DOCSLIB.ORG

194 Pro Pro Pro

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
194 Pro Pro Pro 194 PRO PRO PRO j qve realmente significa, nomen ' propugnáculo, m. Propugnacü- proterro, a , odi. Protervus. per . btñtia usurpas; quid ipBa valSat ig­ lum. vlcax, cóntümax. ohstinatus. noras. propulsa,/. Propulsaiío. hU; protesta,/. Pr.tcstatio; CriiiiKJo, propagación,/. Propaéati . propulsar, a. r. repulsar. ai;. st.itio ; ts, juramento, a.ljuratio. ¡, «pagador, o, »,. /. Propagador. propnlsion,/. i. repulsa. protestación,/. Protestatio; Ame- nata, malí denontiatio, propagar, a. Propago. prorata,/. Ratapórtío. —J órorlfc protestante, ««>• Protostana. [Frutero. ',;. pro rata j.ortioue. propagativo, a, ad}. Propagans, protestar, «. Proteatorl Asejurar, proratear, a. Pro rati part,- dls- attestairi: C-ufesar públicamente la fe, tis. tribuere. dividere. partiri. publicé fidem protitori. propalar, a. Propalare, divul­ proratCO , in. Pro ratil parle <lia- protestativo, o, adj. Palám te­ gare. trihutlo. st..na. propasar, a. y r. Excederé mo- próroga. /. V. prorogaeioii. protoalbéitar, m. Primus vete- dum, metara transgredí, transilíre. prorogable, adj, Diftérri valena. rinaríua, propender, «. Ad aliquam rem prorogacioil,/. Prorogatío, dila­ protoalbeitarato, ra. Veterlna- pronum, proclivem esse. tío , prolatlo , productío; Ve tres rióruní tribunal. propensamente, ado. Propenso. comperenilinutio. protocolar, ;/ propensión, /. PropenBÍo. prorogar, a. Prorogo, protraho, protocolizar, a. In tabollionia propenso, a, adj. Propensus, pro­ prodüco, difforoj Por tres dias, compe- libro scriliero. nas. rendináre. protocolo, m. Tahelliouis liber. propélltico , m. Propemptleum prorutnplr, h. Prorümpo; J. protomártir, ,u. Primus ínter carmen. jurins. in nialedicta pru luartyi'.s. propiamente, adv. Propríe; Ele- prosa, /. Sermo solütus, prosa ora- protomedicnto, nt. SuprcmUm ijanteioeute, concinué, eleganter. tío; (tam.) Conversación, longus sermo, nuuliuoiuin tnuunai, El eiHpteo de pro- propiciación,/. Propítiatío. prolíxa verba. , princlpis medicorum munus, propiclador. a, ,,,. t. Prqpitiator. prosador, m. Multi ptáltgníque dignttaa. propiciamente, adv. Benigna, suiuionis homo. V. prosista. protoinédico, '". Medícus prin­ il. ineiilnr, benevólé. prosaico, «, adj. Prosaicos. prnplt lar, a. Propicio, placo, pro- ceps. jdilum reddo, prosapia, /. Genus Btirps, orígo, protonotario, «,. Notariorum propieiatorlo, a, adj. Propitíana ¡ gens. princejoa. ,11, Pro.itiatorium. proscenio, vi. Prosceníum. prototipo, ni. Primum exémplar. propicio, o, adj. PropitíuB, clemena, proscribir, a. Proscribo. pi'Oieclo, a, a-lj. Provéctus. beniguus, beuevolus ; 1',supero , secün- proscripción, /. Proscriptlo. pro, echo, in ('iiuinKuluní, com­ dua, faustos , felix. — Si Dios RDS es proscripto . a, purl. «pü»l irr. tit pendíum, cnioinmciituin, militas, quBB- io, Deo jurante. So trun proscribir. Proscrfptus. atus; Adeloi/inuit, ito, progresstts. — projiicias las circunsiaucias, non Batis prosecución, /. Prosecutlo. Atender solo á su provecho, tilii Boli sor- opportñnum erat tempus; proseguir, a. Prosequnr, p, vire, omnia in se referiré. Ser de ¡,rw propiedad,/. Natura, propriotas; ero, utilitatem afierre. Buen protsecho quor, proposítum tunco. — Pros'cyair una vm. deeóruru; ttienes ,-ai:es, V, ie ttayá VoC. Jam.), heno tibi sit, boue hacienda, dominio; Semejanza, lo comentado, inceptum laborero decur­ tibi vertat, rere, opéri instare, Pr- imitatlo, congruenua. conformado, ai- pi„,c< liosan,clitc, adí. Utiltter. militüilo. no, pergére íre. commódé, fructuoad. propietariamente, adv. Proprie- prosélito, a, m.f. Proaól; pi'OtecllOSO, a, adj. Oonmioihls, tatia jure. prosista, ni. Sermone soluto scrí- ..