DOCSLIB.ORG

Resumen General Para Consulta Con Indicación Del Anexo Donde Se Encuentra Cada Persona

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Resumen General Para Consulta Con Indicación Del Anexo Donde Se Encuentra Cada Persona RESUMEN GENERAL PARA CONSULTA CON INDICACIÓN DEL ANEXO DONDE SE ENCUENTRA CADA PERSONA NOMBRE DNI INCLUIDO EN Abalos Real, M. Carmen 04555637G A1 (p. fijo) Abenza Vidal, Alberto 52702955L A1 (p. fijo) Abraham Estelrich, Catalina 18227448V A1 (p. fijo) Abraham Piña, Rafael 43049371H A4 (p. temporal) Abraham Pons, Macia Antoni 42988529B A1 (p. fijo) Accion Rodriguez, Josefa 32409433H A2 (p. fijo > 60 años) Acedo Sanchez, Manuela 18215306L A1 (p. fijo) Acosta Jimenez, Isabel 43078322N A1 (p. fijo) Acosta Mari, Dolores 43028454P A1 (p. fijo) Acosta Perez, Luis 41494557G A1 (p. fijo) Adamez Guerrero, Antonia 43029020E A1 (p. fijo) Adamuz Torres, Ana Maria 41449909E A1 (p. fijo) Adelantado Pozuelo, Esther 24197438N A1 (p. fijo) Adrover Barcelo, Rosa Ma. 43040489Z A1 (p. fijo) Adrover Llavore, Ana M. 78305618W A1 (p. fijo) Adrover Pallicer, Francisca 78210255C A1 (p. fijo) Adrover Sureda, Sebastian 18215872X A1 (p. fijo) Adrover Vaquer, Magdalena 43011326S A1 (p. fijo) Aguado Mingorance, Mercedes 24174387F A1 (p. fijo) Aguado Sanchez, Francisco 24113414F A2 (p. fijo > 60 años) Agudo Garcia, Miguel 07552915Z A1 (p. fijo) Agüera Ortiz, Fco Javier 30497011T A1 (p. fijo) Aguilar Sanchez, Jose Luis 39039110Z A2 (p. fijo > 60 años) Aguilera Civantos, Angeles 44263939W A1 (p. fijo) Aguilera Panadero, Manuel Rafael 42996109R A1 (p. fijo) Aguilo Bueno, Maria 43021877D A1 (p. fijo) Aguilo Diaz, Bienvenida 78198981Q A2 (p. fijo > 60 años) Aguilo Feito, Andrea Maria 41404147F A4 (p. temporal) Aguilo Mari, Jose Luis 42976891B A1 (p. fijo) Aguilo Pascual, Gloria 42983187M A2 (p. fijo > 60 años) Aguilo Solana, Beatriz 43002631Z A1 (p. fijo) Agullo Diaz-Varela, Luisa 50281162B A2 (p. fijo > 60 años) Alambillaga Mercadal, Adriana 41501762X A1 (p. fijo) Alameda Lopez, Eva Maria 43107361W A1 (p. fijo) Alameda Ortiz, Maria del Mar 50179025V A1 (p. fijo) Alamillo Guardiola, Candida 50163601A A1 (p. fijo) Alarcon Moreno, Concepcion 41490711E A2 (p. fijo > 60 años) Alarcon Saiz, Mª Isabel 15374163C A1 (p. fijo) Alastuey Gonzalez, Ignacio 43023900P A1 (p. fijo) Alaves Buforn, Maria 36509249S A1 (p. fijo) Alba Mateu, Joana Maria 78210762K A1 (p. fijo) Albacete Calvo-Mansilla, M.isabel 51875651W A2 (p. fijo > 60 años) Albal Garcia, Maria Angeles 43028918N A1 (p. fijo) Albe Fernandez, Josefina 43024453D A1 (p. fijo) Albendin Ariza, M Jose 24311427J A1 (p. fijo) Albert Llorens, Gustavo 36934224L A1 (p. fijo) Alberti Salas, Maria 43005920Z A4 (p. temporal) Página 1 RESUMEN GENERAL PARA CONSULTA CON INDICACIÓN DEL ANEXO DONDE SE ENCUENTRA CADA PERSONA NOMBRE DNI INCLUIDO EN Alcala Martinez, Roberto 43414082H A4 (p. temporal) Alcantara