Academic literature on the topic 'Galician poetry'
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Journal articles on the topic "Galician poetry"
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Kharchuk, R. B. "FIRST GALICIAN RECEPTION OF SHEVCHENKO’S POETRY (1840–1850’s)." Shevchenko Studies, no. 1(24) (2021): 130–41. http://dx.doi.org/10.17721/2410-4094.2021.1(24).130-141.
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The author examines the first reception of Shevchenko's poetry in Galicia in the 1840s and 1850s, finding out that Galician writers, including the publishers of «The Dniester mermaid» («Rusalka Dnistrova»), read Shevchenko's poetry in the almanac «Swallow» («Lastivka»). In her opinion, M. Shashkevych was more influenced by I. Kotlyarevsky's «Aeneid» and M. Maksymovуch's collection of Ukrainian songs than from Shevchenko's poetry, though he copied «Bewitched» («Prychynna») from the almanac «Swallow» («Lastivka»). This fact makes it possible to count M. Shashkevуch among the first implicit readers of Shevchenko in Galicia. Such reaction to Shevchenko's work can be explained by the fact that none of the three members of the «Russian Trinity» read the first Kobzar (1840). Y. Holovatsky has received «Chigirinskij kobzar and Gajdamaki. Dve pojemy na malorusskom jazyke Shevchenka» (St. Petersburg, 1844) in 1846 from K. Zap. He has received poems «Trizna» and «Hamalia» as well. This is evidenced not only by K. Zap's letter with the list of books he had to bring to Lviv, but also by the Y. Holovatsky’s memories, which have not been mentioned in Shevchenko's literature before. Y. Holovatsky refused to mention Shevchenko and his works in publications and lectures due to the coward in his house in connection with the report on reading the poem «Haydamaky». His brother Ivan intended to include Shevchenko's poetry in his anthology «The wreath for Ruthenians to Obzhynky» («Vinok Rusynam na obzhynky»), the first and second parts of which were published in 1846 and 1847 in Vienna, but he did not implement this plan. So, the first acquaintance with the poetry of Shevchenko in Galicia was mediated by an almanac «Swallow» («Lastivka»), the first implicit reader of Shevchenko in Galicia was M. Shashkevуch. «Kobzar» (1840) never reached Galicia, but information about «Kobzar» (1844), «Trizna», «Hamalia» and forbidden Shevchenko’s poem «Caucasus» («Kavkaz») circulated in the Galician intellectual environment. The first readers of Shevchenko in Galicia were a few people. The wider audience (mostly seminarists) became acquainted with Shevchenko's poetry following the «Kobzar» (1860).
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Rodrigues, Louis J. "Rosalía de Castro's Galician poems." Babel. Revue internationale de la traduction / International Journal of Translation 50, no. 1 (September 22, 2004): 60–75. http://dx.doi.org/10.1075/babel.50.1.07rod.
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Abstract Two Galician poems (one from each of two collections: Cantares Gallegos and Follas novas) by Spain’s most renowned poetess are examined in this critical essay, which includes translations into English, Spanish and Catalan together with an analysis of both poems and a commentary on each with a discussion of such technicalities as metre, rhyme, imagery, lexis and syntax insofar as they aff ect the end-product in each case. The essay discusses the linguistic features of Galician as a preliminary to the appreciation of the poems, draws attention to Rosalia’s statements on her art and works, and concludes with a review of the pertinent aspects of poetry in translation — its theory and practice. Résumé Deux poèmes galiciens (tires de chacune des deux collections: Cantares Gallegos et Follas novas) de la poétesse la plus célèbre d’Espagne, sont étudiés dans cet essai critique qui comprend des traductions en anglais, en espagnol et en catalan, ainsi qu’une analyse des deux poèmes et un commentaire de chacun, avec une discussion sur certains points techniques comme la metre, le rythme, l’imagerie, le lexique et la syntaxe, dans la mesure ou ils affectent, dans chaque cas, le product fini. L’essai traite des caractéristiques linguistiques du galicien, avant de passer à l’évaluation des poèmes. Il attire l’attention sur les déclarations de Rosalia à propos de son art et de ses oeuvres et conclut en passant en revue les aspects pertinents de la poésie en traduction — sa théorie et sa pratique.