íulaiis. — Et j.io'.-ic/ioso, pro;- propietario, a, adj. Rei dominus. lieus; Hablador, multiloquax, gai StHt; expé.lit. propina, /. lionorarlum extra sor­ locutulciua. pro,eedor, a, m.f. Annon» pra- tem duri soiitum. prosodia,/. Prosodia; fia p lectus. propinación, /. Propinatlo, poesía. proveeduría, /• Anupnsa nfflcmi. propinar, a. Propino, ministro, do, prosódico, a, adj. Ad jiroso.l.am pro,eer, a. ptdvldtió, ^iroapiclo, pórrigo. attinens. COUBÜIO ; Tener prevenido, instrüo. inu- propincuidad, /. Propinquítas. prosopopeya, /. Prosopoptbía; liiu, orno, exorno; S/,iui,listiur lo ne­ propincuo, u, adj. Ptopíuquus, Afectación il.- lucim cesario para el sustento, victüi neces prospecto, m. Brovia scüpti ex- Baria suppeditáre. proxlinua. plauatio. propio, a, adj. Proprtua, pccullSrfa; proveído, hi. Auto de jutt. Docré- A prvpotilo', conveulena, congrüena, ap- prósperamente, udv. Prosiieró, tlUU J UlliciS. tuB; Muy semejante, couaimilis ; Lo pro­ felielter. eccünüó. proveimiento, .... Provisto, nía. pio de uno, propríum ; m. Correo, tabcl- prosperar, a. Prospero, a, Tener protenir, «. Provoulot procedo, larlua, nuutlua; pl. Propios, bienes de prospertda i s orior, nascor. los pueblos, propria popuiorum bona. cielo prospere tu patri/uókjo, dii tibi pro > crliial, adj. ProvcrbialiB. proponed or, a, in. f. y patriniouium fortunen) . .y,..• proverbialmente , qdti. In mo­ projm nenie , part. act. de pro­ prospere,, tos sembrados, ñoius lletas so- dum provcrbll, piovcihialitcr. poner. Proponen». getes clflcit. proverbiar, n. Proverhíia frequen- proponer, a. Propono; Determi- prosperidad, /. Proaperitas, feli­ t,.u Uli. " ir, decernére ; Hacer propósito, deli­ citas, secunda» rea. berare, institiioro , conatituere. — Pro­ próspero, «, adj. Ptospbr, felix, proverbio, ,„. Proverbitim. poner al pueblo el triunfo del cónsul, secundus. tortunatus. proxerblsta, vi. Proverhíia fro- forre ad popülum de triümpho COJ quintcr utens. lia. Proponer recompensas, derruiré prosternarse, r. He prosternare, gen ,líi. pro, I llámente, oif». Próvido. praemla. Proponer condiciones, ferré cmi- prostitución,/. Prostitutío. ditidnea. 1' . rovo- pro, idencia , /• Provideutiaj In- ,tm ,s-s.,t, ae lo, C'.iiis, rcriiui Biatus. care sponBÍ3no. Me he propue.to no prostituir, a. Prostitüo; Profanar, oir una palo/ira más, atat mihi nullum poiiii' .-s violare; Is-stionrnr, |,ro\ lllencial, ad). A.l pn.vidcn- ultni rerbtitn dícére. íiedaie. tlain piu'Uncns. proporción,/. Próportío; Aptitud, prostituta,/. Scortum, mcrctrix. pro, idencialmcnte , aií. I» aplitü io; ' hcia, harmonía; protagonista, com. Actor prin­ pi i.'suns. Ji'acutt.