Chapters on Spanish Literature
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The Voyage of Columbus As a “Non Pensato Male”: the Search for Boundaries, Grammar, and Authority in the Aftermath of the New World Discoveries
THE VOYAGE OF COLUMBUS AS A “non PENSATO male”: THE SEARCH FOR BOUNDARIES, GRAMMAR, AND AUTHORITY IN THE AFTERMATH OF THE NEW WORLD DISCOVERIES Erin McCarthy-King Ma volgendosi gli anni, io veggio uscire da l’estreme contrade di ponente nuovi Argonauti e nuovi Tifi, e aprire la strada ignota infin al dì presente: altri volteggiar l’Africa, e seguire tanto la costa de la negra gente, che passino quel segno onde ritorno fa il sole a noi, lasciando il Capricorno; e ritrovar del lungo tratto il fine, che questo fa parer dui mar diversi; e scorrer tutti i liti e le vicine isole d’Indi, d’Arabi e di Persi: altri lasciar le destre e le mancine rive che due per opra Erculea fêrsi; e del sole imitando il camin tondo, ritrovar nuove terre e nuovo mondo. (Orlando Furioso 15.21–22)1 Canto 15 of the Orlando Furioso glorifies the exploratory enterprises of fif- teenth- and sixteenth-century navigators. While the English duke Astolfo journeys westward from India toward Europe, he asks his guide Andron- ica about the possibility of reaching the same destination by going in the opposite direction: “s’andar può senza toccar mai terra,/ chi d’India scioglia, in Francia o in Inghilterra” (“was it possible to set sail from India 1 Ludovico Ariosto, Orlando furioso (Milan: Rizzoli, 1997). “But with the passage of time I see new Argonauts, new Tiphyses hailing from the lands which lie furthest to the West, who shall open routes unknown to this day. Some of them shall round Africa, following the shores of the black peoples right on past the limits whence the sun returns to us after leaving Capricorn;/ they shall discover the limit of the long stretch of land which makes us imagine two separate seas. -
Willard Ron Hess
de Vere Society April 2020 newsletter 02Apro 0 A TIRADE ABOUT A JOUST IN TREBIZOND: HOW WAS EDWARD DE VERE INVOLVED IN THIS EXAMPLE OF COMMEDIA ERUDITA IN 1575? By Jan Scheffer This article provides background to the characters, places and political context of a presentation by the author [JS] at the DVS Autumn meeting in 2019, A Wedding Joust in Tribizond: Commedia Erudita and Sinister Politics in 1575, and an article (with the same title) by W. Ron Hess (assisted by JS, A. Colin Wright and Concetta Thibideaux), which is now published on the public page of the DVS website: https://deveresociety.co.uk/public/recommended-reading/dvs-articles-and- papers/ Hess’ presentation at the Shakespeare Oxford Fellowship Oakland Conference in 2018 may be seen on the SOF YouTube channel. The Tirata dell Giostro (tirade about a joust) is a six-page section of Andrea Petrucci’s book Dell’ Arte rappresentativa, premeditata ed all’ improviso. The key points of the article of Hess et al. are: i) Tirata dell Giostro includes a major character, Elmond Milord of Oxford; ii) Tirata is an example of Commedia Erudita (not dell’arte, which came later), which was written by noted authors and poets and contained a hidden subtext; iii) this particular Tirata referred to an actual event: a challenge by Oxford to the world to engage in a ‘joust’ in 1575; iv) the hidden subtexts are reflected by those frequently used later by Oxford in the works of Shakespeare. Furthermore, if Oxford was often travelling incognito and acting as a spy it is hardly surprising that evidence is hard to find after 400 years. -
Orlando Furioso: Pt. 2 Free Download
