The Quest for Spiritual Transcendence in the Theater of Gil Vicente

Total Page:16

File Type:pdf, Size:1020Kb

The Quest for Spiritual Transcendence in the Theater of Gil Vicente THE QUEST FOR SPIRITUAL TRANSCENDENCE IN THE THEATER OF GIL VICENTE Manuel Delgado Morales Gil Vicente (1465–1536) must be considered one of the founders of early Spanish drama along with Juan del Encina and Lucas Fernández. With his theatrical production he contributed to the creation of the unique cul- tural triangle formed among Lisbon, Salamanca, and Badajoz, in conjunc- tion with other dramatists such as Diego Sánchez de Badajoz, Bartolomé Torres Naharro, Luis de Miranda, and Micael de Carvajal. Reflecting on the importance of Gil Vicente in Peninsular drama, Horace Parker has rightly affirmed that it would be difficult, or impossible, to find a literary figure from the Iberian peninsula who would better represent Hispanic (Portuguese and Spanish) letters. He has, in addition, I believe, the unique distinction of belonging almost equally to Spain, on the account of his place in the history of S panish theater.1 Long before Parker, Marcelino Menéndez Pelayo also maintained that Gil Vicente belongs to “la grande y universal literatura hispánica, dentro de la cual son meros accidentes las divisiones políticas y aun las diferen- cias dialectales,”2 reminding critics that “[n]o colocándose en este punto de vista, es imposible entender a autores como Gil Vicente, cuya obra protestará eternamente contra el separatismo de una crítica infecunda.”3 In the same vein, John Lihani has also explained that Gil Vicente’s early works, especially his Auto pastoril castellano, were clearly influenced by Lucas Fernández and Juan del Encina.4 For my part, I would add that Gil Vicente’s themes and motifs are closely related not only to the theater of Juan del Encina and Lucas Fernán- dez, but also to the broader cultural, intellectual, and religious issues of 1 Horace Parker, “Gil Vicente: A Study in Peninsular Drama,” Hispania 36 (1953): 21–25, at p. 21. 2 Marcelino Menéndez Pelayo, Antología de poetas líricos castellanos desde la formación del idioma hasta nuestros días, vol. 7 (Madrid, 1898), p. 220. 3 Menéndez Pelayo, Antología, p. 219. 4 John Lihani, “Personal Elements in Gil Vicente’s Auto pastoril castellano,” Hispanic Review 37.2 (1969): 297–303. 218 manuel delgado morales 15th- and 16th-century Spain. In a comparative study on Gil Vicente and Juan del Encina, I have argued that the Portuguese dramatist developed a philosophical and religious discourse that was diametrically opposed to the one adopted by the Salmantine author.5 As I intend to demon- strate in this essay, Gil Vicente’s religious works are imbued with a deep sense of transcendence, a transcendence that characterizes medieval and Renaissance Neoplatonic and Christian ideas on the Soul, the Good, and the One (= God). As Ernst Cassirer has stated, “The Neo-Platonic system is dominated by the Platonic idea of transcendence, i.e., by the absolute opposition between the intelligible and the sensible.”6 Among the numerous definitions given of transcendence by philoso- phers and theologians, I consider Lucas Siorvanes’s to be one of the most appropriate for the present study, because this definition can help us understand the cultural, moral, and religious environment of Gil Vicente’s age, as well as his works themselves. According to Siorvanes, Neo-Platonic transcendence has at least two senses. To transcend meant to walk from one place to another (metabasis), or to rise above (hypairein). For Proclus (and Porphyry) our soul ascends through every level of being. The last step is ambiguous and poignant: the psyche wishing “to be attached to that which is ineffable and beyond all being” (synapteshai tôi arrêtôi kai pantôn epekeina tôn ontôn) “terminates its ascent in the principle of beings” (aniousa teleutêsêi tên tôn ontôn archên).7 I shall argue that this transcendence, much like that portrayed by Pedro Calderón de la Barca more than a century later in such philosophical plays as La vida es sueño, El mágico prodigioso, El príncipe constante, and Los dos amantes del cielo, is present in the theater of Gil Vicente. In the case of the Portuguese dramatist, a close reading of his religious works will demon- strate that many of his protagonists want “to be attached to that which is ineffable and beyond all being.” As I have already pointed out in the case of his Christmas plays, characters like Gil in the Auto pastoril castellano, as well as the Fraile and the Caballero in Auto de los Reyes Magos, actively 5 Manuel Delgado Morales, “Gil Vicente y Juan del Encina: cara y cruz del Renacimiento luso-castellano,” in Gil Vicente 500 anos depois, ed. Maria João Brilhante, José Camões, He­­ lena Reis Silva, and Cristina Almeida Ribeiro, vol. 2 (Lisbon, 2003), pp. 31–43. 6 Ernst Cassirer, The Individual and the Cosmos in Renaissance Philosophy, trans. Mario Domandi (Chicago, 2010), p. 18. 7 Lucas Siorvanes, “Neo-Platonic Personification,” in Personification in the Greek World: From Antiquity to Byzantium, ed. Emma Stafford and Judith Herrin (Burlington, 2005), p. 94..