íd, disposición, occasío. ceps. providenciar, ,/. Dccemo, statüo, pruporeionadamente, adv. Int- prótasis, /. Prótasis. constituí,. * ta ratiune. protección, /. Protcctío, tutela, pt'Otldentc, adj. Providona, pro­ proporcionado, a, „dj. Aptus, pracaidiuni. — Ponerse oajo lá prolrr- visor. cougniu... ou, veniena , idoneus. dt al'juiio, alicüjus fldéi ae com­ próvido, «, adj. Provídua, cautus, proporcional, adj. Proportio- mittére. prudens; ualib. protector, a, l». /. Protector, de­ pío, Inda,/. Provincia. proporcionalmente, adv. Pro fensor, patrónus; Protector de la mal­ provincial, < Proyincialiaj «i. po.tione, Lív. j ó pro rata parte,_Caea. dad, flagitíi iautor. Superior <n- una t'etftji'én, inonacliOrüm proporcionar, a. Apto, coapto; protectorado, «.., y proviii'iic jirieposltUs. Poner cu aptitud, aptum reddére. protectoría, /. Protectoría mu­ pro, iliciiiláto, „i. Provincial mo- proposición,/. Propositio; nus. nacnaliK ). luluciln :. proposito, iu. Proposítum; Har­ protCCtorio, a, a<lj. Protectorius, provisión, '. Proviaío a P* juez; décrZi un, ; /,. / ref/, , ria ae qué retrata, argumentum; üeso- ad protcctiónem attinens. lucion, proposítum consníum, deliberatío. protectriz,/. Patrona. Is- eilipteo o s,... i i ni , ipiu- — So sera luera de propónto, non abs re proteger, a. Protego, tego, con- erit. is- propósito, consultó, data opera; tégo, tuéor, tutor, detendo; tCst'dr pro- A ijué propósito se etico,o-na es j art nicor del púeot'ó; uuj.iiiailuin •./ ,..,•• ... .• U uUii.U, u curso"! quorsíun haec oratio speetat? atuilio acclngi. proviaitohal, „<ij. SA tempua cuu- Con et propósito de . co" consilío ut... proter, amenté , ade. Protervo, bti.r.i us. A«.la mas á proposito , nihil cohgruen- iter. pro, ISÍOIIB luí ente, adv, Prolcni- ttUB. proter,Ia,/. Protervia, pervica- proprctor, nt. Propraitor ciá, contumacia, obatínatus animus. provisor, ,,,. Provisor; £cletiatttco. propuesta. /• Vropoaitlo protervidad, /. V, protervia. episcupi vicurluo. PUT) PUG PUL 195 provlsorn, f, Ponüi apnd mnn.Mee pudiente, adj. Potens, dives, lo- pugnar , n. Pugno; Solicitar con pfa-poshtt. cfiples. empeño, summá ope niti, omni ratióne prot i«ornto, m. ftpiscnpalts vi- pudor, m. Pudor, verecundia. contenderé, totis viribus inníti. r,r H m nuil»*. pudricion, /. Putrédo, corrnptío. puja,/. Auctío pretíi in licitationi- provisoria, /. v. provlsorato. pudridero, tn. Sterquilinium; Bó• bus. prin (MJKIIMI, /. Provocatlo irrita- pujadero, a, adj. Quod pretío iu veda para depositar tos cadáveres em- t,« nlniii licitationibua augeri potest. [iriMoiador, o, m. f. Provocator, butstfiíados, crypta exsiccandii cada- pujador, a, m. /. Licitator. n t ti tor. veríbiiB destinata. provocante-, púrt.a i, dé provo­ pudridor, m. Vas in quo lintfii pujamiento , M*. Humorum af- car. Provócaos. panni detriti aquft immergüntur. fluentía. pi'OlOCar, a. Provoco, lacosHo, ir- pudrigorio, ru. Morbis obnoxias. pujante 4 adj. Robüstuí, vegetu»», t ii«i ; Excttái , i'-ii-i) n, ipctto, indüco; pudrir, a. Putrcfacío, corrümpo; íi. viribus prfEstans. •ni' i, >'\ TMIT, Ktnm.'íflinni mo- Estar enterrado, jacére,. aitum esse; pujanza,/. Potentia, robur. -, <• ,. a uno á beber, £ liquem (ntet) Pudrir á uno, alíquem máxima pujar, a. Liceor, eria; Ilucer fuerza ], otílil invitare. Provocar á rita, ri- molestia afficere; Pudrirte, animo angi. por, conári.