ORLANDO FURIOSO: PT. 2 FREE DOWNLOAD Ludovico Ariosto,Barbara Reynolds | 800 pages | 08 Dec 1977 | Penguin Books Ltd | 9780140443103 | English | London, United Kingdom Follow the author Save on Fiction Books Trending price is based on prices over last 90 days. Matter of FranceMatter of Britain. Ludovico Orlando Furioso: Pt. 2. Alex Ilushik rated it it was ok Mar 07, To render it as something else is to lose its structure, its purpose and its very nature. Rating Average: 4. Orlando is the Christian knight known in French and subsequently English as Roland. Translated Into English Verse from the Italian. Vivaldi crater Vivaldi Glacier. Error rating book. Mar 18, Jamie rated Orlando Furioso: Pt. 2 really liked it Shelves: because-lentfanfic-positivefantasticallife-and- deathhistorical-contextmyths-and-folklore Orlando Furioso: Pt. 2, poetry-and-artOrlando Furioso: Pt. 2viva-espanaviva-italia. Hearts and Armour Paperback Magazines. Essentially he was a writer; his lifetime's service as a courtier was a burden imposed on him by economic difficulties. A comparison the original text of Book 1, Canto 1 with various English translations is given in the following table. Published by Penguin Classics. Great Britain's Great War. In a delightful garden in which two springs are seen, Medoro escapes from a shipwreck into the arms of his beloved Angelica. NOT SO!! They come off as actual characters now in a way they didn't before. Sort by title original date published date published avg rating num ratings format. Tasso tried to combine Ariosto's freedom of invention with a more unified plot structure. Customer Orlando Furioso: Pt. -
Repatriating Romance: Politics of Textual Transmission in Early Modern France
Repatriating Romance: Politics of Textual Transmission in Early Modern France By Linda Danielle Louie A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Romance Languages and Literatures and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Timothy Hampton, Chair Professor Mairi McLaughlin Professor Victoria Kahn Fall 2017 Repatriating Romance: Politics of Textual Transmission in Early Modern France © 2018 by Linda Danielle Louie Abstract Repatriating Romance: Politics of Textual Transmission in Early Modern France by Linda Danielle Louie Doctor of Philosophy in Romance Languages and Literatures Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Timothy Hampton, Chair This dissertation reveals the central role that transcultural literary exchange plays in the imagining of a continuous French literary history. The traditional narrative of French literary history describes the vernacular canon as built on the imitation of the ancients. However, this dissertation demonstrates that Early Modern French canon formation also depends, to a startling extent, on claims of inter-vernacular literary theft. Throughout the sixteenth and seventeenth centuries, a central preoccupation of French authors, translators, and literary theorists was the repatriation of the romance genre. Romance was portrayed as a cornerstone of French literary patrimony that Italian and Spanish authors had stolen. The repatriation of individual romance texts entailed a skillful co-opting of the language of humanist philology, alongside practices of translation and continuation usually associated with the medieval period. By looking at romance translation as part of a project of national canon formation, this dissertation sheds new light on the role that chivalric romance plays in national and international politics. -
Jonesexcerpt.Pdf
2 The Texts—An Overview N’ot que trois gestes en France la garnie; ne cuit que ja nus de ce me desdie. Des rois de France est la plus seignorie, et l’autre aprés, bien est droiz que jeu die, fu de Doon a la barbe florie, cil de Maience qui molt ot baronnie. De ce lingnaje, ou tant ot de boidie, fu Ganelon, qui, par sa tricherie, en grant dolor mist France la garnie. La tierce geste, qui molt fist a prisier, fu de Garin de Monglenne au vis fier. Einz roi de France ne vodrent jor boisier; lor droit seignor se penerent d’aidier, . Crestïenté firent molt essaucier. [There were only threegestes in wealthy France; I don’t think