Padilla, Rosario 35064516G A1 (p. fijo) Alcantud Garcia, M Jose 24334356B A1 (p. fijo) Alcina Teruel, Antonia 43077005Y A1 (p. fijo) Alcon Flaquer, Margarita 42976494M A4 (p. temporal) Alcover Nicolau, Magdalena 43038180M A1 (p. fijo) Alcover Ordinas, Maria del Carmen 42985358Z A1 (p. fijo) Alcover Ordinas, Sebastian 42985357J A1 (p. fijo) Alcover Sansaloni, Apolonia Margalida 18227805Y A1 (p. fijo) Alegre Latorre, Luis Miguel 17161568A A1 (p. fijo) Alegret Crespi, Santiago 38498647M A1 (p. fijo) Aleman Buendia, Maria de Los Angeles 43053366B A1 (p. fijo) Alemany Capo, Rafael 44326475R A4 (p. temporal) Alemany Masia, Maria Elodia 52600910W A1 (p. fijo) Alemany Mcewen, Pedrona 43088800W A1 (p. fijo) Alemany Perez, Ma.dolores 43081104B A1 (p. fijo) Alfonso Blanes, Fco Javier 43092833X A1 (p. fijo) Alfonso Vico, Francisco 52139000R A1 (p. fijo) Algaba Mora, Elisa 05138021M A1 (p. fijo) Allegue Lopez, Maria Sonia 32656982H A1 (p. fijo) Alomar Castell, Margarita 42984728M A1 (p. fijo) Alomar Jaquotot, Rosario 43078161N A1 (p. fijo) Alomar Jofre, Joana Maria 42984525D A4 (p. temporal) Alomar Llado, Lorenzo 42987116R A1 (p. fijo) Alomar Palou, Agueda 43064852C A1 (p. fijo) Alomar Rotger, Antonio 43012669R A1 (p. fijo) Alomar Sitjar, Antonio Ignacio 43055174W A1 (p. fijo) Alomar Torrens, Maria 42973019A A2 (p. fijo > 60 años) Alonso Dominguez, Paloma 11952254M A1 (p. fijo) Alonso Herrero, Jose 43031600A A1 (p. fijo) Alonso Santiago, Mª Angeles 07849152B A1 (p. fijo) Alos Nicolau, Barbara 43014203V A1 (p. fijo) Alos Velert, Ricardo V. 22548749D A1 (p. fijo) Aloy Felani, Catalina 43113331S A1 (p. fijo) Aloy Gallent, Maria Jose 43067657L A1 (p. fijo) Aloy Garau, Maria Magdalena 43082157Y A4 (p. temporal) Aloy Gomez, Eva Maria 43096643W A1 (p. fijo) Altuna Urquiaga, M Victoria 43171351Y A1 (p. fijo) Alvarez Arrebola, Adriana 43042114Y A1 (p. fijo) Alvarez Fernandez, Sandra Maria 43074361F A1 (p. fijo) Alvarez Fuster, Asuncion 00824810F A1 (p. fijo) Alvarez Gomez, M Concepcion 12744607P A1 (p. fijo) Alvarez Lois, Pablo 36066176Z A1 (p. fijo) Alvarez Marines, Francisca 43035938V A4 (p. temporal) Alvarez Marines, M. Antonia 43013594Y A4 (p. temporal) Alvarez Mauriz, Brindis 10072703Z A1 (p. fijo) Alvarez Molina, Jose 43097561T A1 (p. fijo) Página 2 RESUMEN GENERAL PARA CONSULTA CON INDICACIÓN DEL ANEXO DONDE SE ENCUENTRA CADA PERSONA NOMBRE DNI INCLUIDO EN Alvarez Segurado, Cristina 34091318M A1 (p. fijo) Alvarez-Ossorio Ferrer, Inmaculada 78204825H A1 (p. fijo) Alzamora Bordoy, Maria 18224770F A1 (p. fijo) Alzamora Ferrer, Clara 43038074Z A1 (p. fijo) Amador Martinez, Angela 43068072C A1 (p. fijo) Amat Medina, Antonio 43005278Q A1 (p. fijo) Amengual Alemany, Guillermo 43003805S A1 (p. fijo) Amengual Antich, Isabel 43048281D A1 (p. fijo) Amengual Calafell, Mª Magdalena 43102362V A1 (p. fijo) Amengual Florit, Francesca 78201630C A1 (p. fijo) Amengual Mayol, Antonia 43008336S A1 (p. fijo) Amengual Miralles, Barbara 43052935V A1 (p. fijo) Amengual Pieras, Esther Micaela 35109612C A1 (p. fijo) Amengual Piza, Francisca 41398707H A2 (p. fijo > 60 años) Amengual Quetglas, Micaela 43052232G A1 (p. fijo) Amengual Ramon, Francisca 42941432H A2 (p. fijo > 60 años) Amengual Ramos, Maria Magdalena 78212455N A1 (p. fijo) Amengual Rotger, Apolonia 42968756H A2 (p. fijo > 60 años) Amengual Tomas, Catalina 37335680X A1 (p. fijo) Amengual Tomas, Jeronima M. 18224428X A1 (p. fijo) Amengual Tormo, Juan Vicente 43032839T A1 (p. fijo) Amengual Vich, Antonio Gabriel 42995220D A1 (p. fijo) Amengual Vich, Maria Antonia 43006361H A1 (p. fijo) Amer Bonafe, Gabriel 43029997X A1 (p. fijo) Amer Ferrer, Guillermo 42993731S A5 (excluidos) Amer Gual, Maria Catalina 42991393T A1 (p. fijo) Amo Fernandez, Jose Antonio 11065457L A1 (p. fijo) Amor Dorado, Juan Carlos 32756186T A3 (CS externa) Amoros Garau, Jose 43008334J A1 (p. fijo) Amoros Munar, Bernat Salvador 42988004S A1 (p. fijo) Anadon Valbuena, Ana 43007264R A1 (p. fijo) Ancin Garcia, Ana Isabel 07872445M A1 (p. fijo) Ancin Garcia, Raquel Maria 07980022B A1 (p. fijo) Anderson ., Julie Sharon X1264914Y A1 (p. fijo) Andreo Nuñez, Sonia 34067575K A1 (p. fijo) Andres Cortes, Enrique 41499823A A1 (p. fijo) Andres Tauler, Juana M 43022522X A1 (p. fijo) Andreu Alcala, Ana Maria 31248791W A1 (p. fijo) Andreu Atik, Pilar 46226963E A1 (p. fijo) Andreu Rossello, Joana Aina 18215169C A1 (p. fijo) Andreu Serra, Hernan 46222069G A1 (p. fijo) Andreu Zamora, Maria Jesus 21655189E A1 (p. fijo) Andueza Perez de Eulate, Ana Luisa 15803019H A2 (p. fijo > 60 años) Anglada Pons, Juana 41733535N A1 (p. fijo) Angoitia Rodriguez, Joaquina 13938841J A1 (p. fijo) Anguita Garrido, Carmen 43099316F A1 (p. fijo) Angulo Orcajo, Cecilia Teresa 13069944X A2 (p. fijo > 60 años) Página 3 RESUMEN GENERAL PARA CONSULTA CON INDICACIÓN DEL ANEXO DONDE SE ENCUENTRA CADA PERSONA NOMBRE DNI INCLUIDO EN Angulo Suañez, Maria Aranzazu 13160325R A1 (p. fijo) Antelo Paz, Cristina 32840928X A1 (p. fijo) Anton Caraballo, Eduardo 50095674H A1 (p. fijo) Aparicio Garcia, Patricia 13163006Z A1 (p. fijo) Aparicio Perez, Maria Carmen 50938739H A1 (p. fijo) Aparicio Poza, J. Antonio 41732172Y A4 (p. temporal) Aparicio Romero, Agripina 19102506V A1 (p. fijo) Apolinar Pozuelo, Luis Enrique 45284258H A1 (p. fijo) Aragon Roca, Juan Antonio 44251210S A1 (p. fijo) Aranda Gracia, Montserrat 17688709F A2 (p. fijo > 60 años) Arboledas Lorite, Catalina 26198287E A1 (p. fijo) Arbona Amer, Antonio 43030794W A1 (p. fijo) Arbona Bugeda, Elena 43067744Z A1 (p. fijo) Arbona Nadal, Maria Teresa 43105028S A1 (p. fijo) Arbona Roda, Antonia 73376966C A1 (p. fijo) Arcas Alcobas, Josefa 43023464D A4 (p. temporal) Arcas Arcas, Ramona 42950892W A5 (excluidos) Arce Morro, Antonia 43053844Y A1 (p. fijo) Arejola Kuhls, Eva 