveying the truth, particularly when she spoke with a member of a higher social class. In order to circumvent the dangers of engaging in truth telling, Celestina makes Melibea, a noble lady who could harm her if the truth offended her sense of honor and chastity, enter into what Foucault called a “parrhesiastic contract”, which allowed her to tell the truth without incurring any danger. After telling the truth, the parrhesiastic covenant saved Celestina from an imminent death—even though she died as a direct consequence of her pandering for Calisto in Pleberio’s house.

中文翻译：

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塞莱斯蒂娜作为直言者：塞莱斯蒂娜访问梅利比亚的直言和真相

摘要 在费尔南多·德·罗哈斯 (Fernando de Rojas) 的《塞莱斯蒂娜》(La Celestina) 中，讲真话是危险的活动，可能导致人物受到伤害或杀害。在米歇尔·福柯 1983 年在加州大学伯克利分校和法兰西学院举行的系列会议和课程之后，直言，即说真话的自由，已成为文学批评家了解个人互动和交流方式的重要文学工具。操纵真相。在《塞莱斯蒂娜》中，所有角色都意识到了说真话的危险，而塞莱斯蒂娜将真相转化为一种艺术形式。这项研究表明，塞莱斯蒂娜意识到传达真相所涉及的危险，尤其是当她与社会上层的成员交谈时。为了规避讲真话的危险，塞莱斯蒂娜制作了梅丽贝亚，一位高贵的女士，如果真相冒犯了她的荣誉感和贞洁感，就会伤害她，因此签订了福柯所说的“自言自语契约”，使她能够说出真相而不会招致任何危险。在说出真相后，坦率的盟约使塞莱斯蒂娜免于即将死亡——尽管她的死是她在普莱贝里奥家中迎合卡利斯托的直接后果。