any- one would ever contradict me on this. The most illustrious is the geste of the kings of France; and the next, it is right for me to say, was the geste of white-beardedPROOF Doon de Mayence. To this lineage, which was full of disloyalty, belonged Ganelon, who, by his duplic- ity, plunged France into great distress. The thirdgeste , remarkably worthy, was of the fierce Garin de Monglane. Those of his lineage never once sought to deceive the king of France; they strove to help their rightful lord, . and they advanced Christianity.] Bertrand de Bar-sur-Aube, Girart de Vienne Since the Middle Ages, the corpus of chansons de geste has been di- vided into groups based on various criteria. In the above prologue to the thirteenth-century Girart de Vienne, Bertrand de Bar-sur-Aube classifies An Introduction to the Chansons de Geste by Catherine M. -
HFT XIV Packet 04 [FINISHED].Pdf
Harvard Fall Tournament XIV Edited by Jon Suh with assistance from Jordan Brownstein, Ricky Li, and Michael Yue Questions by Jon Suh, Michael Yue, Ricky Li, Kelvin Li, Justin Duffy, Thomas Gioia, Chris Gilmer-Hill, Laurence Li, Jonchee Kao, Peter Laskin, Olivia Murton, Mazin Omer, Alice Sayphraraj, and Kevin Huang Special thanks to Jordan Brownstein, Stephen Eltinge, Kelvin Li, and Olivia Murton Packet 4 Tossups 1. In one work, this man duels Rinaldo twice for a woman he saved from King Agrican. Astolfo flies Elijah’s chariot to the Moon to restore this character’s sanity in a sequel to that Boiardo [“boy-YARD-oh”] work. This man gives his glove to God before dying in another work in which he is accompanied by Oliver and the archbishop Turpin. In that work, his stepfather (*) Ganelon betrays him to the king of Saragossa. This man loves Angelica of Cathay in a Ludovico Ariosto poem partially titled for him, and in another poem he dies at the Battle of Roncevaux [“rahns-voh”] Pass after blowing a horn. For 10 points, name this paladin of Charlemagne featured in a medieval poem about his “song.” ANSWER: Roland (or Orlando; accept The Song of Roland; accept Orlando Furioso) [Writer’s note: The first clue is Matteo Maria Boiardo’s Orlando Innamorato.] <Yue, European Literature> 2. This functional group can be added asymmetrically using AD-mix. When pyridine [“PEER-uh-deen”] or the simplest compound with this functional group is added to a two-carbon compound with this functional group, the result is called “denatured.” Adding lithium aluminum hydride to acetic acid will generate a compound with this functional group. -
The Narrator As Lover in Ariosto's Orlando Furioso
This is a repository copy of Beyond the story of storytelling: the Narrator as Lover in Ariosto’s Orlando Furioso. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/88821/ Version: Accepted Version Article: Pich, F (2015) Beyond the story of storytelling: the Narrator as Lover in Ariosto’s Orlando Furioso. The Italianist, 35 (3). 350 - 368. ISSN 0261-4340 https://doi.org/10.1179/0261434015Z.000000000128 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Federica Pich Beyond the story of storytelling: the Narrator as Lover in Ariosto’s Orlando Furioso Chi salirà per me, madonna, in cielo a riportarne il mio perduto ingegno? che, poi ch’usc da’ bei vostri occhi il telo che ’l cor mi fisse, ognior perdendo vegno. -
L'héroisme Chevaleresque Dans Le "Roland Amoureux" De