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Palacios, Manuela, and Marilar Aleixandre. "Damnatio ad bestias: Performing Animality and Womanhood in Contemporary Irish and Galician Poetry." Altre Modernità, no. 26 (November 29, 2021): 84–98. http://dx.doi.org/10.54103/2035-7680/16690.
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The concomitant subjection of women and animals was denounced as early as 1990 by Carol J. Adams in The Sexual Politics of Meat, where she identified the intersections of discourses that aim at the subjugation of women and animals and censured those practices that animalize women and feminize animals for the better exploitation of both. More recent ecofeminist debates, however, have highlighted women’s vindication of animality with the aim to recuperate one’s repressed animal nature and rebel against oppressive anthropocentric and androcentric constrictions (Velasco Sesma 2017). This article focuses on contemporary Irish and Galician poetry concerned with the performativity of animality and womanhood in contemporary society and engaged in the emancipation of women and animals from patriarchal oppression. Ireland and Galicia have shared longstanding cultural bonds and, since the 1990s, have experienced a conspicuous accession of women writers who have participated in the feminist and environmental debates of their respective communities. This article exposes the intersecting discourses and practices that subdue animals and women, as evinced in contemporary Irish and Galician writing, and shows how poetry can become a locus of resistance and woman-animal complicity in the struggle for mutual emancipation.
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Blackmore, Josiah. "Medieval Galician-Portuguese Poetry: An Anthology.Frede Jensen." Speculum 70, no. 1 (January 1995): 157–58. http://dx.doi.org/10.2307/2864736.
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Lourido Hermida, Isaac. "Entre Rosalía 21 y Labregos do tempo dos sputniks: la poesía gallega como espectáculo." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (January 9, 2012): 90. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218551.
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El objetivo de este trabajo es analizar la presencia de la poesía en el espacio público gallego en la actualidad. Para ello, se estudian los discursos que han combinado poesía, oralidad y música en las últimas cuatro décadas. Con la intención de investigar los cambios sufridos por los modelos convencionales del recital, la canción de autor o el uso de textos poéticos en la música folk, son analizadas tres propuestas musicales contemporáneas: el proyecto interdisciplinar Rosalía 21, el programa de intervención política de Labregos do tempo dos sputniks y, finalmente, la iniciativa del grupo Fanny + Alexander, que vincula pop electrónico y letras contemporáneas. Palabras clave: poesía gallega, espacio público gallego, normalización cultural, intermedialidad. The paper aims to analyze the presence of poetry in the Galician public sphere nowadays. Therefore, discourses combining poetry, orality, and music over the last four decades are covered here. In order to study changes in conventional recital and singer-songwriting models, as well as the use of poetic texts in traditional music, the paper analyzes three contemporary musical proposals: the interdisciplinary project Rosalía 21, the political action program of Labregos do tempo dos sputniks and, finally, the work of the group Fanny + Alexander, that links electronic pop and contemporary lyrics. Keywords: Galician poetry, Galician public sphere, cultural normalization, intermediality.
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Palacios-González, Manuela. "The gender of translation: Irish poetry in Galician." Babel. Revue internationale de la traduction / International Journal of Translation 54, no. 3 (August 13, 2008): 268–80. http://dx.doi.org/10.1075/babel.54.3.04pal.
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Palacios, Manuela, and María Xesús Nogueira. "Otherwhereness and Gender: Mary O’Malley’s “Asylum Road” and Marga do Val’s “A cidade sen roupa ao sol”." Oceánide 13 (February 9, 2020): 103–10. http://dx.doi.org/10.37668/oceanide.v13i.46.
