Chapter 1: the Auto Sacramental in Context
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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. -
Urdimento, Florianópolis, V
U rdimento Revista de Estudos em Artes Cênicas E-ISSN: 2358.6958 Teatro em silencio: onde foi parar o Jubileu de Amores, de Gil Vicente (c.1465 - c.1536)? Denise Rocha Para citar este artigo: ROCHA, Denise. Teatro em silencio: onde foi parar o Jubileu de Amores , de Gil Vicente (c.1465 - c.1536)?. Urdimento, Florianópolis, v. 2, n. 38, ago./set. 2020. DOI: http:/dx.doi.org/10.5965/14145731023820200030 Este artigo passou peloPlagiaris m Detection Software | iThenticate 1 Urdimento Teatro em silencio: onde foi parar o Jubileu de Amores, de Gil Vicente (c.1465 - c.1536)? Teatro em silencio: onde foi parar o Jubileu de Amores, de Gil Vicente (c.1465 - c.1536)? Denise Rocha1 Resumo O texto propõe uma revisitação da inquisição literária e da censura teatral no século XVI em Portugal, em uma época de fausto e cultura, promovida pelos gigantescos lucros do colonialismo, que proporcionou à corte lisboeta a presença de Gil Vicente (c.1465- c.1536): Ourives, dramaturgo, encenador e artista, ele escreveu, desde o ano de 1502 até 1536, cerca de 45 peças teatrais, algumas das quais foram silenciadas pela máquina de censura do Tribunal do Santo Ofício, instalado em 1536. O objetivo do artigo é delinear, principalmente, um momento histórico que selou o destino de uma obra vicentina: Em Bruxelas (Flandres), no dia 21 de dezembro de 1531, foi apresentado um auto de Gil Vicente, Jubileu de Amores, por ocasião das comemorações do nascimento de D. Manuel, filho do rei D. João III. Presente estava o cardeal Girolano Aleandro, diplomata enviado pelo Papa para persuadir o imperador Carlos V a intervir contra a heresia alemã, desencadeada por Martim Luther. -
Redalyc. O Príncipe Disfarçado No Teatro Romanesco De Gil Vicente
Acta Scientiarum. Language and Culture ISSN: 1983-4675 [email protected] 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. -
Práticas De Arquivo Em Artes Performativas
PRÁTICAS DE ARQUIVO EM ARTES PERFORMATIVAS EM ARTES PRÁTICAS DE ARQUIVO A relação entre o arquivo e as artes performativas tem PRÁTICAS vindo a ocupar um lugar de destaque no pensamento Cláudia Madeira contemporâneo, desdobrando-se em diversas vertentes: o Professora Auxiliar da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Investigadora arquivo como processo, a performatividade do arquivo, o no Instituto de Comunicação da Nova (ICNOVA) e colaboradora do Instituto de História de Arte (IHA), nos quais é arquivo das práticas e o arquivo como prática. Este volume corresponsável pelas linhas de pesquisa “Performance Arte & Performatividades nas Artes”. Colabora no Centro de DE ARQUIVO agrega perspetivas sobre o que constitui o arquivo na Estudos de Teatro (CET-FLUL), onde integra o projeto PERPHOTO – Dramaturgias do Olhar: Cruzamentos entre Fotografia contemporaneidade, mostrando como este se constrói, e Teatro no Contexto Português e Internacional. Realizou o doutoramento em Sociologia, com um trabalho sobre dissolve e simultaneamente se materializa em formas “Hibridismo nas Artes Performativas em Portugal” (2007), e o pós-doutoramento com o projeto “Arte Social. Arte EM ARTES de memória e em experiências incorporadas. O arquivo Performativa?” (2009-2012). É autora dos livros “Novos Notáveis: Os Programadores Culturais” (Celta, 2002), “Híbrido. apresenta-se assim como uma categoria que se multiplica Do Mito ao Paradigma Invasor?” (Mundos Sociais, 2010) e Arte da Performance “Made in Portugal. Uma Aproximação no discurso de colecionadores, arquivistas, investigadores, à(s) História(s) da Arte da Performance Portuguesa” (ICNOVA, no prelo 2020). programadores, artistas e espectadores. Como universo PERFORMATIVAS plural, presente no discurso filosófico e historiográfico, Fernando Matos Oliveira traduz-se em documentos e em enunciados, continuamente Docente na Faculdade de Letras da Universidade de Coimbra, onde coordena o doutoramento em Estudos Artísticos. -
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. -
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 [email protected] 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. -
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. -
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. -
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. -
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 - [email protected] Secretaría – Maria Luísa Leal / Iolanda Ogando González [email protected] 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) -
Dissertations in Hispanic Languages and Literatures: Volume Two: 1967–1977
University of Kentucky UKnowledge Spanish Literature European Languages and Literatures 1981 Dissertations in Hispanic Languages and Literatures: Volume Two: 1967–1977 James R. Chatham Carmen C. McClendon Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Chatham, James R. and McClendon, Carmen C., "Dissertations in Hispanic Languages and Literatures: Volume Two: 1967–1977" (1981). Spanish Literature. 22. https://uknowledge.uky.edu/upk_spanish_literature/22 DISSERTATIONS IN HISPANIC LANGUAGES AND LITERATURES This page intentionally left blank DISSERTATIONS IN HISPANIC LANGUAGES AND LITERATURES An Index of Dissertations Completed in the United States and Canada Volume Two: JAMES R. CHATHAM and CARMEN C. McCLENDON With the Collaboration of Enrique Ruiz-Fornells and Sara Matthews Scales THE UNIVERSITY PRESS OF KENTUCKY Library of Congress Cataloging in Publication Data Chatham, James R., 1931- Dissertations in Hispanic languages and literatures. Vol. 2. by James R. Chatham and Carmen C. McClendon with the collaboration of Enrique Ruiz-Fornells and Sara Matthews Scales. Bibliography: (v. 1) p. Includes index. 1. Spanish philology--Bibliography. 2. Portuguese philology--Bibliography. -
Department History – Ted Lyon
(a fairly necessary) INTRODUCTION – THE STORY OF SPANISH & PORTUGUESE AT BYU The Department of Spanish and Portuguese first saw the light of day in June of 1967, created from the large Department of Languages in the College of Humanities. Yet foreign languages (German, Latin) had been taught since the creation of Brigham Young Academy in 1876; the first Spanish classes were taught in 1883/1884. The first Portuguese class was offered by Gerrit de Jong, in 1942. I have used many sources to complete the story of Spanish and Portuguese at Brigham Young University. In 1972 an emeritus professor of French, Harold W. Lee, wrote a “History of the Department of Languages” at BYU. His brief account deals with foreign language teaching from 1876 to the early 1970s. A slightly abbreviated version of Lee’s history is available in Bruce B. Clark’s “The BYU College of Humanities: 1965 – 1981. The First Sixteen Years.” I have used a few bits of this fine, detailed, three- volume history which deal with the Department of Spanish and Portuguese. I have read and used the papers and history of Gerrit de Jong. The University Archives have provided curriculum vitae files of all faculty to 1989. In 1990 chair Merlin Forster asked emeritus professor L. Sid Shreeve to complete a history of the department. Sid accumulated hundreds of pages of information and interviews from retired and current faculty members but was not able to complete the anticipated history. I have used some of the documents he gathered to write the present history. Further, since the creation of the department, the secretaries have kept a very detailed annual statistical and historical report.