El Linaje Del Cid Índice
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Song of El Cid
Eleventh Century Spain was fragmented into kingdoms and other domains on both the Christian and Muslim sides. These realms were continually at war among themselves. El Cid was a soldier- adventurer of this time whose legend endured through the centuries and became a symbol of the Christian Reconquest. This is his story as told by himself in the guise of a medieval troubadour – but with some present-day anachronisms creeping in. Song of El Cid I’m Rodrigo Díaz de Vivar; Prince Sancho was the one I served, my fame has spread to lands afar. my qualities were well observed, that’s why you’re sitting here with me so when he became the king in turn to listen to my soliloquy. I had but little left to learn about the matters of warfare, To Moors I’m known as El Sayyid and to him allegiance I did swear. (though I am no Almorávide). El Cid, the lord or leader who As his royal standard bearer, I is invincible in warfare too. was one on whom he could rely to wage the battles against his kin, To Christians I’m El Campeador, which it was paramount to win. now what that means you can be sure. I’m champion of the field of battle, For in the will of Ferdinand, reducing all my foes to chattel! he had divided all his land; to García - Galicia, to Elvira – Toro, Confuse me not with Charlton Heston, to Alfonso - León, to Urraca - Zamora. my story’s not just any Western. His culture centers round the gun, So Sancho was left with Castile alone but I have owned not even one. -
El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses
9780230601253ts04.qxd 03/11/2010 08:03 AM Page 75 Chapter 2 The Passion of El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses I started with the final scene. This lifeless knight who is strapped into the saddle of his horse ...it’s an inspirational scene. The film flowed from this source. —Anthony Mann, “Conversation with Anthony Man,” Framework 15/16/27 (Summer 1981), 191 In order, therefore, to find an analogy, we must take flight into the misty realm of religion. —Karl Marx, Capital, 165 It is precisely visions of the frenzy of destruction, in which all earthly things col- lapse into a heap of ruins, which reveal the limit set upon allegorical contempla- tion, rather than its ideal quality. The bleak confusion of Golgotha, which can be recognized as the schema underlying the engravings and descriptions of the [Baroque] period, is not just a symbol of the desolation of human existence. In it transitoriness is not signified or allegorically represented, so much as, in its own significance, displayed as allegory. As the allegory of resurrection. —Walter Benjamin, The Origin of German Tragic Drama, 232 The allegorical form appears purely mechanical, an abstraction whose original meaning is even more devoid of substance than its “phantom proxy” the allegor- ical representative; it is an immaterial shape that represents a sheer phantom devoid of shape and substance. —Paul de Man, Blindness and Insight, 191–92 Destiny Rides Again The medieval film epic El Cid is widely regarded as a liberal film about the Cold War, in favor of détente, and in support of civil rights and racial 9780230601253ts04.qxd 03/11/2010 08:03 AM Page 76 76 Medieval and Early Modern Film and Media equality in the United States.2 This reading of the film depends on binary oppositions between good and bad Arabs, and good and bad kings, with El Cid as a bourgeois male subject who puts common good above duty. -
LAS DAMAS DE EL CID: EL ALZAMIENTO DE LA VOZ FEMENINA Jorge González Del Pozo the University of Michigan-Dearborn
