Relevant bibliographies by topics / Roman de Flamenca

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  2. Dissertations / Theses
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Academic literature on the topic 'Roman de Flamenca'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Roman de Flamenca"

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Contreras Martín, Antonio. "Flamenca. Novela occitana del siglo XIII, revisión y actualización de Antoni Rossell; intr. de Mercedes Brea, (Lit., 1), Barcelona, Anem Editors, 2019, 315 pp. ISBN: 978-84-120042-1-2." Revista de Poética Medieval 33 (December 31, 2019): 161–63. http://dx.doi.org/10.37536/rpm.2019.33.0.73645.

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Reseña de: Flamenca. Novela occitana del siglo XIII, revisión y actualización de Antoni Rossell [El roman de Flamenca, Guadalajara (México), Ediciones del Arlequín, 2009]; introducción a la obra de Mercedes Brea, (Literaturas, 1), Barcelona, Anem Editors, 2019, 315 pp. ISBN: 978-84-120042-1-2.
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2

Marques, Janaína. "O Roman de Flamenca e a arte do jogral." SIGNUM - Revista da ABREM 15, no. 2 (2014): 169. http://dx.doi.org/10.21572/2177-7306.2014.v15.n2.09.

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Os textos narrativos e poéticos eram difundidos oralmente por meio da interpretação dos jograis, responsáveis por quase toda a divulgação da produção literária da época. Presente desde a Antiguidade, a atividade jogralesca reunia diferentes competências: canto, música, composição, malabarismo, acrobacia e comicidade. O caráter oral da poesia narrativa medieval desloca nossa atenção para fatores que seriam inusitados em outras manifestações literárias como as habilidades do intérprete, as características do espaço de sua performance e a relação com a plateia. Sendo assim, o presente artigo busc
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Grossweiner, Karen A. "Narrators and Narrating Characters: Voicing in Le Roman de Flamenca." Neophilologus 92, no. 3 (2007): 395–408. http://dx.doi.org/10.1007/s11061-007-9067-7.

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Diaconu, Luminiţa. "Gestuelle courtoise et écartes discourtois dans Flamenca (roman occitan du XIIIe siècle)." Hiperboreea. Journal of History 2, no. 1 (2015): 73–85. http://dx.doi.org/10.3406/hiper.2015.884.

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Kaltenbach, Nikki L. "L'Etreinte des mots: Flamenca, entre poésie et roman (review)." Tenso 13, no. 1 (1997): 48–51. http://dx.doi.org/10.1353/ten.1997.0005.

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Torrione, Margarita. "Debla: un arcano del cante flamenco (del vocativo romaní al sustantivo caló)." Disparidades. Revista de Antropología 45, no. 1 (2020): 103. http://dx.doi.org/10.3989/rdtp.1990.v45.i1.213.

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Desde que Antonio Machado padre publicó su densa colección de Cantes Flamencos (1881), se viene especulando sobre el significado de la palabra debla, que da nombre a la más antigua y dramática de las «tonás», también la más gitana,cuyas raíces se pierden en la profunda noche del cante «jondo». El estribillo («macho») en caló que la remata -Debla barea o deblica barea- ha suscitado múltiples y caprichosas interpretaciones entre los flamencólogos, poco preocupados por el dialecto gitano español y por los préstamos de éste a la copla flamenca, que han llegado a hablar del «misterio» de la debla.
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Szokolyai, Diana Norma. "Flamenco Lesson in Sacromonte / Affirmations of a Romani Woman." Critical Romani Studies 3, no. 2 (2021): 152–55. http://dx.doi.org/10.29098/crs.v3i2.111.

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Michels, Agnes, and Jens H. Vanggaard. "The Flamen: A Study in the History and Sociology of Roman Religion." American Journal of Philology 111, no. 1 (1990): 118. http://dx.doi.org/10.2307/295270.

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Gimeno Pascual, Helena. "Nuevos datos para la Colonia Salaria." Lucentum, no. 23-24 (December 15, 2005): 181. http://dx.doi.org/10.14198/lvcentvm2004-2005.23-24.10.

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Un manuscrito de M. Vázquez Siruela contiene una nueva inscripción romana de Salaria. El texto menciona por primera vez a un flamen local de la ciudad e incluye la mención epigráfica de la colonia Salaria. Al mismo tiempo, documenta la presencia en la ciudad de la tribus Galeria.
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Morgan, Llewelyn. "AENEAS THE FLAMEN: DOUBLE TOGAS AND TABOOS IN VIRGIL'S CARTHAGE." Classical Quarterly 70, no. 1 (2020): 192–211. http://dx.doi.org/10.1017/s0009838820000361.

