Relevant bibliographies by topics / Epic poetry, Spanish

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Epic poetry, Spanish'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Epic poetry, Spanish"

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Syshchikova, Ekaterina S. "Translation as a part of linguoculture of Spain in the XVI-XVII centuries." Cuadernos Iberoamericanos, no. 2 (June 28, 2017): 83–88. http://dx.doi.org/10.46272/2409-3416-2017-2-83-88.

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XVI- XVII centuries were the «golden age» in the history of Spanish culture, which was largely due to the translation. Through translation into Spanish literature, the motifs and forms of lyrical and epic poetry, the themes of ancient and Italian plays, the knightly and pastoral novel, the novel genre have penetrated. The translation allowed the Spaniards to get acquainted with the ideas of humanists from di erent countries of Western and Central Europe. The translation contributed to the enrichment of the Spanish language.
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Asín, Elena Cueto. "From the Epic to the Allegorical Sublime: A Multilingual Reading of Spanish Civil War Poetry." Hispania 99, no. 3 (2016): 471–82. http://dx.doi.org/10.1353/hpn.2016.0073.

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Rodríguez Guerrero-Strachan, Santiago. "The Aristocratic Poet: Juan Ramón Jiménez’s Reading of Walt Whitman." Complutense Journal of English Studies 27 (October 4, 2019): 317–30. http://dx.doi.org/10.5209/cjes.60771.

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The essay analyses Juan Ramón Jiménez’s reading of Walt Whitman as an aristocrat. For Jiménez, aristocracy is not a term associated with nobility. Instead, it is related to the intellectual effort that a poet – or any person – makes to improve himself, while at the same time maintaining ties with the folk. Jiménez wrote on Whitman in Alerta and El Modernismo. Apuntes de un curso and mentioned him in other essays and lectures. For Jiménez who used the American poet to foreground his own poetics, Whitman stood as one of the precursors of Spanish and Spanish American modernismo. Jiménez’s preference for the folk, led him to assert that he preferred Whitman’s brief poems to his big epic poetry which was then and continues to be the readers’ favourite.
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Saglia, Diego. "Nationalist Texts and Counter-Texts: Southey's Roderick and the Dissensions of the Annotated Romance." Nineteenth-Century Literature 53, no. 4 (March 1, 1999): 421–51. http://dx.doi.org/10.2307/2903026.

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This essay examines the complex relationship between poetry and notes in Southey's Roderick, the Last of the Goths (1814) and the ways in which this double textual structure bears upon the national narrative of the poem. Following the popular tradition of annotated metrical tales and oscillating between romance and epic, Southey's poem is shown to be a plural work in which the prose appendage complicates the seemingly clear celebration of the Spanish nation proposed by the poetry. The poetry, indeed, constructs Gothic Spain as a modern-day nation through an accumulation of characters, tales, and objects. In general, the notes support this nation-making project by creating an archeologically reliable history of the nation. Frequently, however, they also subvert this history by unmasking the manipulations and gaps of the nationalist narrative. The counter-text of the prose marginalia can therefore be said to function as a Derridean supplement and, moreover, as a historically localized set of discourses that both construct and disperse the nation. As remarked by one of Southey's first reviewers, this textual strategy constitutes a kind of "knowing style," a subversion of poetry by prose (and vice-versa), particularly significant at a time when the author was not only shifting from radical to conservative positions but also gradually abandoning poetry in favor of historiography. By focusing on the competing narratives of the Spanish nation in prose and verse, this essay provides an insight into Roderick as caught between the contradictory multiplicity of its discourse and the attempt to deliver an ideologically closed narrative.
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O'Hagan, Ciara. "Rewriting Spanish Epic Poetry in the Enlightenment Period: Two Competing Interpretations ofLas naves de Cortés destruidas." Bulletin of Spanish Studies 86, no. 7-8 (November 2009): 83–103. http://dx.doi.org/10.1080/14753821003679130.

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García-Minguillán, Claudia. "La épica de los Jesuitas: juicios y comentarios sobre "El Bernardo", de Balbuena." Cuadernos de Estudios del Siglo XVIII, no. 28 (December 7, 2018): 73. http://dx.doi.org/10.17811/cesxviii.28.2018.73-93.