Libro Siglo XXI Num. 6 23/9/10 09:59 Página 189 LAS DAMAS DE EL CID: EL ALZAMIENTO DE LA VOZ FEMENINA Jorge González del Pozo The University of Michigan-Dearborn … toda historia es siempre una relación, toda historia es partidista y selecciona … (Ortiz en Fleisler 316-17). Una historia es un relato que puede ser verdadero o falso, con una base de reali- dad histórica, o meramente imaginario, y este puede ser un relato histórico o bien una fábula. (Le Goff 21-2). La utilización de un personaje real del pasado como punto de partida a la hora de crear una novela de las llamadas “históricas”, es algo muy frecuente en la actualidad. Esta corriente de creación, que se antoja tan atractiva para los lecto- res, como beneficiosa para los editores, desarrolla la más común de sus aplica- ciones que consiste en retomar un personaje, unos hechos o un contexto determi- nado. Mediante un giro hacia la actualidad, un guiño al lector con temas que le afectan y una revisión de la historia, consigue que esta forma de producción lite- raria adquiera un auge y una dimensión que ni el personaje, ni el período, ni el con- texto histórico habían alcanzado con anterioridad. Este estudio analiza los personajes femeninos que rodean a El Cid en las obras Doña Jimena Díaz de Vivar. Gran señora de todos los deberes (1960) de María Te- resa León, Anillos para una dama (1973) de Antonio Gala y Urraca (1982) de Lourdes Ortiz, para mostrar cómo la agencia de la voz femenina cercana a la figura de Rodrigo Díaz de Vivar crece y se hace más determinante a medida que las condiciones socio-políticas cambian en el s. -
A Comparison of Relations Between Abrahamic Religions in Medieval Spain and Its Reflection in Odat Y’S Israel-Palestine Relations
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 6-2018 Consulting the past: a comparison of relations between Abrahamic religions in medieval Spain and its reflection in odat y’s Israel-Palestine relations Morgan Reyes DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Reyes, Morgan, "Consulting the past: a comparison of relations between Abrahamic religions in medieval Spain and its reflection in odat y’s Israel-Palestine relations" (2018). College of Liberal Arts & Social Sciences Theses and Dissertations. 251. https://via.library.depaul.edu/etd/251 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. Consulting the Past: A Comparison of Relations Between Abrahamic Religions in Medieval Spain and its Reflection in Today’s Israel-Palestine Relations A Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts June, 2018 By Morgan Reyes Department of Modern Languages College of Liberal Arts and Social Sciences DePaul University Chicago, Illinois Consulting the Past Spring 2018 Reyes, 1 Table of Contents Timeline of Events in Medieval Iberia -
Matthew Bailey Professor of Spanish & Department Chair Department of Romance Languages Washington and Lee University Lexington, VA 24450 540-458-8160 [email protected]
CURRICULUM VITAE Matthew Bailey Professor of Spanish & Department Chair Department of Romance Languages Washington and Lee University Lexington, VA 24450 540-458-8160 [email protected] EDUCATION 1989: PhD, Spanish, Tulane University: “Words and Meaning in the Poema del Cid and the Poema de Fernán González,” Director, Thomas Montgomery 1984: MA, Spanish, Tulane University: “Syntactic Patterns in the Mocedades de Rodrigo,” Director, Thomas Montgomery 1977: BA, Spanish, University of Maine, Orono (1 yr. Universidad de Sevilla) ACADEMIC APPOINTMENTS Professor, Washington and Lee University, 2008-present Associate Professor with Tenure, University of Texas, 1998-2008 Assistant Professor, University of Texas, 1994-1998 Assistant Professor, College of the Holy Cross, 1989-1994 Visiting Assistant Professor, Colby College, 1988-1989 Teaching Assistant, Tulane University, 1980-1988 Instructor of ESL and Spanish, Seville, Spain, 1977-1980 RESEARCH INTERESTS Literature and culture of medieval Iberia (Spain and Portugal), Epic narrative, Intersections of legend and history in medieval historiography RECENT COURSES The Portuguese Caminho de Santiago (includes walking the pilgrim route) Seville and the Foundations of Spanish Civilization (taught in Seville, Spain) The Medieval Epic: From Beowulf to Game of Thrones Gender, Desire and Social Repression in Early Spanish Literature. DISSERTATIONS SUPERVISED Fátima Alfonso-Pinto, “The Crónica de Cinco Reis de Portugal: The Influence of Castilian Historiography on the Epic Tradition of D. Afonso Henriques,” May 1999. Jane Zackin, “A Jew and his Milieu: Allegory, Discourse, and Jewish Thought in Sem Tov's Proverbios morales and Ma'aseh ha Rav,” October 2008. María Rebeca Castellanos, "Foundational Myths of Medieval Spain: The Rape of Count Julian's Daughter," November 2009. -