51385427T A1 (p. fijo) Arenas Abad, Arturo J. 17433255Z A1 (p. fijo) Arenas Moreno, Manuela 43052681Q A1 (p. fijo) Arenas Riera, Emilio Santiago 42957716H A2 (p. fijo > 60 años) Arevalo Rubert, Joana M§ 78215048Y A1 (p. fijo) Argente Cornejo, Yolanda 46951830K A1 (p. fijo) Arias Marques, Ana Belen 43109788Z A1 (p. fijo) Arias Reig, Carlos 20807100N A1 (p. fijo) Armendariz Olalla, Maria Luisa 34098588F A1 (p. fijo) Armengol Beltran, Silvia 43106485T A1 (p. fijo) Arnaez Gorostidi, Ignacio 13766039X A1 (p. fijo) Arnau Tugores, Jose Luis 43060948A A1 (p. fijo) Arnillas Gomez, M Henar 13129722B A1 (p. fijo) Aroca Coll, Josep Lluis 42976263G A5 (excluidos) Arranz Izquierdo, Javier 37740639P A1 (p. fijo) Arregui Castillo, Nerea 11912939C A1 (p. fijo) Arroyo Carrasco, Begoña 19091836L A1 (p. fijo) Arroyo Muñoz, Maria del Carmen 24178437D A1 (p. fijo) Arroyuelo Cladera, Antonio 43012787G A1 (p. fijo) Artero Escartin, Jaime 18031799Y A1 (p. fijo) Artigues Amer, Maria 37338024P A1 (p. fijo) Artigues Barcelo, Antonia 43042453T A1 (p. fijo) Artigues Fiol, Miguel 43063361R A1 (p. fijo) Artigues Mascaro, Antonia 42953811T A2 (p. fijo > 60 años) Asensi Pastor, Vicenta de Los An 21396432S A2 (p.
Load more

Recommended publications
  • THE HISTORY of ORLANDO FURIOSO
    ElizabethanDrama.org presents the Annotated Popular Edition of THE HISTORY of ORLANDO FURIOSO By Robert Greene Written c. 1590 Earliest Extant Edition: 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE HISTORY OF ORLANDO FURIOSO BY ROBERT GREENE Written c. 1590 Earliest Extant Edition: 1594 DRAMATIS PERSONÆ. INTRODUCTION to the PLAY Marsilius, Emperor of Africa Robert Greene's Orlando Furioso is a brisk play that Angelica, Daughter to Marsilius. is very loosely based on the great Italian epic poem of the Soldan of Egypt. same name. The storyline makes little logical sense, but Rodomont, King of Cuba. lovers of Elizabethan language will find the play to be enter- Mandricard, King of Mexico. taining, if insubstantial, reading. The highlights of Orlando Brandimart, King of the Isles. Furioso are comprised primarily of the comic scenes of Sacripant, a Count. the hero and knight Orlando, who has gone mad after losing Sacripant's Man. his love, the princess Angelica, interacting with local rustics, Orlando, a French Peer. who in the fashion of the age are, though ostensibly inter- Orgalio, Page to Orlando. national, thoroughly English. Though never to be confused Medor, Friend to Angelica. with the greatest works of the age, Greene's Orlando de- serves to be read, and perhaps even occasionally staged. French Peers: Ogier. OUR PLAY'S SOURCE Namus. Oliver. The text of this play was originally adapted from the Turpin. 1876 edition of Greene's plays edited by Alexander Dyce, Several other of the Twelve Peers of France, whose but was then carefully compared to the original 1594 quarto.