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RESUMENA partir de la segunda mitad del siglo XVIII, España necesita más que nunca demostrar al resto de naciones europeas la calidad de su literatura. Se persigue por distintas vías recuperar textos canónicos que puedan aportar una imagen de valor nacional, y una de estas vías es la consideración del género épico. En este trabajo analizamos la labor de Juan Francisco Masdeu, jesuita expulso, que, junto a otros miembros de la Compañía, recuperó la figura de Bernardo de Balbuena y su poema heroico "El Bernardo o Victoria de Roncesvalles" (1624) para proponerlo ante Europa como el Tasso español.PALABRAS CLAVEPoesía épica, jesuitas, Bernardo de Balbuena, "El Bernardo", Juan Francisco Masdeu. TITLEThe epic of Jesuits: judgement and comments to Balbuena’s "El Bernardo"ABSTRACTSince the second half of the XVIII century, Spain needed to demonstrate the rest of European nations the quality of its literature. They tried in different ways to recover canonic texts that could show an image of national value. One of these ways was, for instance, the assessment of the epic genre. In this essay, we analyze the aim of Juan Francisco Masdeu, expelled Jesuit, who, with other members of the Company, recovered the figure of Bernardo de Balbuena and his heroic poem "El Bernardo o Victoria de Roncesvalles" (1624) with the objective of proposing Balbuena as the Spanish version of Tasso.KEY WORDSEpic poetry, Jesuits, Bernardo de Balbuena, "El Bernardo", Juan Francisco Masdeu.
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Kurysheva, L. A. "On the English Source and Russian Literary Connections of N. F. Grammatin’s Ballad “Uslad and Vsemila”." Studies in Theory of Literary Plot and Narratology 16, no. 1 (2021): 5–25. http://dx.doi.org/10.25205/2410-7883-2021-1-5-25.

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The plot basis of the N. F. Grammatin’s “Uslad and Vsemila. Old Russian Ballad” (1810) – the ballad “Alonzo the Brave and the Fair Imogine” from the novel “Monk” by M. G. Lewis (1796) is determined. To establish the probable source of acquaintance with the Lewis’s ballad, in addition to the English original, Russian (1803) and French (1797) translations of the novel were used for comparison. Comparison of the texts leads to the conclusion that the author is directly acquainted with the English ballad in the original language. To give the ballad a national flavor, Grammatin used a conventional historical background, archaized vocabulary, as well as images and expressions of the national epic tradition. It has been proved that Grammatin used motives of Russian epics to create a ballad on a similar plot ATU 974 “The Homecoming Husband” from the collection of Kirsha Danilov – on Solovei Budimirovich (contamination of two plots – the matchmaking and the return of a husband to his wife’s wedding) and on Dobryna Nikitich and Alyosha Popov (the return of the husband to his wife’s wedding). The basis for combining these different sources – the supposedly “old Spanish ballad” on Alonzo and Imogine (as it is presented by Lewis in the novel) and Russian epics – were Grammatin’s general views on ancient poetry. Revealed the author’s accents in a popular plot. Compared to the English sample, Grammatin reinforces the theme of heavenly punishment for treachery. The bridegroom-dead comes not only in fulfillment of the fidelity’s vow, first of all he is the messenger of heaven, the messenger of the punishing God. The connection of Grammatin’s poem with the ballad experiments of N. M. Karamzin, V. A. Zhukovsky, I. I. Dmitriev, P. A. Katenin, S. P. Zhikharev and other contemporary works are considered.
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Talvet, Jüri. "Some Considerations on (Un)translatability of (Dante Alighieri’s and Juhan Liiv’s) Poetry." Interlitteraria 21, no. 2 (January 18, 2017): 182. http://dx.doi.org/10.12697/il.2016.21.2.2.

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First, I would like to comment on the motto of the EACL 11th International Conference (Tartu, September, 2015) derived from Juhan Liiv’s Poem “A Coffin”, in which the poet-philosopher suspects that translation as such, instead of enriching a national culture, would curb and suppress it, if not destroying national creative energy and talent. After that I proceed to enlighten some passages of poetry translating practice from the history of Estonian literature and world literature (medieval epics, etc., and especially Dante Alighieri’s Commedia). My main purpose is to undermine and specify both claims, that is, of poetry’s translatability, as well as of its untranslatability, and to accentuate the relative yet undeniable value of poetry translation as such. In the final part of my discussion, I will concentrate on the recent attempts, in which I have myself been involved, of conveying some inkling of Juhan Liiv’s poetry to the readers in English, Spanish and Italian.
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Danylych, V. S. "The formation of national functions of literature of medieval Iberian Romania." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 36 (2019): 50–64. http://dx.doi.org/10.17721/2663-6530.2019.36.04.