Recommended publications
  • Spanish Viplence in the Theatre of Gil Vicente
    Spanish Viplence in the Theatre ofGil Vicente Maria Dodman fOrk University One of the noted accomplisments ofthe Portuguese dramatist, Gil Vicente, has been his ability to portray 16th century Iberian societ;y. Indeed, most critics have pointed out this feature as well as Vicente's sharp criticism, especially towards the clergy and the nobility. In terms of violence, the Portuguese playwright lived through one of the most agitated and violent periods in Portuguese history. The violence that characterized the encounters with others in the new worlds, the violence ofthe Inquisition and the violence toward the Jews. Regarding the latter, Gil Vicente was one ofthe few who condemned such violent behaviour and advocated for kindness and tolerancel . Vicente also lived in a court where the presence ofthe Spanish was part ofdaily.affairs. At the service ofa bilingual court, the Portuguese playwright, like many of his contemporaries, and in addition to his Portuguese works, also wrote many bilingual and Spanish texts. For a writer who constantly critized the vanities and excesses ofthe clergy and the nobility, it should come as no surprise that he extends his criticism to the neighbouring Spain. Thus, the goal ofthis article is to examine the theme ofviolence within the portrayal ofthe Spanish" in vicentine theatre. Generally speaking, his views of the Spanish are, for the most part, negative. Several examples are found throughout his works. 1 Such are the contents of the letter to king Dom Joao III regarding the earthquake ofJarlUary 26th, 1531, and the subsequent events ofhatred towards the Jews (479-482). 80 MARlA DODMAN Essentially, the Spanish just do not measure up to the Portuguese.
    [Show full text]
  • Redalyc. O Príncipe Disfarçado No Teatro Romanesco De Gil Vicente
    Acta Scientiarum. Language and Culture ISSN: 1983-4675 actalan@uem.br Universidade Estadual de Maringá Brasil Nepomuceno, Luís André O príncipe disfarçado no teatro romanesco de Gil Vicente Acta Scientiarum. Language and Culture, vol. 39, núm. 3, july-september, 2017, pp. 263-272 Universidade Estadual de Maringá Maringá, Brasil Available in: http://www.redalyc.org/articulo.oa?id=307452897004 Abstract From 1521, Gil Vicente renounces his religious theater to dedicate himself to profane and allegorical motifs, beginning a new stage in his career. Moved by the perusal of chivalric romances that spread throughout the Peninsula, the dramatist composed a series of at least four pieces dedicated to D. João III, in which the central (or circumstantial) motif is the disguise of a prince in the lower classes, along with the following disclosure of his noble nature. Analyzing a specific corpus of the Vicentian theater (the pieces Rubena, Viúvo, Amadis de Gaula and Dom Duardos), the present paper tries to explain the historical motifs that permeate the theme of the ‘disguised prince’, considering the program of eulogy of the monarchy proposed by Gil Vicente, as well as an analysis of the nature of the humanist love spread by 16th century poets and philosophers. The disguise in the lower classes reveals the aristocratic essence of the courtesan, but also the ritualistic experience in the trajectory of the spiritualized love. Keywords Court theater, humanism, chivalric romances, Portuguese Renaissance. How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative.
