Academic literature on the topic 'Palmerín de Oliva (Romance)'

This article explores how Anthony Munday’s Palmerin d’Oliva (1588), Part II, portrays the threat of Muslims in the Near East. Munday’s source is the French L’Histoire de Palmerin d’Olive (1546), which Jean Maugin had translated from the anonymous Spanish chivalric romance Palmerín de Olivia (1511). I focus on the way that the description of the Muslim menace changes in the course of translation. I argue that both the French and English translators manipulate medieval and early modern sexual stereotypes used to describe Muslim culture in order to heighten the sense of Islamic aggression and the holiness of Christianity as a counter to its threat. Munday’s translation, in particular, represents the ambivalent views that his contemporary England held about Islam and the Near East, and also highlights the sanctity of Christian chastity and marriage, which are issues that he also develops in Part I of the Palmerin d’Oliva.

I Was Born in Spain to a Spanish Mother and a Nigerian Father. I Moved to Nigeria on the Day That I Turned Seven and remained in the country for nine years. The interplay between my cultural liminality and an early aestheticism has determined my experience of literature—first as a precocious reader and later as a teacher and scholar.My first literary diet, like that of many children, consisted of fairy tales and abridged classics. At primary school in Nigeria, our English textbooks featured passages from African novels to teach reading comprehension. While I found the short storylines interesting, their pedagogical use meant that I did not perceive them as “literature”—a word that I associated with stories to wonder at, get lost in, and daydream about. At the age of nine I graduated to unabridged Dickens novels and Shakespeare plays alongside Mark Twain's The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn, supplementing my diet with Spanish chivalric romances such as Garci Rodríguez de Montalvo's Amadís de Gaula (1508) and Francisco Vázquez's Palmerín de Oliva (1511). Apart from a sense of intrigue, these two works gave me respite from an unrelenting sense of otherness. They provided vicarious adventure, and their settings reminded me of the Castilian castles that formed part of my early-childhood landscape.

O presente trabalho, fruto do andamento de uma pesquisa de doutorado, busca investigar imagensdo Brasil no romance de Jean-Marie Blàs de Roblès, Làoùles tigres sont chez eux, e na sua tradução brasileira, Lá onde os tigres se sentem em casa, de Maria de Fátima Oliva do Coutto e Mauro Pinheiro.A partir da seleção de imagotipos – conceito caro à Imagologia e que difere dos estereótipos por se referir a imagens menos cristalizadas –explicitaremos algumas ideias que estão por trás das imagens veiculadas no romance francês e observaremos as suas refrações na tradução brasileira. Nós nos ateremos, principalmente, às passagens do livro de Roblès que evidenciam encontros entre culturas e nas quais a presença da alteridade se dá de forma marcante. Pretende-se, com a análise dos imagotipos literários levantados, descreveras diferenças entre umas e outras imagens e perceber a extensão do campo semântico dessas diferenças.

Miguel de Cervantes’s novel El Ingenioso Hidalgo Don Quijote de la Mancha Part One (1605) and Part Two (1615) has delighted readers for centuries. The literary criticism analyzing just this one product of Cervantes’s literary genius is voluminous. In particular, the novel’s structure has received significant scrutiny, and discussions regarding its unity, or lack thereof, abound. This debate rages today with Cervantine experts still espousing various theories. Puzzling over this quandary and asking why a truly convincing explanation regarding the structure has not emerged, we arrive at a partial answer. We believe that there is unity in the Quijote and that Cervantes created a unified work by ingeniously taking full advantage of the elements of both the “Byzantine” and the chivalric literary traditions, combining them in a harmonizing synthesis. Moreover, he resolved the problem of unity within variety by establishing thematic consistency throughout. The purpose of our study is to explore the confluence of the “Byzantine” and chivalric literary traditions in works that precede Cervantes and to examine how Cervantes innovatively worked with this element in the Quijote of 1605. We present a panoramic view of works written between the thirteenth and the mid-sixteenth centuries, which reveal writers’ efforts to combine, consciously or unconsciously, the various characteristics of the “Byzantine” and chivalric literary traditions. For this project, we look at six representative works written in Spanish or Italian that represent significant antecedents to the Quijote and Cervantes’s unique method of synthesizing the traditions: Libro de Apolonio, Libro del caballero Zifar, Orlando innamorato, Orlando furioso, Palmerín de Olivia, Los amores de Clareo y Florisea y los trabajos de la sin ventura Isea. We investigate each author’s approach at coupling the two traditions and determine his/her degree of success in merging them artistically to produce a coherent whole. Our analysis reveals that not only does Cervantes systematically integrate the two literary traditions in his parody, but he also skillfully devises a way to unify thematically the delightful variety in his work. To wit, Cervantes embraces the theme of literature (fiction) and life (reality) and explores the need for distinguishing judiciously between them.
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