16. El Estandarte Cidiano De Vivar (Burgos), Por María Cruz García
Emblemata,10=(2004),pp.501532 ISSN11371056 ELESTANDARTECIDIANODEVIVAR(BURGOS) MARÍACRUZGARCÍALÓPEZ* ALBERTO=MONTANER=FRUTOS**= En la iglesia parroquial de= la localidad burgalesa de Vivar del Cid= se con serva un interesante estandarte con motivos cidianos (figs. 1= y= 2). Consiste en un paño rectangular de proporciones 5:8,= cuyas medidas máximas son 1520 x 920= mm= (fig.= 3); es de raso blanco con= fimbria dorada y=conunafarpa=ojival= enelcentrodelbatienteyflecosdoradosa=lolargode=éste(fig.4).Elconteni8= do del estandarte está realizado mediante técnica pictórica (posiblemente= óleo) y= su reverso es un paño blanco que= forra el dorso del estandarte. Dicho= dorso transparenta la pintura del anverso y presenta actualmente varios par= chesderestauracióndelatela.Elestandartependede=unastahorizontalenja8= retada a su vaina o= driza. Dicha asta es de madera clara y= sus extremos rema8= tan en sendos= pomos plateados; de la misma cuelga un cordón blanco de raso= de= 585 mm, anudado de pomo a= pomo por detrás del estandarte, cuyos extre8= mos penden paralelos al mismo y acaban en sendas borlas doradas de 120= mm, en la actualidad parcialmente desprendidas. El asta horizontal= se sujeta por el centro mediante un tachón, hoy oxidado, a= otra vertical de madera= oscurade2340mm=dealtura y30 mm=dediámetro,coronadapor una golade= revolución plateada sobre la que se alza una cruz latina trebolada de 340 mm,= * Colaboradora= de la= Cátedra de Emblemática= «Barón de= Valdeolivos» de= la= Institución «Fernando el Católico»,= Excma. Diputación Provincial, -
Una Interpretación Del Significado De Campeador: El Señor Del Campo De Batalla
09#Interpretacion(Porrinas) 14/1/04 17:13 Página 257 Norba. Revista de Historia, ISSN 0213-375X, Vol. 16, 1996-2003, 257-276 UNA INTERPRETACIÓN DEL SIGNIFICADO DE CAMPEADOR: EL SEÑOR DEL CAMPO DE BATALLA David PORRINAS GONZÁLEZ Universidad de Extremadura Resumen En un tiempo como la Plena Edad Media (siglos XI al XIII) en el que la batalla campal fue una operación militar poco frecuente, eludida por su alto grado de peligrosidad y riesgo, hubo un personaje que se caracte- rizó por su excepcional participación es este tipo de operaciones, consiguiendo además siempre la victoria en ellas. Basándose en esa realidad, los distintos autores que se hicieron eco de esa cualidad fueron creando un mito vigente en aquel tiempo, el mito del Campeador, el mito del Señor del Campo de Batalla. Palabras clave: Guerra medieval, batallas, Rodrigo Díaz, Cid Campeador. Abstract In the Middle Ages (from 11th to 13th century), when field battles were a military option few frequent, which were eluded by its high degree of dangerousness and risk, there was a man who was characterised by his exceptional participation in this type of events, managing also the victory in all of them. In base of this reality, the different authors who made mention to this quality created a myth that was in force in that times, the myth of Campeador, the myth of Lord of Battlefield. Keywords: Medieval war, battles, Rodrigo Díaz, Cid Campeador. Agora sabed aquy los que esta estoria oydes quel Çid non se açertó en esta batalla, ca non era avn venido de tierra de moros donde guareciera grant tiempo, ca sy y fuese non fuera así vençido el rrey don Alfonso, ca fallamos en las estorias que del Çid fablan que nunca fue vençido en lid que entrase; tal graçia le ovo Dios dado1. -
Una Firma Del Cid Campeador En Un Documento Del Siglo XI