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This article aims to delve into the gendered nature of Mary O’Malley’s and Marga do Val’s poetry on displacement and migration, so as to assess the female subject’s questioning of notions such as home, belonging, mobility and otherness. In spite of these writers’ different national and cultural backgrounds, the common history of massive emigration from Galicia and Ireland allows us to hypothesize that their poetry and contemporary reflections on displacement are mutually relevant, as former research on Irish and Galician women’s mobility has indicated (Lorenzo-Modia 2016, Acuña 2014). As each writer is analysed, their most significant and germane propositions are identified. This allows us to conclude that there is a will to connect the theme of migration to the writers’ autobiographical experience of mobility and that O’Malley and do Val are thoroughly aware of the relation between past and present flows of emigration and immigration.
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KOBRYN, Nataliia. "Musical Shashkevychiana in Galicia (Until 1939)." Наукові зошити історичного факультету Львівського університету / Proceedings of History Faculty of Lviv University, no. 23 (June 8, 2022): 324–40. http://dx.doi.org/10.30970/fhi.2022.22-23.3624.
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Shashkevych's virtuosity was one of the most important part of national celebration, as well as the separate trend of Ukrainian concert life in Galicia from the second part of 19th until 1939. The cult of Shashkevych's work as a driving factor of the national revival and development of the musical culture of Galician Ukrainians was formed during the XIX - first half of the XX century simultaneously with the annual honors of Taras Shevchenko. The milestones of Shashkevych's 1887, 1893, 1911, and 1937 anniversaries were not only demonstrations. They intensified the Ukrainian musical art and performance, including the creation of new musical compositions on the poetry of Shashkevych. The article analyzes the artistic aspects of Shashkevych's anniversaries and concerts in Galicia until 1939 in terms of the musical content of concert programs and national composition.
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ALFONSO-GARCÍA, ALETHIA. "Reconsidering the Environment and Configuring a Truth through Contemporary Galician Poetry." Bulletin of Contemporary Hispanic Studies 2, no. 2 (November 1, 2020): 195–210. http://dx.doi.org/10.3828/bchs.2020.12.
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Camuflaxe by Lupe Gómez (Fisteus 1972-) constitutes a radical example of a praxis of language that encompasses human and nonhuman semiosis, affecting the poetic experience and the relationship of poetry with the notions of commodification, knowledge and truth. To prove it, I follow ideas on semiosis of the forests, ecocosmology and poetry. Semiosis (Kohn) is understood as a set of processes and activities made by humans and nonhumans. Ecocosmology (Abrams) admits that a collective semiosis means a change in the way we learn and experience the environment. Poetry regarded as thought without knowledge (Badiou) frees itself from the dependence of philosophical bases, regarded as closed systems. This article analyses how Camuflaxe exemplifies all of the above.
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McGovern, Timothy. "Expressing Desire, Expressing Death: Antón Lopo'sPronomesand Queer Galician Poetry." Journal of Spanish Cultural Studies 7, no. 2 (July 2006): 135–53. http://dx.doi.org/10.1080/14636200600811110.