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This is an investigation of an aspect of Virgil's Aeneid—ultimately, of the ways in which the poet guides his reader's response to Aeneas’ stay in Carthage—and, while it touches on Roman religious practice, clothing codes, late antique Virgilian commentary and Augustan ideology, it hinges on a single word in Aeneid Book 4 and its implications for Virgil's depiction of his hero in this book. That word is laena, and it features in one of the most celebrated scenes of the poem, when Mercury descends to earth to find Aeneas busily engaged in founding Carthage (Aen. 4.259–64):ut primum alatis tetig
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Dissertations / Theses on the topic "Roman de Flamenca"

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Gomes, C. Antunes Maria de Fatima. "Le Roman de flamenca humour, religion et sensualité /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37605512z.

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Gomes, C. Antunes Maria de Fatima. "Le "Roman de Flamenca" : humour, religion et sensualité." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30072.

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Etude des modalites de l'engagement religieux dans le noyau central du roman, ainsi que du renversement des valeurs religieuses et morales, au profit des theories de la "fin'amor". Leur incidence sur l'imaginaire du roman : des images, des symboles, des formules et des rituels provenant des deux champs de l'imaginaire - religieux et erotique - se croisent et se decoupent dans une confron- tation audacieuse et habile, empreinte a la fois de solennite et de bonhomie. L'expression de l'instance narratrice, et le penchant sensuel de la societe mondaine (analyse a travers les manifestations des cin
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Manicone, Eleonora Regina Ines. "El mal querer di Rosalía; confronto con il Roman de Flamenca e proposta di traduzione del brano Que no salga la luna (Cap. 2: Boda)." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020.

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In questa tesi il mio obiettivo è analizzare l’album El mal querer (2018) della cantante Rosalía, astro nascente della musica spagnola, proponendo inoltre una traduzione verso l’italiano della canzone Que no salga la luna (Cap.2: Boda). Il mio intento è presentare questo lavoro musicale dal punto di vista dei contenuti e del processo creativo che ha portato alla sua nascita per poi passare ad analizzare non solo i brani dai quali il disco è formato ma l'intero universo artistico e culturale che lo circonda. In particolare, mi occuperò di individuare i numerosi collegamenti che l’al
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Rocha, Janaína Marques Ferreira. "Espetáculo jogralesco: o gesto vocal." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14733.

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Made available in DSpace on 2016-04-28T19:58:52Z (GMT). No. of bitstreams: 1 Janaina Marques Ferreira Rocha.pdf: 675098 bytes, checksum: 265e32b3bdc078758619e50e0d556b20 (MD5) Previous issue date: 2013-10-17<br>Fundação de Amparo a Pesquisa do Estado de São Paulo<br>Departing from the concept of 'performance' by Paul Zumthor, this work searches, in the occitane narrative of the XIII th century and in the seven galicianportuguese cantigas de amigo by Martin Codax, the voice modulation and the body expressivity in jongleurs, seeking to identify in which way both these genres, narrative poem an
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Morgenthaler, Linda. "Ästhetik des Flamenco und die Gitanos." St. Gallen, 2005. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/02602464001/$FILE/02602464001.pdf.

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Dietze, Markus. "Die Lukasevangelien auf Caló. Die Ursachen ihrer Sprachinterferenz und der Anteil des Spanischen." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-152855.

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Die Arbeit behandelt die beiden Übersetzungsversionen des Lukasevangeliums ins Caló, die George Borrow 1837 und 1872 anfertigte. Sie hat mehrere Zielstellungen. Der erste Teil geht der Frage nach: Wie kam es zu den beiden Schriften? Er legt dar, welche Einflussfaktoren das authentische Caló im Spanien der 1830er Jahre herausgeprägt haben konnten und welche Einflüsse durch den Übersetzer George Borrow auf die Übersetzungen wirkten. Als extralinguistische Faktoren wird dafür die (Kultur-)Geschichte der Gitanos herangezogen, werden Borrows Biographie sowie seine Sprachkenntnisse untersucht und we
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Dietze, Markus. "Die Lukasevangelien auf Caló. Die Ursachen ihrer Sprachinterferenz und der Anteil des Spanischen." Master's thesis, 2012. https://tud.qucosa.de/id/qucosa%3A28299.