    [Show full text]
  • Jonesexcerpt.Pdf
    2 The Texts—An Overview N’ot que trois gestes en France la garnie; ne cuit que ja nus de ce me desdie. Des rois de France est la plus seignorie, et l’autre aprés, bien est droiz que jeu die, fu de Doon a la barbe florie, cil de Maience qui molt ot baronnie. De ce lingnaje, ou tant ot de boidie, fu Ganelon, qui, par sa tricherie, en grant dolor mist France la garnie. La tierce geste, qui molt fist a prisier, fu de Garin de Monglenne au vis fier. Einz roi de France ne vodrent jor boisier; lor droit seignor se penerent d’aidier, . Crestïenté firent molt essaucier. [There were only threegestes in wealthy France; I don’t think any- one would ever contradict me on this. The most illustrious is the geste of the kings of France; and the next, it is right for me to say, was the geste of white-beardedPROOF Doon de Mayence. To this lineage, which was full of disloyalty, belonged Ganelon, who, by his duplic- ity, plunged France into great distress. The thirdgeste , remarkably worthy, was of the fierce Garin de Monglane. Those of his lineage never once sought to deceive the king of France; they strove to help their rightful lord, . and they advanced Christianity.] Bertrand de Bar-sur-Aube, Girart de Vienne Since the Middle Ages, the corpus of chansons de geste has been di- vided into groups based on various criteria. In the above prologue to the thirteenth-century Girart de Vienne, Bertrand de Bar-sur-Aube classifies An Introduction to the Chansons de Geste by Catherine M.
    [Show full text]
  • ROSALIND-The-Facts-T
    THE PLAY “AS YOU LIKE IT” THE WOMAN ROSALIND THE FACTS WRITTEN: The year of 1599 was an especially busy year for Williams Shakespeare who wrote four plays for the Globe stage – “Much Ado About Nothing”, “Henry V”, “Julius Caesar” and “As You Like It”. PUBLISHED: The play was first published in the famous First Folio of 1923 AGE: The Bard was 35 years old when he wrote the play. (Born 1564-Died 1616) CHRONO: “As You Like It” holds the 21st position in the canon of 39 plays immediately after “Julius Caesar” and before “Hamlet” in 1601 GENRE: The play is most often joined with “The Two Gentlemen of Verona” and “The Comedy of Errors” to comprise the trio of “Early Comedies”. SOURCE: Shakespeare’s principal source was a prose pastoral romance, “Rosalynd”, published in 1590 by the English poet Thomas Lodge and “improved upon beyond measure” (Bloom); the two key characters of Touchstone and Jaques were Shakespeare’s memorable creations. TIMELINE: The action of the play covers a brief number of weeks allowing for the “to-ing & fro-ing” of getting from the Palace to the Forest. FIRST PERFORMANCE: The play’s first performance is uncertain although a performance at Wilton House – an English country house outside of London and the seat of the Earl of Pembroke – has been suggested as a possibility. The play’s popularity must surely have found its place in frequent Globe seasons but no records seem to attest to that fact. Page 2 “PASTORALS”: “There is a unique bucolic bliss that is conventional in pastorals, for it is common for people trapped in the hurly-burly of the crowded haunts of men to imagine wrongly that there is some delight in a simple life that existed in the ‘good old days’.
    [Show full text]
  • Song of Roland Unknown Memory Verse
    Song of Roland Unknown Memory Verse • Psalm 25 • This week, can you recite verses 1-10? Imagine • Read Summary from Omnibus! Conflict • What has been the greatest conflict of the past century? Conflict • What has been the greatest conflict of the past century? • Communism and Democracy • Liberalism and Conservatism • Socialism and Capitalism • Rich and Poor • Proletariat and Bourgeoisie • Industrialism and Agrarianism • Nationalism and Colonialism • Management and Labor • First World and Third World • East and West • North and South Allied and Axis • NATO and Soviet Conflict • The greatest conflict of the past century, even the past millennium, has been between: • Islam and Civilization • Islam and Freedom • Islam and Order • Islam and Progress • Islam and Hope • Islam and the Gospel Conflict • Every other conflict pitting men and nations against one another has inevitably waxed and waned • This furious struggle has remained all too constant • The tension between Islam and every aspiration and yearning of man intrudes on nearly every issue, every discipline, every epoch and every local Author • Le Chason de Roland or The Song of Roland • One of the most famous medieval French chivalric ballads, known as chansons de geste – literally, “songs of deeds” • Traditional folk musicians and minstrels would travel from town to town singing about the epic adventures of great heroes from the past • About a hundred of these popular epic poems survived, from the 11th to the 15th century • We don’t know who the various composers were or even when the poem took