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The article focuses on the development of national literature in the process of historical evolution of society and its language, historical relations with other cultures which have some influence on the general literary activity in Medieval Iberian Romania. It was singled out the dominating role of epics as the main genre in the majority of occidental and oriental literatures, which confirms the importance of moral and political meaning of military honor which grew to the scale of the ideal of the epoch. It was stated the significant role of borrowed genres, plots, topics, motives from the polyphonic multinational literary repertoire in the formation of the national contents of poetical and prose works of the epoch of foundation of the national language and literature of Iberian Romania. The cultural phenomenon of the use of Galician Portuguese in poetry was highlighted. The tradition confirmed the lyrical function of Galician Portuguese in poetry and the King of Leon and Castile supported this tradition on the condition of the absence of general national language of Medieval Spain. The high prestige of Galician lyrics was transformed into the language itself which had special poetical internal feature. Bright and complicated phenomenon in Medieval culture of Spain is Arabian-Spanish (Andalusia) poetry of the VIIIXV centuries. It appeared as a result of transference of mighty oriental Arabian (Syrian) tradition onto the Iberian Peninsula. The bearers of the tradition wereMuslim Arabs who settled down in Spain after its conquest. The unique historical situation made Iberian Peninsula the arena of interaction of occidental and oriental civilizations. The external impulses made influence on literary life of Medieval Spain, constantly developing the people’s literary imagination, although not destroying but reinforcing the unique character of the national culture.
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Kruse, Joseph A. "„In dem Dome zu Corduva“." Zeitschrift für Religions- und Geistesgeschichte 73, no. 1 (January 24, 2021): 21–38. http://dx.doi.org/10.1163/15700739-07301004.

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Heinrich Heine (born in Düsseldorf in 1797 – died in Paris in 1856) had not only many places of residence during his years in Germany, but he also made numerous journeys throughout Europe. Thus, during his time in France, he got to know the country substantially better and furthermore he would have liked to undertake a detour to Spain. Since his student days, Spain was for him as a German Jew the epitome of a Jewish- Christian-Islamic symbiosis despite many differences and difficulties. He slipped into the role of the Moors to express his own outsider role within the German Christian majority society. Heine admired the great Jewish achievements and remained critical of Christian claims, although he had become a Protestant after being baptized at the end of his law studies. His tragedy Almansor (1823), poems from the Buch der Lieder (1827), texts in prose and epic poems from the Parisian years as well as in his literary bequest and above all the last collection of poems called Romanzero (1851) with their moving “Spanish” texts, namely the stories about Jews, Christians and Muslims, are the most important poetic evidences of religious coexistence and its problems.
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Dissertations / Theses on the topic "Epic poetry, Spanish"

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Romero, Anaya Jesus. "Individualidad de la "Historia de la nueva Mexico", de Gaspar de Villagra, en el contexto de la epica indiana." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186119.

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The Historia de la Nueva Mexico, by Gaspar Perez de Villagra, has been one of the less studied epic poems in Hispanic American literary criticism. The purpose of this study is to show the text's literary characteristics and justify its inclusion within the tradition of Ariosto's romanzi, which was earlier followed by La Araucana, paradigm of the epic discourse in Hispanic America. The analysis borrows from a structuralist-narratologic methodology developed in the works of Gerard Genette, Felix Martinez Bonatti, Cedomil Goic and Julia Kristeva. The study begins with the analysis of the different definitions of 'epic genre' from Aristotle and Horatio to the twentieth century and the theories of Genette about architextuality. Once establishing the definitions, the study proceeds to differentiate between the two generic variants: the romance and the epic. The purpose here is to show that the principles of textual disposition applied by epic authors of the sixteenth and seventeenth centuries in Hispanic America belong to the romance, and this gives the discourse a very distinct structural physiognomy. A comparative analysis of some of the best known epic poems in Hispanic America show their structural singularity, as well as their inclusion within Ariosto's tradition. The texts analyzed are: Arauco domado, Peregrino indiano, Puren indomito, Argentina y Conquista del Rio de la Plata, La Christiada, and Bernardo. In Chapter Four the study centers on the transtextual relationships established between La Araucana and Villagra's poem, which determine the individuality of the Historia de la Nueva Mexico and its inclusion within the Hispanic American literary canon. The poem's uniqueness is based on its peculiar narrative structure, the hypertextual relationship it maintains with the Ercillan paradigm, as well as the juxtaposition of codes that determine an intertextual space. This space is the aesthetic image of ideological tensions in the narrator's perspective. It is the tensions which place both the narrator and the text within the ideological and artistic parameters of the Baroque period.
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Picicci, Christen L. "Force and human suffering in sixteenth-century epic poetry : Torquato Tasso's Gerusalemme liberata and Alonso De Ercilla Y Zúñiga's Araucana /." Connect to title online (ProQuest), 2008. http://proquest.umi.com/pqdweb?did=1589247661&sid=5&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 271-285). Also available online in ProQuest, free to University of Oregon users.
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Powers, Riva R. "A Little Pozo Underfoot." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1407454840.