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Die Arbeit behandelt die beiden Übersetzungsversionen des Lukasevangeliums ins Caló, die George Borrow 1837 und 1872 anfertigte. Sie hat mehrere Zielstellungen. Der erste Teil geht der Frage nach: Wie kam es zu den beiden Schriften? Er legt dar, welche Einflussfaktoren das authentische Caló im Spanien der 1830er Jahre herausgeprägt haben konnten und welche Einflüsse durch den Übersetzer George Borrow auf die Übersetzungen wirkten. Als extralinguistische Faktoren wird dafür die (Kultur-)Geschichte der Gitanos herangezogen, werden Borrows Biographie sowie seine Sprachkenntnisse untersucht und we
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Books on the topic "Roman de Flamenca"

1

Flamenca: Roman. Table ronde, 2005.

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Bégou, Georges. Le roman de Flamenca. Jean Picollec, 1990.

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3

L' etreinte des mots: "Flamenca", entre poésie et roman. Paradigme, 1993.

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4

Nelli, René. Le roman de Flamenca: Un art d'aimer occitanien du XIIIe siècle. Institut d'études occitanes, 1989.

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Nelli, Rene. Le Roman de Flamenca: Un art d'aimer occitanien du XIIIe sie cle. Institut d'estudis occitans, 1989.

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6

Music and ceremony at the court of Charles V: The Capilla Flamenca and the art of political promotion. Boydell Press, 2012.

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7

Fradette, Marguerite. Soudain un flamenco: Roman. Les Intouchables, 2000.

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8

Limacher-Riebold, Ute. Entre novas et romans: Pour l'interprétation de Flamenca. Edizioni dell'Orso, 1997.

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9

Gil, José Luis Villares. Los gitanos de Badajoz: Romances, vida, costumbres, flamenco. Diputación de Badajoz, Departamento de Publicaciones, 2004.

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Gil, José Luis Villares. Los gitanos de Badajoz: Romances, vida, costumbres, flamenco. Diputación de Badajoz, Departamento de Publicaciones, 2004.

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Book chapters on the topic "Roman de Flamenca"

1

Limacher-Riebold, Ute. "L’importance du calendrier dans le roman de Flamenca." In International Medieval Research. Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.imr-eb.3.662.

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Lazzerini, Lucia. "Une jalousie particulière: la «reina de Fransa» dans le roman de Flamenca." In Études de langue et de littérature médiévales offertes à Peter T. Ricketts à l’occasion de son 70ème anniversaire. Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.stmh-eb.3.2520.

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DiLuzio, Meghan J. "The Flamen and Flaminica Dialis." In A Place at the Altar. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691169576.003.0002.

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This chapter shows that the flamen and flaminica Dialis served the gods together as priest and priestess of Jupiter. Until fairly recently, however, modern scholars have either denied or heavily qualified the official priestly status of the flaminica Dialis, describing her instead as the Roman equivalent of the pastor's wife. This analogy is inappropriate in light of the ancient evidence for her status and religious activities. The chapter then reconstructs the flaminica's ritual activities and establishes a new framework for understanding them. The ancient evidence, though often intractable, demonstrates that the flaminica Dialis was a religious official in her own right with her own role, both in separate rituals that she was responsible for independently and in rituals that she shared with her husband, the flamen.
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"Flamen Augustorum." In The Imperial Cult in the Latin West, Volume 1 Studies in the Ruler Cult of the Western Provinces of the Roman Empire Part 1 (2 vols.). BRILL, 1993. http://dx.doi.org/10.1163/9789004297548_023.

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DiLuzio, Meghan J. "Priestly Couples." In A Place at the Altar. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691169576.003.0003.

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This chapter argues that priestly couples had a larger role in the Roman ritual system than modern scholars have realized. The rex sacrorum and the flamen Martialis certainly shared their offices with the regina sacrorum and the flaminica Martialis respectively. It seems very likely that the wives of the thirteen remaining flamines were flaminicae as well. Priestly couples are best understood in relation to the patterns of worship in the household, where husbands and wives fulfilled complementary religious roles. Indeed, priestly couples exemplified traditionally asymmetrical gender constructions and relationships. It is clear, however, that the structure of Roman society included a robust ritual role for both sexes. Wives and priestesses offered sacrifices at domestic hearths and public altars because the religious system was thought to function properly only when men and women served their gods together.
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