    [Show full text]
  • THE LUDIC(ROUS) AS UMPIRE by ANNIE LEE NARVER A
    MAPPING HUMAN VIRTUE AND THE ETHICS OF DESIRE: THE LUDIC(ROUS) AS UMPIRE by ANNIE LEE NARVER A DISSERTATION Presented to the Department of English And the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2019 DISSERTATION APPROVAL PAGE Student: Annie Lee Narver Title: Mapping Human Virtue and the Ethics of Desire: the Ludic(rous) as Umpire This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Warren Ginsberg Chair Anne Laskaya Core Member Stephanie Clark Core Member David Wacks Institutional Representative and Janet Woodruff-Borden Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree Awarded June 2019. ii © 2019 Annie Lee Narver iii DISSERTATION ABSTRACT Annie Lee Narver Doctor of Philosophy Department of English June 2019 Title: Mapping Human Virtue and the Ethics of Desire: the Ludic(rous) as Umpire Building on the assumption that society constructs ideology through, according to Louis Althusser, “apparatuses,” this dissertation explores how medieval romances written from the twelfth through fourteenth century exploit alterity by repurposing the Chanson de Roland’s portrayals of Eastern others and women to negotiate the exigencies contemporary to them. The proof texts, in addition to the Oxford Roland, include martial romances, deemed martial because the hero serves a liege lord rather than a lady: Guy of Warwick and The Sowdone of Babylone. In these texts, knights prove themselves men by vanquishing a sensationalized Eastern foe.
    [Show full text]
  • The Object of This Communication Is to Discuss the Interpretation of Lines
    Frederick Whitehead Charlemagne's Second Dream* The object of this communication is to discuss the interpretation of lines 725-36 of the Song of Roland (Charlemagne's second dream on the eve of the battle of Roncevaux) in the light of a recent article by M. Herman Braet.1 Charlemagne has two successive dreams on the eve of the battle of Roncevaux, and these are related in two consecutive laisses. In the first laisse (lines 717-724) Charles dreams that he is at the "greignurs porz de Cizer": Ganelon appears, seizes the lance of ashwood that Charles is holding in his hands, and shakes and breaks it so that the fragments fly heavenwards. The symbolism of the dream is transparent: Ganelon, by his treason with the Saracens, has ensured that the mainstay of Charles's strength (the rearguard commanded by Roland) shall be broken and destroyed by the Saracens. It is the second dream (lines 725-36) that is the enigmatic one, and here scholars have taken one of two conflicting views: either that the dream refers to Ganelon's treason and its subsequent punishment when Pinabel appears as his champion at the trial (lines 3742-3933) or that it is a foreshadowing of the attack on Roland and the rearguard at Ronce- vaux, with Marsile appearing in the dream under the semblance of a boar, and the "algalife," his uncle, in the likeness of a leopard. The majority opinion favors the first interpretation, but K.-J. Steinmeyer2 has recently put forward arguments attempting to show that the second inter- pretation (which I shall call the "Roncevaux interpretation") is the correct one.
    [Show full text]
  • Excerpt from the Song of Roland D
    The Story of the Middle Ages Excerpt from The Song of Roland d 1 Carlon the King, our Emperor Charlemayn, Full seven years long has been abroad in Spain, He’s won the highlands as far as to the main; No castle more can stand before his face, City nor wall is left for him to break, Save Saragossa in its high mountain place; Marsilion holds it, the king who hates God’s name, Mahound he serves, and to Apollyon prays: He’ll not escape the ruin that awaits. AOI 2 Marsilion sat in Saragossa town, He sought an orchard where shade was to be found, On a bright dais of marble he lies down; By twenty thousand his vassals stand around. He calls before him all his dukes and his counts: “Listen, my lords, what affliction is ours! The Emperor Charles that wears fair France’s crown Invades our country our fortunes to confound. I have no host but before him gives ground, I find no force his forces for to flout; Wise men of wit, give counsel to me now, Save me from death and loss of my renown.” There’s ne’er a paynim utters a single sound, Till Blancandrin, Valfonda’s lord, speaks out. 3 Blancandrin’s wise amid the paynim horde;[24-46] He was for valour a mighty knight withal, And fit of wit for to counsel his lord. He tells the king; “Be you afeared for naught, But send to Charles in his pride and his wrath Your faithful service and your friendship henceforth.