    [Show full text]
  • As Muitas Vidas De Luís De Camões: Ressonâncias Biográficas Camonianas Na Literatura Luso-Brasileira Oitocentista
    UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS CLÁSSICAS E VERNÁCULAS PROGRAMA DE PÓS-GRADUAÇÃO EM LITERATURA PORTUGUESA VICENTE LUÍS DE CASTRO PEREIRA AS MUITAS VIDAS DE LUÍS DE CAMÕES: RESSONÂNCIAS BIOGRÁFICAS CAMONIANAS NA LITERATURA LUSO-BRASILEIRA OITOCENTISTA (Versão Corrigida) São Paulo 2015 1 VICENTE LUÍS DE CASTRO PEREIRA AS MUITAS VIDAS DE LUÍS DE CAMÕES: RESSONÂNCIAS BIOGRÁFICAS CAMONIANAS NA LITERATURA LUSO-BRASILEIRA OITOCENTISTA (Versão Corrigida) Tese apresentada ao Programa de Pós-Graduação em Literatura Portuguesa da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, como requisito para a obtenção do título de Doutor em Literatura Portuguesa. Área de concentração: Literatura Portuguesa (Doutorado Direto) Orientadora: Profa. Dra. Annie Gisele Fernandes São Paulo 2015 2 Esta tese é dedicada a minha tia, Helena Yolanda de Castro, que, ainda muito cedo, me apresentou às artes visuais e que, mais cedo ainda, partiu e deixou, para trás, um tesouro de fatos passados e de antigas memórias, todos ainda por contar. A todos aqueles que, de Paraty a São Paulo, também enriqueceram, com histórias e diálogos, as muitas vidas imaginadas por um leitor, este trabalho é igualmente dedicado. 3 AGRADECIMENTOS A meus pais, Vitória e Messias, pelo apoio e incentivo ao longo de todo o meu percurso de formação. Aos professores que marcaram minha trajetória acadêmica: Norma Discini, Zilda Aquino, Lilian Jacoto, Paulo Motta Oliveira, Helder Garmes, Adma Fadul Muhana, Ivone Fedeli, João Roberto Faria, José Antonio Pasta Jr., Flávio Aguiar, Ataliba Castilho, Maria Aparecida Barbosa, Elaine Sartorelli, Maria Augusta da Costa Vieira, Valéria Gil Condé, Marcelo Módolo, Aline Gonçalves Guimarães, Mirian Coccetrone da Silva, Rose B.
    [Show full text]
  • Hominum Genus in Peregrinatione Natum: Gypsies in Renaissance and Counter-Reformation Sources
    Armando Senra MARTINS UDC: 94(=214.58)(4) University of Évora University of Lisbon, Centre for Classical Studies adsm@uevora.pt HOMINUM GENUS IN PEREGRINATIONE NATUM: GYPSIES IN RENAISSANCE AND COUNTER-REFORMATION SOURCES Аbstract: The appearance of Gypsies in Western Europe prompted chroniclers and other writers of the Renaissance to represent them and thus construct the stereotypes associated with this ethnic group. After a brief examination of some Renaissance sources concerning Gypsies, three texts, are examined: a play by the Portuguese author, Gil Vicente, Auto de hũas Ciganas; an excerpt from Disquisitiones Magicae, a doctrinal treatise of the Flemish- Spanish Jesuit, Martin Delrio; and an excerpt from Miscelanea, a dialogue of the Portuguese Leitão de Andrada (sixteenth/seventeenth cents.). The texts were chosen on the basis of their differences: they span across almost one century (1521–1617), from Renaissance (Vicente) to Counter-Reformation (Delrio and Andrada) and, moreover, they are quite different as to their literary genre. Analysis shall concentrate not only on the identification of stereotypes about Gypsies but also on the uses of those stereotypes as well as ascertain the evolution from attitudes towards Gypsies from Renaissance to Counter-Reformation.1 Keywords: Gypsies, Renaissance, Counter-Reformation, Gil Vicente, Martin Delrio, Leitão de Andrada, ethnicity, migration, alterity. s early as the fifteenth century Western European authors seem to perceive in Gypsies2 the very condition of a migrant people – a perception clearly expressed in Athe words of the German chronicler, Albert Krantz: hominum genus in peregrinatione natum (a race of people wanderers from birth). We shall analyse in this paper three different sources on Gypsies ranging from Renaissance to Counter-Reformation: a play from the Portuguese playwright Gil Vicente; a section of a treatise on magic from Martin Delrio; and finally a dialogue from the Portuguese writer Leitão de Andrada.