Full textDissertations / Theses on the topic "Galician poetry"
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Gementi-Spolzino, Mariana Moretto [UNESP]. "Consoantes fricativas: um estudo das relações entre letras e sons na lírica medieval galego-portuguesa." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154222.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O objetivo da presente tese é estudar as fricativas (sibilantes e chiantes) nas cantigas trovadorescas, a partir das relações existentes entre letras e sons e as possíveis grafias nas cantigas religiosas e profanas. O corpus é composto por 50 Cantigas de Santa Maria (CSM), das 420 cantigas marianas em louvor à Virgem Maria, compiladas em galego-português por Afonso X, e por 150 cantigas profanas, sendo 50 cantigas de amigo, 50 cantigas de amor e 50 cantigas de escárnio e maldizer. A metodologia utilizada baseia-se na análise das rimas e das variações gráficas presentes nas cantigas trovadorescas, o que nos possibilitou um estudo inédito sobre a realização fônica das fricativas (sibilantes e chiantes) de uma época da língua em que não há mais falantes vivos. Além disso, fez parte dos procedimentos metodológicos de nossa pesquisa a consulta a glossários, rimários e dicionários do português medieval, material que nos auxiliou no mapeamento das rimas nas cantigas medievais. A análise do sistema consonantal do Português Arcaico (PA), para estabelecer se havia ou não oposição entre os sons representados pelos grafemas focalizados, foi embasada no modelo estruturalista de Pike (1971 [1947]) e em obras que retomam o modelo de Pike, como Cagliari (2002), Souza e Santos (2012), Ferreira Netto (2011), Pickering (2010). Através da análise dos dados, verificamos que as consoantes fricativas na posição de onset silábico nas cantigas religiosas e profanas se comportam de maneira um pouco diferente nos dois corpora. Os segmentos representados pelos grafemas
The objective of this thesis is to study (sibilant and nonsibilant) fricatives on medieval cantigas as from the existing relation among graphemes and represented sounds and possible spelling in religious and secular songs. The corpus is composed by 50 Cantigas de Santa Maria (CSM in Portuguese acronyms), extracted from 420 Marian songs to worship the Virgin Mary, compiled in Galician-Portuguese by Afonso X, and 150 secular songs, composed by 50 cantigas de amigo (= friend songs), 50 cantigas de amor (= love songs) and 50 cantigas de escárnio e maldizer (= satirical songs). The methodology is based on the analysis of rhymes and spelling variations presented on medieval songs, in order to study the phonetic realization of fricatives from a language time with no more living speakers. In addition, our research consultation on glossaries, rhyming dictionaries and dictionaries of medieval Portuguese was part of the methodological procedure. The analysis of the consonantal system of archaic Portuguese (PA in Portuguese acronyms) to establish whether there was or not opposition among sounds represented by the focused graphemes was based on the structuralist model of Pike (1971 [1947]) and on contributions which resume Pike’s model, as Cagliari (2002), Sousa and Santos (2012), Ferreira Netto (2011), Pickering (2010). Through data analysis, we verified that fricative consonants on onset syllabic position present a little different behavior in religious and secular cantigas. Sounds represented by graphemes
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Aguiar, Rafael Hofmeister de. "Vozes da literatura luso-brasileira : uma história do improviso poético – dos trovadores medievais aos poetas do Brasil colônia." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180944.
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Este trabalho percorre uma história das vozes poéticas da literatura luso-brasileira impostadas no improviso poético desde os trovadores medievais até os poetas do Brasil Colônia. Dessa maneira, procura responder se é possível identificar uma continuidade histórica do improviso na poesia lusófona, tendo como objetivo reconstruir historicamente a tradição do improviso poético luso-brasileiro. Essencialmente bibliográfica, a exposição da pesquisa encontra-se dividida em quatro capítulos. O primeiro aborda os princípios epistemológicos para a integração das poéticas orais e populares no interior da literatura luso-brasileira, constituindose como base epistêmica para o desenvolvimento da pesquisa; o segundo, intitulado E se os trovadores medievais fossem repentistas..., volta-se para os trovadores galego-portugueses, enfocando, sobretudo, as cantigas em desafio denominadas de tenções; o terceiro trata das relações entre a poesia popular e tradicional e os poetas cultos do renascimento ibérico com destaque a Camões; o quarto, por fim, versa, a partir das contribuições do capítulo Poetas repentistas da inacabada História da literatura brasileira, de Joaquim Norberto de Sousa Silva (2002), do uso da viola como importante elemento de sociabilização no período colonial brasileiro, em que avultam as práticas poéticas improvisatórias de Gregório de Matos e Domingos Caldas Barbosa Nesses capítulos, o elo