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Feile, Tomes Maya Caterina. "Neo-Latin America : the poetics of the "New World" in early modern epic : studies in José Manuel Peramás's 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza 1777)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273742.

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This is an investigation of the epic poetry produced in and about the Ibero-American world during the early modern period (sixteenth to eighteenth centuries) in trilingual perspective: in addition to the more familiar Spanish- and Portuguese-language texts, consideration is also––and, for the purposes of the thesis, above all––given to material in Latin. Latin was the third of the international literary languages of the Iberian imperial world; it is also by far the most neglected, having fallen between the cracks of modern disciplinary boundaries in their current configurations. The thesis seeks to rehabilitate the Latin-language component as a fully-fledged member of the Ibero-American epic tradition, arguing that it demands to be analysed with reference not only to the classical and classicising traditions but to those same themes and concerns––in this case, the centre|periphery binary––as are investigated for counterparts when in Spanish or Portuguese. The crucial difference is that––while the ends may be the same––the means of thematising these issues derive in form and signifying power from interactions with the conceptual vocabularies and frameworks of the Greco-Roman epic tradition. How is America represented and New World space figured––even produced––in a poetic idiom first developed by ancient Mediterranean cultures with no conception whatsoever of the continent of the western hemisphere? At the core is one such long neglected Ibero-American Latin-language epic by a figure who lived across the Iberian imperial world: the 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza, 1777) by Catalan-born Jesuit José Manuel Peramás. Peramás’s epic––which has never been the subject of a literary-critical study before––is offered as a test case: an exercise in analysing a Latin-language Hispanic epic qua Hispanic epic and setting it into Ibero-American literary-cultural context. This is to be understood in relation to the field of so-called ‘New World poetics’: an at present emergent zone of inquiry within Iberian colonial studies which until now has been developing almost completely without reference to the Latin-language portion of the corpus.
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Martínez-Osorio, Emiro Filadelfo. "The poetics of demonization : the writings of Juan de Castellanos in the light of Alonso de Ercilla's Le araucana." 2009. http://hdl.handle.net/2152/10693.

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In this dissertation I offer an analysis of the ideological significance of Juan de Castellanos' writings in light of the epic model provided by Alonso de Ercilla's La Araucana. My main goal is to demonstrate that, unlike Ercilla, Castellanos embraced and manipulated the resources at the disposal of epic poets not only to praise the deeds and defend the rights of the first wave of colonists, but also to challenge the policies of Hapsburg monarchs concerning the administration of the recently established Viceroyalties in the New World. Hence, this dissertation aims to foreground the complexities and ambiguities of a text that bears evidence of an internal ideological fissure that significantly shaped Spain’s political and territorial expansion and contributed to the emergence of a new type of literature. If epic, as has been persuasively argued by Elizabeth B. Davis "was invaluable to the ruling circles of the imperial monarchy, who used it to forge a sense of unity and to script cultural identities during the period of expansion and conquest" (10), then the heroic poems written by Castellanos on behalf of the conquistadors and encomenderos represent the boldest attempt to turn the most prestigious vehicle of Spanish imperial propaganda, epic poetry, into a tool for the expression of colonial political concerns, a project which included but was not limited to the deployment of aggressive practices of poetic imitation, the expression of a new sense of selfhood, and the demarcation of a new sense of patriotism. Nevertheless, from its inception Castellanos' project was also plagued by many contradictions, most of which are the result of his nostalgia for the values and practices commonly associated with the warrior nobility of the feudal era, and by the constraints imposed by simultaneously having to point to and erase the trace of Ercilla's text.
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Pron, Patricio. ""Aquí me río de las modas"." Doctoral thesis, 2007. http://hdl.handle.net/11858/00-1735-0000-0006-AED1-E.