    [Show full text]
  • Vilancicos De Negro: the Meeting-Point Between Afro-Portuguese and Baroque Church Music
    Vilancicos de Negro: the meeting-point between Afro-Portuguese and Baroque church music Ana R. Luís* & Paulo Estudante** 1. INTRODUCTION In the historical archives of the Biblioteca Geral da Universidade de Coimbra, a collection of music manuscripts, dating from the middle of the 17th century, offers a probably unexpected combination of Baroque church music and Afro- Portuguese. Among these manuscripts are several Vilancicos de Negro – a very popular music genre of the Baroque period sung entirely in Língua de Preto. In Portugal, Língua de Preto was made notable by the 16th century Portuguese playwright Gil Vicente (1465-1536?), which explains why previous studies on Língua de Preto are almost entirely based on Vicente’s texts (Teyssier 1959, Kihm&Rougé 2013). The Coimbra manuscripts promise to shed new light on this literary representation of Afro-Portuguese. In particular, because they challenge the traditional view that Língua de Preto was an entirely 16th century phenomenon (Teyssier 2005). However, the existence of lyrics in Língua de Preto strongly indicates that, after Vicente’s plays were no longer performed at the king’s court, Língua de Preto was incorporated into the Catholic liturgy as the language of a quite specific music genre, known as Vilancicos de Negro. The well-documented fact that hundreds of Vilancicos de Negro were effectively sung and performed during the 17th century lends further support to our claim. Although Vilancicos de Negro are an integral part of Portuguese culture, it is surprising that a thorough examination of their lyrics and scores has never been undertaken. A multidisciplinary project is therefore underway at the University of Coimbra with the aim of examining what this new evidence can tell us about language contact and musicology.
    [Show full text]
  • Four Plays of Gil Vicente, by Gil Vicente
    The Project Gutenberg EBook of Four Plays of Gil Vicente, by Gil Vicente This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Four Plays of Gil Vicente Author: Gil Vicente Editor: Aubrey F. G. Bell Release Date: March 24, 2009 [EBook #28399] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK FOUR PLAYS OF GIL VICENTE *** Produced by David Starner, Júlio Reis and the Online Distributed Proofreading Team at http://www.pgdp.net TABLE OF CONTENTS: [Frontispiece] PREFACE CONTENTS INTRODUCTION AUTO DA ALMA EXHORTAÇÃO DA GUERRA FARSA DOS ALMOCREVES TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA NOTES AUTO DA ALMA EXHORTAÇAO DA GUERRA FARSA DOS ALMOCREVES TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA LIST OF PROVERBS IN GIL VICENTE'S WORKS BIBLIOGRAPHY OF GIL VICENTE CHRONOLOGICAL TABLE OF GIL VICENTE'S LIFE INDEX OF PERSONS AND PLACES TRANSCRIBER'S NOTES: textual variant notes have been marked in the text with [v] endnotes have been marked in the text with [n] ❧ COPILACAM DE TODALAS OBRAS DE GIL VICENTE, A QVAL SE REPARTE EM CINCO LIVROS O PRIMEYRO HE DE TODAS suas cousas de deuaçam. O segundo as comedias. O terceyro as tragicomedias. No quarto as farsas. No quinto as obras meudas. ¶ Empremiose em a muy nobre & sempre leal cidade de Lixboa em casa de Ioam Aluarez impressor del Rey nosso senhor Anno de M D LXII ¶ Foy visto polos deputados da Sancta Inquisiçam.