de ligação se constituiu na reconstrução histórica do improviso poético, sem apregoar uma origem no sentido etnocêntrico que situa uma cultura como superior a outra, ou em que o improviso, a oralidade e a poesia popular aparecem como resquícios de uma sociedade mais evoluída que as abandonou. Ademais, segue-se o princípio de construir uma análise comparatista e historicizante, procurando observar algumas produções poéticas do passado que hoje só existem em papel e outrora poderiam ter sido compostas e executadas em performance através de experiências contemporâneas como a poesia popular e a cantoria nordestina. Entre referências, destacam-se Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen e Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) e Zumthor (1993, 2010).This papper tries to make a history of the poetic voices of Luso-Brazilian literature imposed in the poetic improvisation from the medieval troubadours to the poets of Brazil Colony. In this way, we try to answer if it is possible to identify a historical continuity of improvisation in lusophone poetry, with the objective of reconstructing historically the Luso-Brazilian poetic improvisation tradition. Essentially bibliographic, the exposition of the research is divided into four chapters. The first one deals with epistemological principles for the integration of oral and popular poetics within the Luso-Brazilian literature, constituting itself as an epistemic basis for the development of research; the second, entitled And if the medieval troubadours were repentistas ..., turns to the Galician-Portuguese troubadours, focusing, above all, the ditties in challenge called tenções; the third deals with the relations between popular and traditional poetry and the educated poets of the Iberian Renaissance, with a special mention of Camões; the fourth, finally, is based on the contributions of the chapter Improvisational Poets (Repentistas) on the unfinished History of Brazilian Literature by Joaquim Norberto de Sousa Silva (2002), highlighting the viola as an important element of socialization in the Brazilian colonial period, in which the improvisatory poetic practices of Gregório de Matos and Domingos Caldas Barbosa increase In these chapters, the linkage was constituted in the historical reconstruction of poetic improvisation, but without proclaiming an origin in the ethnocentric sense that places one culture as superior to another, in which improvisation, orality and popular poetry appear as remnants of a society more evolved that abandoned them. In addition, it follows the principle of constructing a comparative and historicizing analysis, looking for to observe some poetic productions of the past that now only exist in paper and could once have been composed in performance through contemporary experiences like the popular poetry and the northeastern cantor. Among references, we highlight Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) and Zumthor (1993, 2010).
Este estudio busca hacer una historia de las voces poéticas de la literatura luso-brasileña impostadas en el improviso poético, desde los trovadores medievales hasta los poetas de Brasil Colonia. Con ello, se procura responder si es posible identificar una continuidad histórica del improviso en la poesía lusófona, cuyo objetivo es reconstruir históricamente la tradición del improviso luso-brasileño. Esencialmente bibliográfica, la exposición de la pesquisa se encuentra dividida en cuatro capítulos. Lo primero, aborda los principios epistemológicos para la integración de las poeticas orales y populares en interior de la literatura luso-brasileña, constituyéndose como base epistémica para el desarrollo de la pesquisa; lo segundo, intitulado “Y si los trovadores medievales fueran repentistas…”, se vuelve hacía los trovadores gallego-portugueses, enfocando, además, las cantigas en desafío denominadas de tenciones; lo tercero trata de las relaciones entre la poesía popular y tradicional y los poetas cultos del renacimiento ibérico con destaque a Camões; lo cuarto, finalmente, versa, a partir de las contribuciones del capítulo Poetas repentistas de la inacabada Historia de la Literatura Brasileña, de Joaquim Norberto de Sousa Silva (2002), destacando la viola como importante elemento de sociabilización en el periodo colonial brasileño, en que se abultan las practicas poético-improvisatorias de Gregório de Matos y de Domingos Caldas Barbosa En esos capítulos, el eslabón se constituye en reconstrucción histórica del improviso poético, pero sin propalar un origen en el sentido etnocéntrico que sitúa una cultura como superior a otra, en que el improviso, la oralidad y la poesía popular aparecen como resquicios de una sociedad más evolucionada que las ha abandonado. Además, se sigue el principio de construir un análisis comparatista e historicizante, procurando observar algunas producciones poéticas del pasado que hoy solo existen en papel y otrora podrían haber sido compuestas en performance por medio de experiencias contemporáneas como la poesía popular y la cantoría nordestina. Entre las referencias, se destacan Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) y Zumthor (1993, 2010).
