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Full-Text Articles in European Languages and Societies
An Analysis Of Critical Approaches In The Revista Iberoamericana, From 1950 To 1960, Margretta Leroy
An Analysis Of Critical Approaches In The Revista Iberoamericana, From 1950 To 1960, Margretta Leroy
Spanish and Portuguese ETDs
Nearly all students of Latin American Literature come to their study with a background or parallel study in Peninsular Literature and at least one other literature, such as French or English. Such a student finds that until the last decade of the nineteenth century, when the Modernist movement exerted its influence, the literature of Spanish American was either scorned or ignored outside its own continent, that as a serious literary study it was not a part of university curricula until about thirty years ago, and that the critical writing he has been accustomed to consulting in other literatures is simply …
Un Estudio De La RelacióN Entre Gautier De Gonzalo De Bereo A Traves Del "Mulagro De TeóFilo", Joan Leeds Graviss
Un Estudio De La RelacióN Entre Gautier De Gonzalo De Bereo A Traves Del "Mulagro De TeóFilo", Joan Leeds Graviss
Spanish and Portuguese ETDs
En los siglos doce y trece, el mundo medieval entró en una época nueva de su poesía y literatura en general. En Francia y en España, había más interés por una literatura escrita en lengua vulgar. El juglar había sido y seguía siendo muy popular. El juglar o trovador cantaba o recitaba la poesía. Generalmente trataba de poesía épica que tenía el fin de perpetuar las hazañas de los héroes. Enesos dos países el desarrollo del llamado "master de juglaría" era casi igual. El poema más destacado en español fue El cantar de Mío Cid que se había dejado en …
A Study Of Some Of Gil Vicente's Aspects As A Didactic Moralist., William W. Megenney
A Study Of Some Of Gil Vicente's Aspects As A Didactic Moralist., William W. Megenney
Spanish and Portuguese ETDs
Before the appearance of Gil Vicente, one cannot speak of a theatre in Portugal except, perhaps, of some traces of religious dramatizations during the Middle Ages and of some documents of allegorical theatre during the times of D. Joāo II—a theatre based entirely on scenography and in which the literary world was almost entirely unknown. Anrique da Mota, although proportioning some aid in the understanding of Gil Vicente’s theatre, seems to be overshadowed by the impressive figure of the latter. Without any dramatic tradition surrounding him, Gil Vicente turns toward such figures as Juan del Encina, looking for possible suggestions …