    [Show full text]
  • The Mixed Identity of the Catholic Religion in the Texts Translated by the Jesuit Priest Jose De Anchieta in 16Th Century Brazil
    TRANS · núm. 12 · 2008 este artículo estudia las marcas de catolicismo encontradas en DoSSieR · 67-79 la traducción de textos religiosos por el misionero jesuita José de Anchieta (1534-1597) en Brasil durante el siglo xvi. el estudio muestra cómo Anchieta empleó en sus traducciones términos del mundo espiritual de los indios Tupi como «equivalentes» de terminos cristianos para evangelizar pero no buscó entender su significado profundo. Se establece un paralelismo entre la voluntad de Anchieta de mezclar términos cristianos con conceptos del mundo espiritual de los indios brasileños, y la «equivalencia dinámica» de eugene Nida así como los conceptos de «naturalización» y «extranjerización» de Lawrence Venuti. el artículo termina examinando las obras de Anchieta y los asentamientos religiosos conocidos como Santidades estrechamente vinculados con la identidad católica híbrida predicada por los jesuitas. paLaBras cLaves: José de Anchieta, aculturación, inculturación. Jesuitas, traducción de textos religiosos. The mixed identity of the Catholic religion in the texts translated by the Jesuit priest Jose de Anchieta in 16th century Brazil This article will examine the characteristics of the Catholicism found in the translation of religious texts by the Jesuit missionary José de Anchieta (1534-1597) in Brazil in the 16th century. The study will show that Anchieta used terms from the spiritual world of the Tupi indians in his translations as «equivalents» for Christian terms as a way of introducing Christianity but made no attempt to understand the deeper meaning of these terms. We make a parallel of Anchieta’s readiness to mix Christian Catholic terms and concepts from the spiritual world of the Brazilian indians with the «dynamic equivalence» found in the work of eugene Nida and the concepts of domestication and foreignization found in the work of Lawrence Paulo edson Alves Filho Venuti.
    [Show full text]
  • Versión Penúltima
    Limite. ISSN: 1888-4067 Vol. 10.1, 2016, pp. 9-12 Limite Revista de Estudios Portugueses y de la Lusofonía Vol. 10.1 / 2016 2016 Limite. Revista de Estudios Portugueses y de la Lusofonía Revista científica de carácter anual sobre estudios portugueses y lusófonos, promovida por el Área de Filologías Gallega y Portuguesa (UEx) en colaboración con la SEEPLU. http://www.revistalimite.es CONSEJO DE REDACCIÓN Director - Juan M. Carrasco González - direccion@revistalimite.es Secretaría – Maria Luísa Leal / Iolanda Ogando González secretaria@revistalimite.es VOCALES Carmen Mª Comino Fernández de Cañete (Universidad de Extremadura) Christine Zurbach (Universidade de Évora) Luisa Trias Folch (Universidad de Granada) Mª da Conceição Vaz Serra Pontes Cabrita (Universidad de Extremadura) Mª Jesús Fernández García (Universidad de Extremadura) Salah J. Khan (Universidad de Extremadura) Teresa Araújo (Universidade de Lisboa) Teresa Nascimento (Universidade da Madeira) COMITÉ CIENTÍFICO Ana Maria Martinho (Universidade Nova de Lisboa) António Apolinário Lourenço (Universidade de Coimbra) Carlos Cunha (Universidade do Minho) Cristina Almeida Ribeiro (Universidade de Lisboa) Dieter Messner (Universität Salzburg) Gerardo Augusto Lorenzino (Temple University, Philadelphia) Gilberto Mendonça Teles (Pontifícia Universidade Católica do Rio de Janeiro) Hélio Alves (Universidade de Évora) Isabel Leiria (Universidade de Lisboa) Isabelle Moreels (Universidad de Extremadura) Ivo Castro (Universidade de Lisboa) José Augusto Cardoso Bernardes (Universidade de Coimbra)