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Samyn, Henrique Marques. "A pastora e a alegoria: a pastora alegórica, da lírica occitânica aos Carmina Burana e ao trovadorismo galego-português." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2198.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEste trabalho tenciona investigar o conceito de pastorela alegórica, desde sua emergência na obra do trovador occitânico Marcabru mais precisamente, em sua obra Lautrier jost una sebissa até seus desenvolvimentos nos corpora líricos occitânico, médio-latino e galego-português. Nosso trabalho compreende, assim, um estudo comparativista sobre a poesia medieval composta nos séculos XII e XIII, por intermédio do qual tencionamos abordar a relação entre discurso literário e alegoria no âmbito medieval
This thesis aims to investigate the concept of allegorical pastourelle, from its emergence in the poetry of the Occitan troubadour Marcabru more precisely, in his lyric Lautrier jost una sebissa until its developments in the Occitan, Medieval Latin and Galician-Portuguese lyric corpora. Through a Comparative Study of the medieval lyric of the XII and XIII centuries, this work aims to examine the relation between literary discourse and allegory in the medieval period
Books on the topic "Galician poetry"
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Kruckenberg, María del Carmen. Jazz: Espido. Sada (A Coruña): Edicios Do Castro, 1999.
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Iris, Cochón, González Helena, and Rompente (Group of writers), eds. Upalás: Escolma. Vigo: Xerais de Galicia, 1998.
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Castaño, Yolanda. Vivimos no ciclo das erofanías. A Coruña, Galiza: Espiral Maior, 1998.
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Carlos, Alvar, and Beltrán Pepió Vicente 1948-, eds. Antología de la poesía gallego-portuguesa. Madrid: Alhambra, 1985.
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1963-, Alonso Francisco, ed. Poetízate: Antoloxía da poesía galega. Vigo: Xerais, 2006.
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Babarro, Xoán. Evos un amaicer guapo: Aproximación á poesía en lingua galega do Principado de Asturias. Campus de Vigo: Universidade de Vigo, 2007.
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1954-, Morán César, ed. Río de son e vento: Unha antoloxía da poesía galega. Vigo [Spain]: Xerais, 1999.
Find full textBook chapters on the topic "Galician poetry"
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Kelley, Heidi, and Kenneth A. Betsalel. "Teaching Galicia in Appalachia: Lessons from Anthropology, Ethnographic Poetry, Documentary Photography, and Political Theory." In Rerouting Galician Studies, 225–42. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65729-5_15.
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Dionísio, João. "Infractions of the Name-Hiding Rule in Galician-Portuguese Troubadour Poetry." In A Revisionary History of Portuguese Literature, 1–16. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003248897-1.
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Sánchez Moreiras, Miriam. "Emilio Araúxo and the Foundations of a Galician Poetic Ethnography." In Gender, Displacement, and Cultural Networks of Galicia, 281–300. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98861-6_11.
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Lourido, Isaac. "Between Recognition and Co-Optation: Translations of Present-Day Galician Poetry in the Spanish Literary System." In Iberian and Translation Studies, 117–34. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800856905.003.0006.
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This chapter analyses the Galician cultural space understood as a contact zone between literary systems. Contemporary Galician poetry is taken as the central point of this study, which focuses on the emergence of a new generation of writers and the international projection of several renowned poets, as well as the growth of translation into Spanish of Galician poetry books. The real functions of these intersystemic transfers are identified from a review of books translated during the period 2013–19 and an analysis of the main translation strategies used. Furthermore, the conclusions offer insights into the symbolic conflict between the Spanish and the Galician literary systems, taking into account their differences in terms of legitimacy, international recognition, and ability to co-opt.
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Dolores, Vilavedra. "Patriotic poetry and verse : Galician." In Encyclopedia of Romantic Nationalism in Europe. Amsterdam University Press, 2015. http://dx.doi.org/10.5117/9789462981188/ngub8s66gwbq7fhdnv7qgbte.
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"Politics of Sound: Body, Emotion, and Sound in the Contemporary Galician Poetry Performance." In Performing Poetry, 111–31. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401200257_008.