Load more

Recommended publications
  • Planetary Geologic Mappers Annual Meeting
    Program Lunar and Planetary Institute 3600 Bay Area Boulevard Houston TX 77058-1113 Planetary Geologic Mappers Annual Meeting June 12–14, 2018 • Knoxville, Tennessee Institutional Support Lunar and Planetary Institute Universities Space Research Association Convener Devon Burr Earth and Planetary Sciences Department, University of Tennessee Knoxville Science Organizing Committee David Williams, Chair Arizona State University Devon Burr Earth and Planetary Sciences Department, University of Tennessee Knoxville Robert Jacobsen Earth and Planetary Sciences Department, University of Tennessee Knoxville Bradley Thomson Earth and Planetary Sciences Department, University of Tennessee Knoxville Abstracts for this meeting are available via the meeting website at https://www.hou.usra.edu/meetings/pgm2018/ Abstracts can be cited as Author A. B. and Author C. D. (2018) Title of abstract. In Planetary Geologic Mappers Annual Meeting, Abstract #XXXX. LPI Contribution No. 2066, Lunar and Planetary Institute, Houston. Guide to Sessions Tuesday, June 12, 2018 9:00 a.m. Strong Hall Meeting Room Introduction and Mercury and Venus Maps 1:00 p.m. Strong Hall Meeting Room Mars Maps 5:30 p.m. Strong Hall Poster Area Poster Session: 2018 Planetary Geologic Mappers Meeting Wednesday, June 13, 2018 8:30 a.m. Strong Hall Meeting Room GIS and Planetary Mapping Techniques and Lunar Maps 1:15 p.m. Strong Hall Meeting Room Asteroid, Dwarf Planet, and Outer Planet Satellite Maps Thursday, June 14, 2018 8:30 a.m. Strong Hall Optional Field Trip to Appalachian Mountains Program Tuesday, June 12, 2018 INTRODUCTION AND MERCURY AND VENUS MAPS 9:00 a.m. Strong Hall Meeting Room Chairs: David Williams Devon Burr 9:00 a.m.
    [Show full text]
  • Supervolcanoes Within an Ancient Volcanic Province in Arabia Terra, Mars 2 3 4 Joseph
    EMBARGOED BY NATURE 1 1 Supervolcanoes within an ancient volcanic province in Arabia Terra, Mars 2 3 4 Joseph. R. Michalski 1,2 5 1Planetary Science Institute, Tucson, Arizona 85719, [email protected] 6 2Dept. of Earth Sciences, Natural History Museum, London, United Kingdom 7 8 Jacob E. Bleacher3 9 3NASA Goddard Space Flight Center, Greenbelt, MD, USA. 10 11 12 Summary: 13 14 Several irregularly shaped craters located within Arabia Terra, Mars represent a 15 new type of highland volcanic construct and together constitute a previously 16 unrecognized martian igneous province. Similar to terrestrial supervolcanoes, these 17 low-relief paterae display a range of geomorphic features related to structural 18 collapse, effusive volcanism, and explosive eruptions. Extruded lavas contributed to 19 the formation of enigmatic highland ridged plains in Arabia Terra. Outgassed sulfur 20 and erupted fine-grained pyroclastics from these calderas likely fed the formation of 21 altered, layered sedimentary rocks and fretted terrain found throughout the 22 equatorial region. Discovery of a new type of volcanic construct in the Arabia 23 volcanic province fundamentally changes the picture of ancient volcanism and 24 climate evolution on Mars. Other eroded topographic basins in the ancient Martian 25 highlands that have been dismissed as degraded impact craters should be 26 reconsidered as possible volcanic constructs formed in an early phase of 27 widespread, disseminated magmatism on Mars. 28 29 30 EMBARGOED BY NATURE 2 31 The source of fine-grained, layered deposits1,2 detected throughout the equatorial 32 region of Mars3 remains unresolved, though the deposits are clearly linked to global 33 sedimentary processes, climate change, and habitability of the surface4.