    [Show full text]
  • Dramatic Convention in the Spanish Theater from Juan Del Encina to Lope De Vega
    RONALDE. SURTZ THE BIRTH OFATHEATER DRAMATIC CONVENTION IN THE SPANISH THEATER FROM JUAN DEL ENCINA TO LOPE DE VEGA PRINCETON Department of Romance Languages and Literatures PRINCETON, NEW JERSEY, U.S.A. EDITORIAL CASTALIA MADRID-10 - ESPAÑA THE BIRTH OF A THEATER Dramatic convention in the Spanish theater from Juan del Encina to Lope de Vega PUBLICACIONES DEL DEPARTAMENTO DE LENGUAS Y LITERATURAS ROMÁNICAS DE LA UNIVERSIDAD DE PRINCETON BMAN J. DENDLE. The Spanish novel of religious thesis (1876-1936). JOHN Β. HUGHES. Arte y sentido de Martín Fierro. DAVID L STLXRUDE. The early poetry of Pedro Salinas. RONALD Ε. SURTZ. The birth of a Theater. Dramatic convention in the Spanish theater from Juan del Encina to Lope de Vega. RONALD Ε. SURTZ THE BIRTH OF A THEATER DRAMATIC CONVENTION IN THE SPANISH THEATER FROM JUAN DEL ENCINA TO LOPE DE VEGA PRINCETON UNIVERSITY EDITORIAL CASTALIA DEPARTMENT OF ROMANCE LANGUAGES AND LITERATURES ZURBANO, 39 PRINCETON, NEW JERSEY, U.S.A. MADRID, 10 - ESPAÑA © RONALD Ε. SURTZ, 1979 EDITORIAL CASTALIA, ZURBANO, 39 MADRID. ESPAÑA PRINTED IN SPAIN I.S.B.N.: 84-7039-303-0 Depósito Legal: M-8329-1979 Impreso por: Unigraf, S.A. Fuenlabrada (Madrid) To my son Daniel, whose timely napping and joyful awakenings made this study possible. The publication of this study was made pos­ sible by grants from the Solomon Lincoln Fund of the Department of Romance Languages and Literatures of Harvard University and the Uni­ versity Committee on Research in the Human­ ities and Social Sciences of Princeton University. CONTENTS INTRODUCTION 9 I. THE ORIGINS OF THE CASTILIAN DRAMA 15 Theater in Medieval Castile 15 The Fifteenth-Century Milieu 20 Possible Models: Pageantry and Liturgy 31 II.
    [Show full text]
  • The 1531 Lisbon Earthquake and Tsunami
    The 1531 Lisbon earthquake and tsunami J. Miranda, J. Batlló, H. Ferreira, L. M. Matias Instituto Dom Luiz, Universidade de Lisboa, Portugal M. A. Baptista Instituto Superior da Universidade de Lisboa, IDL, Lisboa, Portugal SUMMARY: The 26 January 1531 earthquake heavily impacted Lisbon according to the coeval sources and archaeological remnants. The earthquake, and in particular the claimed tsunami, were not so far the subject of a quantitative study. This event is thought to be the one of the biggest in Lisbon history. The observations indicate that the water disturbance was preceded by the shock and flooding of the river banks. We present a re-appraisal of the written information and the main results of the archaeological studies. Macroseismic data is re-analysed and a new isoseismal map is presented. Finally, we investigate the water disturbance observed in the estuary to establish the occurrence of a tsunami event. Our conclusions point to the fact that a tsunami was observed along the estuary but it did not affect the city of Lisbon. This study is a contribution to the seismic and tsunami risk assessment in Lisbon. Keywords: earthquake, tsunami, estuary, Lisbon 1. INTRODUCTION The establishment of the scientific knowledge concerning the 1531 event has an unusual story: in the aftermath of the 1909 earthquake Osorio (1919), a Portuguese scholar, found in a Lisbon bookshop a copy of a four page letter addressing the Marquis of Tarifa (Spain) describing the large earthquake that took place in Lisbon in the year of 31. Osorio (1919) concluded that it related to a disastrous earth- quake on January, 26 1531.