L'héroïsme chevaleresque dans le Roland Amoureux de Boiardo Couverture : Illustration extraite de la Nouvelle traduction de Roland l'Amou- reux par LESAGE, Paris, 1717 (cliché Bibliothèque Municipale de Lyon) INSTITUT D'ÉTUDES DE LA RENAISSANCE ET DE L'AGE CLASSIQUE Denise ALEXANDRE-GRAS L'héroïsme chevaleresque dans le - Roland Amoureux de Boiardo Publications de l'Université de Saint-Etienne 0 Institut d'études de la Renaissance et de l'Age Classique, 1988 34, rue Francis-Baulier — 42100 Saint-Etienne ISBN 2-86724-032-8 INTRODUCTION Matteo Maria Boiardo est un écrivain dont l'œuvre et la personnalité, complexes et contradictoires, demeurent parmi les plus déroutantes qui soient. Il n'est en effet pas possible de réduire toute son activité à la seule composition du «poème» 1, d'ignorer notamment ses œuvres latines et d'imaginer qu'il ait oublié sa culture humaniste durant les quinze dernières années de sa vie. Or, le contraste est évident entre ses œuvres mineures de goût humaniste (les œuvres latines, les Eglogues en italien , le Timon inspiré de Lucien) et son poème cheva- leresque modelé sur des œuvres populaires que les humanistes méprisaient volontiers. Son Canzoniere, dont le titre classicisant, Amorum libri, est signifi- catif, combine certes diverses sources, mais il apparaît précisément comme une tentative de synthèse raffinée dans laquelle la poésie latine et les thèmes néo- platoniciens viennent enrichir le legs de la poésie lyrique médiévale et du pé- trarquisme, ce qui semble fort éloigné de l'esprit général du poème, si éloigné même que Pier Vincenzo Mengaldo a pu parler d'un tel hiatus entre les deux œuvres, qu'on n'en saurait trouver d'équivalent dans l'histoire italienne toute entière 2. -
Les Quatre Fils Aymon - Les Légendes Du Cercle Médiéval
Les Quatre fils Aymon - Les légendes du Cercle Médiéval http://www.lecerclemedieval.be/legendes/Les_Quatre_fils_Aymon.html Les légendes d'Ourthe-Amblève - Frédéric Kiesel Les Quatre fils Aymon Véritablement, nous trouvons, dans les faits du roi Charlemagne, qu'une fois, à la fête de Pentecôte, ledit Charlemagne tint une moult grande et solennelle cour à Paris, après qu’ 'il fut revenu des provinces de Lombardie où il avait eu une moult grande et merveilleuse bataille à rencontre des Sarrasins et mécréants, dont le chef était nommé Guitelin le Sesne, que le roi Charlemagne avait déconfit et vaincu. Les douze pairs de France étaient venus à cette Pentecôte, ainsi que plusieurs princes allemands, anglais, normands, poitevins, ardennais, lombards, berruyers. Parmi les autres ducs et princes était le beau et vaillant duc Aymon de Dordonne et avec lui ses quatre fils: Renaud, Allard, Guichard et Richard qui, à merveille, étaient beaux, sages, grands, puissants et vaillants - surtout Renaud, le plus bel homme qui se trouvât alors au monde, car il mesurait seize pieds au moins. Ainsi commence l'histoire de ces Quatre fils Aymon, dont l'image épique est encore bien vivante dans le souvenir des Ardennais. En ce jour de Pentecôte, Charlemagne était courroucé. Malgré son ordre, le duc Beuves d'Aigrement, frère du duc Aymon de Dordonne, ne s'était pas joint à l'armée qui avait combattu les Sarrasins. Le roi décida de lui envoyer son fils Lohier avec une suite de chevaliers, pour lui faire des remontrances et lui commander de se tenir prêt à le servir, l'année suivante, avec tous ses hommes d'armes. -
Yu-Gi-Oh! Duelist Free
FREE YU-GI-OH! DUELIST PDF Kazuki Takahashi | 216 pages | 06 Oct 2008 | Viz Media, Subs. of Shogakukan Inc | 9781591167716 | English | San Francisco, United States Duelist Kingdom | Yu-Gi-Oh! Wiki | Fandom No portion of this website may be Yu-Gi-Oh! Duelist without expressed written consent. All rights reserved. Magic: The Gathering and its respective properties are copyright Wizards of the Coast. The TCGPlayer Price Guide tool shows you the value of a card based on the most reliable pricing information available. Choose your product line and set, and find exactly what you're looking for. Tokens Yu-Gi-Oh! Abyss Actor - Twinkle Little Star. Adamancipator Friends. Artillery Catapult Turtle. Capricious Darklord. Chaos Ruler, the Chaotic Magical Dragon. Curse of Dragon, the Cursed Dragon. Crow Starlight Rare. Darklord Nergal. Darklord Uprising. Diced Dice. Dogmatika Adin, the Enlightened. Dogmatika Ecclesia, the Virtuous. Dogmatika Ecclesia, the Virtuous Starlight