Una firma del Cid Campeador en un documento del siglo XI Extraordinaria polvareda levantó en el pasado mes dc febrero, del Presente ario, la noticia del hallazgo cle una firma del Cid Campeador en un códice de la Biblioteca Nacional de Madrid. De ella se hizo eco toda l a prensa nacional que ,freció amplios reportajes, y en algunos periódi- cos apareció la fGtocopia. También las emisoras de radio y televisión le dedicaron su comentario. La importancia que todos los medios de difusión tributaron al feliz hallazgo, demuestra el vivo interés que despierta siempre cualquier deta- l le nuevo alusivo al Cid Campeador, lo que demuestra el gran deseo que anida en todos los españoles de asegurar más y más la existencia y pre- ponderancia del gran Héroe nacional a quien plumas extras, y alguna Propia, llegaron a poner en duda, cuando no negar, considerándole como ser legendario, algo así como los dioses de la mitología. Es que no cesan de resonar en los oídos de todos los españoles aque- llas frases lúgubres que un historiador español se atrevió a estampar en el pasado siglo: <No tenemos del famoso Cid ni una sola noticia que sea s egura o fundada o merezca lugar en las memorias de nuestra nación...; de Rodrigo Díaz el Campeador (pues hubo otros castellanos con el mismo n ombre y apellido) nada absolutamente sabemos con probabilidad, ni aún su mismo ser o existencia» (1). Este excepticis= de Masdeu lo lamenta Otro historiador de su misma época: «Sentimos —escribía— que tales pa- l abras hayan sido estampadas por un español, y más por un español erudito y amante, por otra parte, de las glorias españolas, a veces hasta l a exageración» (2). -
The Anxious Hero Updated
THE ANXIOUS HERO: DISSECTING MASCULINITIES IN THIRTEENTH–CENTURY MEDIEVAL IBERIAN LITERATURE A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Spanish By Anthony Javon Perry, M.S. Washington, DC November 7, 2018 Copyright 2018 by Anthony Perry All Rights Reserved ii THE ANXIOUS HERO: DISSECTING MASCULINITIES IN THIRTEENTH–CENTURY MEDIEVAL IBERIAN LITERATURE Anthony Javon Perry, M.S. Thesis Advisor: Emily C. Francomano, Ph.D. ABSTRACT My dissertation examines the varying and converging constructions of gender and genre in four thirteenth–century medieval Iberian texts: Poema de mio Cid, Libro de Alexandre, Libro de Apolonio and Alfonso X’s Estoria de Espanna. By contextualizing the texts historically and using the perspectives of feminist theory, gender theory and cultural studies, I examine the constructions of masculinities within these texts and the role that these constructions play in the text’s genre. I contend that these texts bear witness to the anxious relationship between masculinity and power in the thirteenth century and aim to shape the reader’s/listener’s image of kingship/leadership and, in turn, hegemonic masculinity. They serve as a mirror for and of male leaders, a speculum principis for their thirteenth–century audience. In each text, the male protagonist is a hero and, therefore, exemplary of what I term hegemonic masculinity. The self–fashioning of the hero’s masculinity, as manifest in the Fall/Redemption narrative structure, reveals itself to be anxious. I ground my argument in the medieval exegesis surrounding the Fall/Redemption trope and its ubiquity. -
Joseph Brausam
TCNJ JOURNAL OF STUDENT SCHOLARSHIP VOLUME XII APRIL, 2010 Miklós Rózsa’s El Cid (1961) Author: Joseph Brausam Faculty Sponsor: Wayne Heisler Department of Music ABSTRACT One of the last great Hollywood epics, El Cid hit American theaters in 1961. The film, a romanticized version of the medieval epic poem, El Cantar de Mio Cid, tells the story of Spain’s national hero. Writing the music for the film was concert and film composer Miklòs Ròzsa, famous for the scores of Ben-Hur and Quo Vadis. Drawing upon his rich knowledge of and experience with Hungarian folk music, Rózsa incorporated several medieval Spanish melodies into the score, seamlessly blending them with his original material through his unique compositional voice and skills. Although Rózsa created a masterful score for the film, he and it fell victim to the changing styles of Hollywood. With a number of composers working in film during Hollywood’s golden age who had trained with some of the greatest composers of the time before relocating from Europe to the United States, it is easy to see why many of their film scores are of high quality—musically interesting and complex—and perfectly complement their films. Erich Wolfgang Korngold (who studied with Alexander von Zemlinsky for a short time), Max Steiner (who studied piano with Johannes Brahms and composition with Gustav Mahler), and Bernard Herrmann (who studied with Percy Grainger) amongst others brought classical training to the film studios, which had been populated by Broadway composers and arrangers. Another composer working during Hollywood’s golden age was Miklós Rózsa (1907- 1995). -