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"Intimations of Displacement in Irish and Galician Poetry." In Mobile Narratives, 188–200. Routledge, 2013. http://dx.doi.org/10.4324/9780203487730-23.
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Lourido, Isaac. "O espaço literário ibérico na última década." In Biblioteca di Rassegna iberistica. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-323-6/008.
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This chapter develops a methodological framework for the analysis of the relationships between literary systems in the Iberian Peninsula. This proposal combines sociological, systemic and spatial methodologies. Without neglecting historical processes, it studies the autonomy of systemic units, literary, cultural and identity planning, the constitution of centres and peripheries, interferences and conflicts between systems, or the definition of boundaries. It focuses on some processes and practices of the last decade, such as new institutional planning for Galician-Portuguese relationships, the changes in the Galeusca model, or the recognition of Galician poetry in the Spanish literary field.
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Weinfeld (ed.), David. "Hebrew Poetry in Poland between the Two World Wars." In Polin: Studies in Polish Jewry Volume 13, 434–35. Liverpool University Press, 2000. http://dx.doi.org/10.3828/liverpool/9781874774600.003.0041.
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(Jerusalem: Mossad Bialik, 1997); pp. 496 The Hebrew Nobel Laureate S. Y. Agnon describes in his semi-autobiographical novel A Guest for the Night (1939) a Hebrew writer’s return in about 1930 to the Galician town of his birth. What was once a thriving centre of Jewish culture is now virtually a ghost town, its population depleted and traumatized by war and privation. The writer tries to renew his ties with the past but fails, and in the end returns to Jerusalem, his only true home....
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"22 Making Poetry, Making Waves The Galician-Portuguese Sea Lyric." In Culture and Society in Medieval Galicia, 894–911. BRILL, 2015. http://dx.doi.org/10.1163/9789004288607_028.
Full textConference papers on the topic "Galician poetry"
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.
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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.
Full textAbstract:
The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Torres Gutiérrez, Breogán. "Bajo las formas del paisaje hay un espacio en el que cantar: Representación y transmisión de una cultura minorizada." In VI Congreso Internacional de Investigación en Artes Visuales ANIAV 2024. València: Editorial Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/aniav2024.2024.17424.
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La comunicación que propongo parte de mi propia práctica artística para plantear las siguientes preguntas:1. ¿Cómo nos relaccionamos con nuestra identidad cultural cuando, por una rotura en su transmisión, nos vemos forzados a hacerlo a través de imágenes heredadas y no de las experiencias directas que estas buscaban representar en una primeira instancia?2. ¿Existe en esa nueva relación un nuevo potencial estético?Trataré de responder desde el caso particular de Galicia. Para ello, partimos de la distinción que hace la poeta Olga Novo entre el concepto de paisaje y tierra. Esta entiende que el paisaje trata de acercarse a un espacio produciendo una imagen, viendo. Coincide con el geórgrafo cultural Denis Cosgrave en que “el paisaje sublima en placer visual la pérdida de una relación corporal, orientada al uso, con la tierra.” Por otra parte, hablar de tierra es aquí hablar de acciones con el cuerpo en un espacio, de moverse y trabajar en él. Está ligado a la experiencia de las estaciones, a la meteorologá y a una rutina; a la vida de esa cultura. De esta manera abordaría los mecanismos mediante los cuales una comunidad se identifica a si misma como tal, entiendiendo el paisaje y la lengua como dos de estas técnicas.Para esto me apoyaré especialmente en el trabajo de Carme Nogueira, y, además, en el contexto vasco, en la obra de Asier Mendizábal, Itziar Okariz, Ibon Aranberri o Jon Mikel Euba,Para terminar, la comunicación se encuadraría en la siguiente hipótesis: Existe un espacio entre las representaciones que tenemos a mano de la cultura gallega y las manifestaciones culturales que buscan reflejar. En las últimas generaciones este espacio se acrecenta y nos fuerza a relacionarnos con estos elementos identificativos desde una distancia, donde riesgos y potencialidades conviven.