    [Show full text]
  • Alcina Alcina
    ALCINAALCINA George Frideric Handel NEW PRODUCTION Four Hundred Forty-Fourth Program of the 2014-15 Season _______________________ Indiana University Opera Theater presents as its 440th production Alcina Music by George Frideric Handel Libretto by Antonio Fanzaglia Arthur Fagen, Conductor Chas Rader-Shieber, Stage Director Robert Perdziola, Set and Costume Designer Patrick Mero, Lighting Designer Eiddwen Harrhy, Baroque Style Coach Daniela Siena, Italian Diction Coach Vincent Liotta, Supertitle Author _________________ Musical Arts Center Friday, February Sixth Saturday, February Seventh Friday, February Thirteenth Saturday, February Fourteenth Eight O’Clock music.indiana.edu Cast of Characters Friday, February 6 Saturday, February 7 Saturday, February 14 Friday, February 13 Alcina . Shannon Love Elizabeth Toy Morgana . Kellie Motter Monica Dewey Bradamante . Rachel K . Evans Kaitlyn McMonigle Oronte . Christopher Sokołowski Issa Ransom Melisso . Eunje Cho Ross Coughanour Ruggiero . Deniz Uzun Michael Linert Supernumeraries . Andrew Copeland Andrew Copeland Colin Ellis Colin Ellis Moses Mayabilo Moses Mayabilo Jake Rhoad Jake Rhoad The Georgina Joshi Foundation, Inc. Handel Underwriting Through the vision of Georgina’s mother, Louise Addicott-Joshi, The Georgina Joshi Foundation, Inc ,. was established in 2007 as a 501(c)(3) charitable foundation to provide, among other things, educational and career development opportunities for young musicians and to encourage and support the public performance of music . - let music flow and surround the world let humanity be drown in beautiful music - George Frideric Handel, a German-English baroque composer, was famous for his operas, oratorios, and concerti grossi . He was strongly influenced by the techniques of the great composers of the Italian Baroque period and English composer Henry Purcell .
    [Show full text]
  • The Technique of Laisses Similaires in the Ganelon-Marsile Exchange of the Chanson De Roland
    The Technique of Laisses similaires in the Ganelon-Marsile Exchange of the Chanson de Roland The usage of laisses similaires occurs in more than one medieval epic, but most critics would probably agree with Jean Rychner that "c'est in- contestablement l'auteur du Roland qui a tiré le mei Heur parti de la vertu ~ri que des ensembles de laisses similaires •••" He is, of course, referring ta the Oxford manuscript of the Roland, which includes in its total of 291 laisses at least five generally recognized sets of laisses similaires. 2 As many critics have pointed out, it is no accident that these occur at some of the most strategic junctures, or the moments "les plus dramatiques, les plus décisifs" (Rychner, 93) of the story: in the Ganelon-Marsile exchange, the first Roland-Olivier confrontation, the sounding of the olifant, Roland's farewell ta his sword followed immediately by his death, and finally, Charl3magne's five-laisse lament of the dead hero. In effect, the laisses similaires on all these occasions serve ta slow down narrative time, or even halt it entirely, in order ta develop more fully the significance of these vital moments. Yet how, precisely, are these moments developed? Laisses similaires have, after all, a dual nature: they are at the same time alike and different. Repetition of certain elements constitutes their similarity, and seems ta be the manner in which the poet initially draws the listener-reader's attention ta these events. But similarities in these laisses also posi tian the reader in regard ta the text; from the constant elements in the text, a viewpoint is developed on its unstable elements.