    [Show full text]
  • Understanding the History of Arabia Terra, Mars Through Crater-Based Tests Karalee Brugman University of Colorado Boulder
    University of Colorado, Boulder CU Scholar Undergraduate Honors Theses Honors Program Spring 2014 Understanding the History of Arabia Terra, Mars Through Crater-Based Tests Karalee Brugman University of Colorado Boulder Follow this and additional works at: http://scholar.colorado.edu/honr_theses Recommended Citation Brugman, Karalee, "Understanding the History of Arabia Terra, Mars Through Crater-Based Tests" (2014). Undergraduate Honors Theses. Paper 55. This Thesis is brought to you for free and open access by Honors Program at CU Scholar. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of CU Scholar. For more information, please contact [email protected]. ! UNDERSTANDING+THE+HISTORY+OF+ARABIA+TERRA,+MARS++ THROUGH+CRATER4BASED+TESTS+ Karalee K. Brugman Geological Sciences Departmental Honors Thesis University of Colorado Boulder April 4, 2014 Thesis Advisor Brian M. Hynek | Geological Sciences Committee Members Charles R. Stern | Geological Sciences Fran Bagenal | Astrophysical and Planetary Sciences Stephen J. Mojzsis | Geological Sciences ABSTRACT' Arabia Terra, a region in the northern hemisphere of Mars, has puzzled planetary scientists because of its odd assemblage of characteristics. This makes the region difficult to categorize, much less explain. Over the past few decades, several hypotheses for the geological history of Arabia Terra have been posited, but so far none are conclusive. For this study, a subset of the Mars crater database [Robbins and Hynek, 2012a] was reprocessed using a new algorithm [Robbins and Hynek, 2013]. Each hypothesis’s effect on the crater population was predicted, then tested via several crater population characteristics including cumulative size-frequency distribution, depth-to-diameter ratio, and rim height.
    [Show full text]
  • Songs in Fixed Forms
    Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain.
    [Show full text]
  • Treinta Coniposiciones Del Trovador Cerverí De Girona
    Treinta coniposiciones del trovador Cerverí de Girona !3 presente trabajo tiene por finalidad ofrecer una visión general de la obra lirica del trovador catalin Ctrveri de Girona. En rigor no pasa de ser una aiitología en la que se ha seguido el criterio de ilicluir muesms dc los diversos tipos de poesia cidtivados por Cerveri, desde las composiciones de carácter mis tradicional y popular a aquellas en que el trovador se revela como un culrisimo representante del mis afiligranado trobar ric. Así pues, las trcint~.composiciones que incluyo han sido seleccionadas desde un punto de visn piiramente representativo dentro de la extensa obra de Cerverí, prcscindiendo del hecho de ser más o menos conocidas o de hallarse en uno'o en varios manuscritos. De este modo, qiiicn se interese por los cstudios de poesia medieval, o simplemente el lector curioso, hallará en el presente trabajo los elementos suficientes para formane una idea bastante exacta de la obra de Cervcri de Girona, cl más importante de los uovadorcs nacidos en Cataluña, después de Guilliem de Berguedán, y uno de los más notables de la lirica provenzal. Esto último todavía no ha sido reconocido, debida a que la obra de Cenrcri ha permanecido en su mayor parte desconocida para la investigacióii Iiasca hace relativamente poco. Apuntaré brevemente algunas noticias sobre Cerveri a fin de orientar a quien emprenda la lectura de la prcsente selección. De ningún uovador provenzal Iia llegado hasta nosotros producci6n ma- yor que la de C-rverí. Conservamos de él cicnto trece composiciones líri- cas y cinco poemas narrativos, al paso que de Guiraut Riquier - quc le sigue cn cxtensinn - poseanos ochenta y nueve obras liricas y quincc narrativas.