El Cid Recupera Su Espada, La Tizona 20MINUTOS.ES / EFE
http://www.20minutos.es/noticia/238479/0/cid/espada/tizona/ El Cid recupera su espada, la Tizona 20MINUTOS.ES / EFE. 24.05.2007 - 08:17h La Tizona, espada del Cid, en el museo del Ejército (Juan Antonio Martínez / EFE). • La ha comprado la Junta de Castilla y León a su actual dueño, el marqués de Falces. • Su precio: 1,6 millones de euros. • Será depositada junto a los restos del Cid, en la catedral de Burgos. La Junta de Castilla y León ha adquirido por 1,6 millones de euros la Tizona , la espada del Cid Campeador (1043-1099), que de forma provisional ha sido depositada en el Museo de Burgos, aunque su destino final será previsiblemente la catedral de la ciudad, donde se encuentran los restos mortales del Campeador. La espada, hasta ahora propiedad de José Ramón Suárez de Otero, marqués de Falces, se encontraba en el Museo del Ejército de Madrid hasta su reciente cierre. Su dueño la ofreció primero al ministerio de Cultura, según explicó a Efe la consejera de Cultura y Turismo de Castilla y León, Silvia Clemente. Sin embargo, el ministerio la rechazó, por lo que el marqués de Falces comunicó a la Junta su intención de venderla. La Tizona será la pieza protagonista de la exposición que comenzará el próximo septiembre en la catedral de Burgos sobre Rodrigo Díaz de Vivar, con motivo de la conmemoración del octavo centenario del Cantar de Mío Cid . Una de las dos espadas del Cid Según cuenta la leyenda, el Cid Campeador recibió la Tizona de manos de sus yernos, los infantes de Carrión, justo antes de que se desposaran con sus hijas, doña Elvira y doña Sol. -
Spanish and Non-Spanish Perspectives on El Cid in Heavy Metal: Cultural Vindication, Cultural Appreciation and Anti-Muslim Attit
Spanish and non-Spanish Perspectives on El Cid in Heavy Metal: Cultural Vindication, Cultural Appreciation and anti-Muslim Attitudes Amaranta Saguar García – Universidad Nacional de Educación a Distancia Medievalising themes and narratives are a prominent feature of heavy metal1. Warriors, knights, sorcerers, minstrels, and the whole cast of the medievalising popular culture of the twentieth and the twenty-first centuries alternate with traditional ballads, epic poetry, Germanic mythology, Vikings, Crusaders, and many other supposedly more historical topics in lyrics, cover arts, video clips, and fans’ and band’s aesthetics. Whole metal subgenres even are defined to a great extent by its medievalising component, be it the medievalising tolkienesque fantasy motifs of European epic metal, the return to the pre-Christian Germanic cultures of the many subgenres represented under the term ‘pa- gan metal’, or the fascination of extreme metal with the most sombre aspects of the Middle Ages, just to mention the most obvious examples. As a genre convention, heavy metal medievalism portrays a predominantly white-washed, Western European, hypermasculinised, romanticised, and idealised, for better or for worse, Middle Ages2. In this sense, it is not different from the medievalism practised in other contemporary manifestations of Western popular culture3. Moreover, in heavy metal ‘Western European’ seems to equate to ‘Germanic’, so that the Romania –as opposed to Barbaria, the non-Latin-heritage territories– clearly is marginalised; a phenomenon that neither is strange to other contemporary manifestations of Western popular culture. This is the consequence of the leading role of English-speaking coun- tries in music, cinema, TV series, popular fiction, comics, role-playing games, etc., which in heavy metal is intensified by the leading role of German and Nordic bands in some of its subgenres, which, curiously enough, tend to be the most medievalising ones.