| Summary: | <p>The Bible serves as a source for <em>Celestina</em>, but biblical references and reminiscences in the text do not derive from the Scriptures themselves, but from secondary and even tertiary sources. These represent the typical medium of access to the Bible of laymen and, in the case of <em>Celestina</em>, of a very specific group of laymen: university members, which formed the original audience of the work and shared a same way of reading it. Therefore, biblical intertextuality in <em>Celestina</em> is defined by the relation of university members to these sources.</p> <p>When analysed from the perspective of university readers, <em>Celestina</em> becomes a pseudo-contemplative work to which the principles of visual mental representation of affective meditation apply. If read making use of these principles, the didactic and moralising message of the preliminary texts is confirmed and <em>Celestina</em> reveals itself as an admonitory tale against carnal love. Moreover, it appears as a counterfeit sentimental romance, concretely, a reply to "Cárcel de amor", to contemporary love habits and to courtly customs.</p> <p>In addition, reading <em>Celestina</em> from the perspective of an university audience offers a new view on the misuse of biblical references. Instead of being representative of a heterodox attitude toward the Scriptures, these function as a condemnation of the bad use of auctoritates in dialectic contexts. As a result, <em>Celestina</em> can be related to a reformist current in the university world, which was particularly critical to Scholasticism and its teaching methodology. In this sense, <em>Celestina</em> aligns itself with Humanism and, specifically with Christian Humanism.</p> <p>Finally, analysing <em>Celestina</em> from the point of view of university readers explains why a work, which had been originally conceived as a didactic and moralising text, was criticised in the sixteenth century for being inmmoral: audience and times had changed.</p>
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