    [Show full text]
  • English 201 Major British Authors Harris Reading Guide: Forms There
    English 201 Major British Authors Harris Reading Guide: Forms There are two general forms we will concern ourselves with: verse and prose. Verse is metered, prose is not. Poetry is a genre, or type (from the Latin genus, meaning kind or race; a category). Other genres include drama, fiction, biography, etc. POETRY. Poetry is described formally by its foot, line, and stanza. 1. Foot. Iambic, trochaic, dactylic, etc. 2. Line. Monometer, dimeter, trimeter, tetramerter, Alexandrine, etc. 3. Stanza. Sonnet, ballad, elegy, sestet, couplet, etc. Each of these designations may give rise to a particular tradition; for example, the sonnet, which gives rise to famous sequences, such as those of Shakespeare. The following list is taken from entries in Lewis Turco, The New Book of Forms (Univ. Press of New England, 1986). Acrostic. First letters of first lines read vertically spell something. Alcaic. (Greek) acephalous iamb, followed by two trochees and two dactyls (x2), then acephalous iamb and four trochees (x1), then two dactyls and two trochees. Alexandrine. A line of iambic hexameter. Ballad. Any meter, any rhyme; stanza usually a4b3c4b3. Think Bob Dylan. Ballade. French. Line usually 8-10 syllables; stanza of 28 lines, divided into 3 octaves and 1 quatrain, called the envoy. The last line of each stanza is the refrain. Versions include Ballade supreme, chant royal, and huitaine. Bob and Wheel. English form. Stanza is a quintet; the fifth line is enjambed, and is continued by the first line of the next stanza, usually shorter, which rhymes with lines 3 and 5. Example is Sir Gawain and the Green Knight.
    [Show full text]
  • Les « Chançons » De Charles D'orléans
    Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 34 | 2017 Du meurtre en politique Les « chançons » de Charles d’Orléans Une énigme en mouvement Mathias Sieffert Édition électronique URL : http://journals.openedition.org/crm/14544 DOI : 10.4000/crm.14544 ISSN : 2273-0893 Éditeur Classiques Garnier Édition imprimée Date de publication : 31 décembre 2017 Pagination : 201-220 ISSN : 2115-6360 Référence électronique Mathias Sieffert, « Les « chançons » de Charles d’Orléans », Cahiers de recherches médiévales et humanistes [En ligne], 34 | 2017, mis en ligne le 31 décembre 2020, consulté le 25 janvier 2021. URL : http://journals.openedition.org/crm/14544 ; DOI : https://doi.org/10.4000/crm.14544 © Cahiers de recherches médiévales et humanistes LES « CHANÇONS » DE CHARLES D’ORLÉANS Une énigme en mouvement Il est des termes dont ­­l’usage fréquent obscurcit peu à peu le sens. Ainsi en va-t-il du mot chanson, que son omniprésence dans les diction- naires de musique médiévale, les ouvrages philologiques et les éditions critiques, rend problématique : il est parfois difficile de distinguer ­­l’acception médiévale et ­­l’acception moderne. ­­L’introduction du bel inventaire des rondeaux et refrains de Nico van den Boogaard donne une idée frappante de cette ambivalence. Le critique nomme chanson « toutes les ­­compositions monodiques destinées à être chantées, et divi- sées en strophes », ­­c’est-à-dire les « chansons dites à forme fixecomme ­­ la ballade (…) », mais aussi les « chansons définies le plus souvent par leur sujet, telles que les pastourelles, les chansons d’amour,­­ les chansons religieuses (…)1 ». Le mot chanson sert à désigner, on le voit, toutes sortes de poèmes chantés ou chantables, sans prendre en ­­compte le fait que certains ­­d’entre eux sont bel bien présentés ­­comme « chansons » dans les manuscrits, quand d’autres­­ sont plus volontiers présentés par une annonce formelle ou thématique (ballade, pastourelle…)2.