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Books on the topic "Epic poetry, Spanish"

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Montgomery, Thomas. Medieval Spanish epic: Mythic roots and ritual language. University Park, Pa: Penn. State Univ. Press, 1998.

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Medieval Spanish epic: Mythic roots and ritual language. University Park, Pa: Pennsylvania State University Press, 1998.

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The poetics of speech in the medieval Spanish epic. Toronto: University of Toronto Press, 2010.

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1939-, Ruiz Lagos Manuel, ed. Expulsión de los moros de España: Por la S.C.R. Majestad del rey Don Felipe III, nuestro Señor, 1610. Alcalá de Guadaira, Sevilla [Spain]: Editorial Guadalmena, 1999.

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La épica española: Nueva documentación y nueva evaluación. Madrid: Fundación Ramón Menéndez Pidal, 2001.

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La épica colonial. Pamplona: Ediciones Universidad de Navarra, 2000.

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1928-, Catalán Diego, and Bustos, María del Mar de., eds. La épica medieval española: Desde sus orígenes hasta su disolución en el romancero. Madrid: Espasa-Calpe, 1992.

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Le vie dell'epica ispanica. Lecce: Pensa multimedia, 2014.

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The epic of the Cid, with related texts. Indianapolis, Ind: Hackett Pub. Co., 2011.

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Manuel, Luque Laguna Antonio, ed. Panegírico a la Virgen de la Sierra. [Córdoba, Spain?]: Servicio de Publicaciones, Universidad de Córdoba, 2005.

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Book chapters on the topic "Epic poetry, Spanish"

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"The literary epic." In Seventeenth-Century Spanish Poetry, 180–207. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511553851.008.

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"Italian Epic, Spanish Drama, and German Poetry." In A History of Western Literature, 145–71. Routledge, 2017. http://dx.doi.org/10.4324/9781315083445-9.

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"The epic and the poetry of place." In The Cambridge Introduction to Spanish Poetry, 63–84. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511606328.005.

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Williams, Wes. "Monsters and the Question of Inheritance in Early Modern French Theatre." In Epic Performances from the Middle Ages into the Twenty-First Century, 103–18. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0008.

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Following its ‘rebirth’ in the early sixteenth century, Heliodorus’ Aethiopika, itself a self-consciously theatrical, suspenseful narrative reworking of Homer, spent the next 150 years or so being edited, translated, and painted; it was also reimagined as dramatic poetry on the Italian, Spanish, French, and English stages. This chapter sketches out a few French aspects of this story, with occasional reference to other traditions, with its overriding obsession with the ‘faire’ Chariclea. Not least of the remarkable things about Heliodorus’ own reworking of epic tropes and themes is the very long recognition scene. This compelling scene, in which women rescue women, draws together the many strands of a tragicom(ed)ic tale about monsters, inheritance, doubtful generation, and the power of the imagination. Here we can see how tragicomedy might itself usefully be thought of as epic reimagined on stage as romance.
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Fishbane, Michael. "Piyut and Midrash." In Midrash Unbound, 99–136. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781904113713.003.0007.

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This chapter covers the phenomenon of piyut, which is one of the comprehensive designations of Jewish liturgical poetry and an archaeology of rabbinic tradition. The piyut's major classical and early post-classical creativity spans the fifth to eleventh centuries that originated in the Land of Israel and spread east and west. It mentions the work of Michel Foucault, ‘L'Archéologie du savoir’ and its methodological reflections on the complex relationships between the ‘things said’ in culture and the way their selection or re-combination organizes knowledge from a vast fund of data or the so-called cultural archive. The chapter uses Foucault's insights to clear some paths of approach to piyut. It also focuses on some of the ruptures and transformations of biblical and midrashic literature in the creation of liturgical epics in classical and early medieval piyut.
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