Rare. Dogmatika Encounter. Dogmatika Fleurdelis, the Knighted. Dogmatika Maximus. Dogmatika Nation. Dogmatika Nexus. Dogmatika Punishment. Dogmatika Theo, the Iron Punch. Dracoon Lamp. Dragonmaid Tidying. Drill Driver Vespenato. Edge Imp Scythe. Fallen of Albaz. Fluffal Dolphin. Forbidden Droplet. Frightfur Cruel Whale. Frightfur Jar. Frightfur Repair. Fury of Kairyu-Shin. Gaia the Fierce Knight Origin. Gaia the Magical Knight. Gaia the Magical Knight of Dragons. Galloping Gaia. Gizmek Okami, Yu-Gi-Oh! Duelist Dreaded Deluge Dragon. Heavenly Dragon Circle. Horn of Olifant. Ice Dragon's Prison. Indulged Darklord. Yu-Gi-Oh! Duelist Knight Astolfo. Infernoble Knight Captain Roland. Infernoble Knight Emperor Yu-Gi-Oh! Duelist. Infernoble Knight Maugis. Infernoble Knight Ogier. Infernoble Knight Oliver. Junk Sleep. -
A History of Epic Poetry (Post-Virgilian)
Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027089246 Cornell University Library PN 1303.C59 History of epic poetry (post-Virgilian' 3 1924 027 089 246 A History of Epic Poetry A History of Epic Poetry (POST-VIRGILIAN) BY JOHN CLARK. M.A. Second Classical Master in the High School of Dundee Author of "Manual of Linguistics" U ne suffit pas, pour connaitre I'^popee d'avoir lu Virgile et Homere. Voltaire, Essai snr la Foesie Epique. EDINBURGH OLIVER AND BOYD LONDON: SIMPKIN, MARSHALL, HAMILTON, KENT & CO., LIMITED 1900 _^ PREFACE The following pages are meant to exhibit the different national renderings of a variety of poetry that perhaps more than any other has given status to the literature possessing a great specimen of it, and supremacy to the poet of that specimen. I have restricted my formal examination of poems to those of the post - Virgilian period. So much excellent criticism has been made on Homer and Virgil that it seemed presumption on my part, as well as a needless increase of the bulk of the book, to adventure a full statement of the epical position of these two princely poets. It is clear, however, that no history of epic poetry could be called satisfactory that did not contain some reference to these poets—that did not, indeed, to a definite if limited extent, take into account and appraise their work. I have therefore in the Introduction devoted some pages to a consideration of certain aspects of the epical quality of their respective poems. -
La Chanson De Roland
Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/lachansonderolOOgaut Ef LA CHANSON DE ROLAND TEXTE CRITIQUE TRADUCTION ET COMMENTAIRE LÉON GAUTIER PEOFESSEOE A L'ÉCOLE DES CHABTBS OUVRAGE COURONNE PAR L'ACADÉMIE FRANÇAISE ET PAR l'aCADEMIE DES INSCRIPTIONS ET BELLES -LETTRES CINQUIÈME ÉDITION /v'^—0$ TOURS ALFRED MAME ET FILS, ÉDITEURS M DCCC LXXV INTRODUCTION I. — AVANT-PROPOS ET DEDICACE A tous ceux qui ignorent notre vieille poésie nationale, à tous ceux qui ont souci de la connaître, nous dédions «es quelques pages. La France, qui est la plus épique de toutes les na- tions modernes, a jadis possédé deux cents Poëmes populaires consacrés à des héros chrétiens , à des héros français. Ces poëmes étaient chantés, et se rattachaient par leur sujet à certaines familles héroïques, à certaines gestes.. De là leur nom de « Chansons de geste ». Imaginez de longs récits poétiques où plusieurs mil- liers de vers sont inégalement distribués en un certain nombre de tirades ou laisses. Et figurez -vous, dans chacun de ces couplets, tous les vers terminés à l'ori- gine par les mêmes assonances, et, plus tard, par les mêmes rimes. Telles sont les Chansons de geste; tels sont ces chants épiques de la France que toute l'Europe a connus, imités et traduits, et qui ont fait le tour du monde avec nos traditions et notre gloire. Or, la plus antique, la plus célèbre, la plus belle de toutes les Chansons de geste, c'est la Chanson de Roland. vj INTRODUCTION Nous allons parler de la Chanson de Roland.