    [Show full text]
  • How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Chapter 2: Secular and Cathedral Music in the High Middle Ages I
    Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example.
    [Show full text]
  • Poetry Form Calendar
    Poetry Form Calendar 2010 ` A MESSAGE FROM GROW Grass Roots Open Writers is a very friendly and supportive community writing group. We hope you enjoy reading our poems and that you'll be inspired to write your own. FOR FURTHER INFORMATION - OR TO SHARE YOUR WRITING WITH US Please visit the GROW website: www.grass-roots-open-writers.btik.com Email: [email protected] or Phone / Text 07932 231491 INSTRUCTIONS Stanza: A stanza is a verse or group of lines. Syllables: Syllables are the individual sounds in a word 'definitive' has 4 syllables 'def-in-it-ive' 'merrily' has 3 syllables 'mer-ri-ly' 'sad' has 1 syllable 'sad' Rhyming Patterns: To describe rhyming patterns we use a combination of upper and lower case letters and numbers. Each letter (or letter and number) represents a line in a stanza. • lower case letters (a, b, c, etc.) mean lines that end with the same sound. • upper case letters (A, B, C, etc.) mean that the lines are repeated AND rhyme with lines represented by same lower case letter. 'A' is the same as 'A' AND rhymes with 'a' 'B' is the same as 'B' AND rhymes with 'b' etc. • upper case letters with a number (A1, A2 etc.) mean that lines with the same letter (lower and upper case) rhyme with each other AND are repeated (either together or individually.) 'A1' is the same as 'A1' AND rhymes with 'A2' and 'a' 'B1' is the same as 'B1' AND rhymes with 'B2' and 'b' etc. Example: A1 Words of wisdom and the thoughts of sages (10 syllables) a Shine out brightly through the dusty pages (10 syllables) a Shout across the
    [Show full text]
  • Filmar Alcanate VIII Color.Indd
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by idUS. Depósito de Investigación Universidad de Sevilla VIII SEMANA DE ESTUDIOS ALfONSÍES Jograis, contrafacta, formas musicais: cultura urbana nas Cantigas de Santa Maria Manuel Pedro Ferreira CESEM/FCSH, Universidade Nova de Lisboa Resumen: A partir de la investigación del papel reservado por Alfonso X a los juglares en las Cantigas de Santa María (para lo que se recurre a iconografía y textos poéticos alusivos a ellos, en particular a Declaratio publicada por Guiraut Riquier), se presenta un cuadro inédito que resume el uso de diferentes formas musicales en este repertorio, para concluir que la importante presencia de la forma de ‘rondel andaluz’ implica una conexión, no explícitamente reconocida, de juglares andaluces en la trasmisión para la corte alfonsina de modelos musicales enraizados en la cultura urbana del sur de la Península. Palabras clave: Cantigas, Forma musical, Juglares, Alfonso el Sabio, Guiraut Riquier. Abstract: To study the part played by minstrels in the Cantigas de Santa María, I have referred to iconography and poetic texts, especially the Declaratio attributed to Alfonso X by Guiraut Riquier. I have uncovered an original, unedited repertoire, which includes the significant presence of the ‘rondel Andalusí’, from which one can conclude that the Andalusí minstrels transmitted to the court of Alfonso X musical forms that had their roots in the urban culture of the south of the Peninsula. Key words: Cantigas, Musical Form, Minstrels, Alfonso el Sabio, Guiraut Riquier. Apesar das centenas de gravações e dos milhares de concertos que as Cantigas de Santa Maria (doravante: CSM) têm inspirado desde há meio- século, talvez elas sejam ainda conhecidas sobretudo de forma indirecta, pelas magníficas iluminuras dos manuscritos em que foram copiadas, e só secundaria- mente pelos seus textos e pela sua música.
    [Show full text]
  • Refrain, Again: the Return of the Villanelle
    Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
    [Show full text]