    [Show full text]
  • Sobre Gil Vicente E Camões
    1 Título Dossiê temático-pedagógico sobre a figura e a obra de António José Saraiva (1917-1993) Autores Ana Veigas Carla Lourenço Carlos Caetano João Barata Coordenação Luís Filipe Santos Eulália Alexandre Ana Luísa Neves Lina Varela Ficha Técnica Ficha Editor Ministério da Educação e Ciência Direção-Geral da Educação Diretor-Geral Fernando Egídio Reis Conceção Gráfica e Imagem Manuela Lourenço Paginação Olinda Sousa Data 2014 ISBN 2 Apresentação do Diretor-Geral da Educação ..........................................................................................................................................................5 Objetivos do dossiê ...................................................................................................................................................................................................7 1 – Perfil de António José Saraiva ............................................................................................................................................................................11 1.1 – António José Saraiva – Algumas referências cronológicas da sua vida e obra ...........................................................................................11 Índice 1.2 – Maria Isabel Saraiva: um esboço biográfico de António José Saraiva .........................................................................................................14 1.3 – Evocação de António José Saraiva pelo seu irmão José Hermano Saraiva ................................................................................................15
    [Show full text]
  • POETA PORTUGUÉS Y CLÁSICO CASTELLANO, LUÍS VAZ DE CAMÕES (C.1524-1580): EDICIÓN CON INTRODUCCIÓN Y NOTAS DE SUS SONETOS CASTELLANOS
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, Student Research: Modern Languages and Literatures, Department Modern Languages and Literatures of 12-2011 POETA PORTUGUÉS Y CLÁSICO CASTELLANO, LUÍS VAZ DE CAMÕES (c.1524-1580): EDICIÓN CON INTRODUCCIÓN Y NOTAS DE SUS SONETOS CASTELLANOS Rose M. Sevillano University of Nebraska-Lincoln, rsevill711@aol.com Follow this and additional works at: https://digitalcommons.unl.edu/modlangdiss Part of the Modern Languages Commons Sevillano, Rose M., "POETA PORTUGUÉS Y CLÁSICO CASTELLANO, LUÍS VAZ DE CAMÕES (c.1524-1580): EDICIÓN CON INTRODUCCIÓN Y NOTAS DE SUS SONETOS CASTELLANOS" (2011). Theses, Dissertations, Student Research: Modern Languages and Literatures. 11. https://digitalcommons.unl.edu/modlangdiss/11 This Article is brought to you for free and open access by the Modern Languages and Literatures, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, Student Research: Modern Languages and Literatures by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. POETA PORTUGUÉS Y CLÁSICO CASTELLANO, LUÍS VAZ DE CAMÕES (c.1524-1580): EDICIÓN CON INTRODUCCIÓN Y NOTAS DE SUS SONETOS CASTELLANOS By Rose M. Sevillano A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: Modern Languages and Literatures (Spanish) Under the Supervision of Professors Óscar Pereira Zazo and Elizabeth Wilhelmsen Lincoln, Nebraska December, 2011 POETA PORTUGUÉS Y CLÁSICO CASTELLANO, LUÍS VAZ DE CAMÕES (c.1524-1580): EDICIÓN CON INTRODUCCIÓN Y NOTAS DE SUS SONETOS CASTELLANOS Rose M. Sevillano, Ph.D University of Nebraska, 2011 Advisors: Óscar Pereira Zazo and Elizabeth Wilhelmsen This dissertation concerns the Castilian sonnets of Luís de Camões, a sixteenth century Portuguese poet known for his epic work Os Lusíadas (1572).
    [Show full text]