    [Show full text]
  • Charlemagne 'Father of Europe': a European Icon in the Making
    59 Charlemagne 'Father of Europe': A European Icon in the Making Marianne Ailes University ofBristol 'The greatest and most distinguished of men'. (Einhard, Vita KarolI)' Along with the legendary King Arthur and the crusading conqueror ofJerusalem, Godefroy of Bouillon, Charlemagne was one of the three secular 'chivalric' Worthies of the later Middle Ages. Arthur and Charlemagne shared the status of legendary Christian kings belonging to a pervious age, but there were major differences between them. For Charlemagne, unlike Arthur, we have a Significant body of factual evidence, documents and chronicles, and, even though some of it must be treated with great care, this gives us considerable knowledge of the emperor's deeds and reputation.' Secondly, whereas Arthur has a particular association with Britain, Charlemagne was 'emperor of Europe'. At his death in 814, the Emperor Charlemagne ruled over much of what we now call France, Germany, the Low Countries and modern Italy. As his myth developed he became associated with an even more extensive community. that of a united Christendom. Given the extraordinary achievements of the man Charlemagne, it is not surprising that we find him being celebrated heroically. Within his own lifetime the anonymous poet of Karolus et Leo Papa, otherwise known as the 'Paderborn Epic', gave him the epithet 'Rex, pater Europae; 'King and Father of Europe'.' The anonymous poet was not the only contemporary to write about Charlemagne,' but in this phrase he encapsulated an idea that has since grown wings, in
    [Show full text]
  • Chanson De Geste Du Xiiie Siècle)
    Book Reviews A. Richard Hartman and Dorothy L. Schrader May Plouzeau, ed. and commentary. Panse la Duchesse (Chanson de geste du XIIIe siècle). Senefiance 17 and 18. 2 vols. Aix-en- Provence: Publications du CUERMA, Université de Provence, 1986. 647 pp. Parise la Duchesse belongs to that group of later Old French epics that experienced a long drought of scholarly attention. Although the object of two editions in 1836 and 1860,1 no philological attention had been centered on this unique manuscript until over a century later;2 it was at this point that the late Gabriel Andrieu began to prepare an edition with accompanying translation and critical apparatus. Given the dialectal problems, peculiar to Parise, the poor condition of certain sections of the manuscript, the unique manuscript's lack of variants, and the absence of independent language studies, Andrieu's initial spadework represents a most demanding and crucial phase of the edition's preparation. His name deserves to figure perhaps more prominently than in a paragraph of the avant-propos. The above, however, is not meant to lessen the credit that should be given to the titular editor, May Plouzeau. The 647 pages 1 Guillaume François de Martonne, ed., Parise la Duchesse, Romans des Douze Pairs de France 4 (Paris: Techner, 1836); François Guessard and Lorédon Larchey, eds., Parise la Duchesse, Anciens Poëtes de la France 4 (Paris: Vieweg, 1860). 2 E. B. Ham published his reading of various sections of the poem which he treated with ammonium sulphydrate ("Readings from Parise la Duchesse," Modern Language Notes 59 [1944]: 490-3).
    [Show full text]
  • THE SONG of ROLAND [Translated by C. K. [Charles Kenneth
    THE SONG OF ROLAND [Translated by C. K. [Charles Kenneth] Moncreiff] Anonymous Old French epic, dating perhaps as early as the middle 11th century. ***************************************************************** I Charles the King, our Lord and Sovereign, Full seven years hath sojourned in Spain, Conquered the land, and won the western main, Now no fortress against him doth remain, No city walls are left for him to gain, Save Sarraguce, that sits on high mountain. Marsile its King, who feareth not God's name, Mahumet's man, he invokes Apollin's aid, Nor wards off ills that shall to him attain. AOI. II King Marsilies he lay at Sarraguce, Went he his way into an orchard cool; There on a throne he sate, of marble blue, Round him his men, full twenty thousand, stood. Called he forth then his counts, also his dukes: "My Lords, give ear to our impending doom: That Emperour, Charles of France the Douce, Into this land is come, us to confuse. I have no host in battle him to prove, Nor have I strength his forces to undo. Counsel me then, ye that are wise and true; Can ye ward off this present death and dule?" What word to say no pagan of them knew, Save Blancandrin, of th' Castle of Val Funde. III Blancandrins was a pagan very wise, In vassalage he was a gallant knight, First in prowess, he stood his lord beside. And thus he spoke: "Do not yourself affright! Yield to Carlun, that is so big with pride, Faithful service, his friend and his ally; Lions and bears and hounds for him provide, Thousand mewed hawks, sev'n hundred camelry; Silver and gold, four hundred mules load high; Fifty wagons his wrights will need supply, Till with that wealth he pays his soldiery.
    [Show full text]