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Journal articles on the topic 'Welsh Romances'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Santos Neto, Amaury Garcia dos. "Violência e escapismo como lazer para os desvalidos em Trainspotting e Cola de Irvine Welsh." Aletria: Revista de Estudos de Literatura 31, no. 3 (2021): 187–208. http://dx.doi.org/10.35699/2317-2096.2021.26766.

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Este artigo analisa representações da experiência de lazer de personagens jovens pertencentes às classes trabalhistas da Escócia, nos romances Trainspotting e Cola, de Irvine Welsh, considerando o contexto histórico em que as narrativas se situam: a era Thatcher. Tal experiência, em meio a uma realidade de diminuição do estado de bem-estar, escassez de oportunidades e desemprego em massa, é atravessada por dois fatores: escapismo, evidenciado pelo uso de heroína; e violência, evidenciado pelo abuso de álcool e por disputas de torcidas organizadas de clubes de futebol, o chamado hooliganismo. B

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2

Mills, Marisa. "Brides and bridles. Rhiannon and the white horse during the Norman invasion of Wales." North American journal of Celtic studies 7, no. 2 (2023): 240–55. http://dx.doi.org/10.1353/cel.2023.a909949.

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ABSTRACT: Postcolonial scholars have observed how various aspects of the Four Branches of the Mabinogi reflect anxieties of the Norman Invasion of Wales. While these readings often center on examining the Norman influence as an outside threat, this article examines the First Branch of the Mabinogi as emphasizing the importance of wise leadership within Wales, specifically in terms of inter-Welsh interactions. I do this through the exploration of Rhiannon as a fairy mistress, a motif which proliferates the chivalric romance. While scholarship often interprets the fairy mistress as ‘other’ or ‘f

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3

Semyonov, V. B. "The laisse in Medieval Romance and Welsh literary opuses." Sibirskiy filologicheskiy zhurnal, no. 62 (March 1, 2018): 77–88. http://dx.doi.org/10.17223/18137083/62/6.

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4

Peregrine, Rhys. "'No Place For Women'?: Reframing How Green Was My Valley as a Classic Hollywood Woman's Picture." Welsh History Review / Cylchgrawn Hanes Cymru 32, no. 1 (2024): 156–85. https://doi.org/10.16922/whr.32.1.6.

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While How Green Was My Valley has been the subject of much criticism, there has been little effort to explain why it was so popular with contemporary Welsh cinemagoers – including with the female film fans who probably represented the majority of its audience. Although the picture has been dismissed as an essentially masculine one, it had much to offer a female audience, whether it was romance, emotional catharsis, attractive costumes, or its timely discussions of gender roles. Cinemagoing was a vital activity for many women in Wales and it is worth exploring how this defining Welsh film might

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5

Lazzaris, Fabiane, and Lauro Iglesias Quadrado. "A ressaca pós-industrial e o Laddism em Trainspotting." Aletria: Revista de Estudos de Literatura 25, no. 3 (2016): 49–65. http://dx.doi.org/10.17851/2317-2096.25.3.49-65.

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O artigo discute o impacto do cenário político e social das últimas décadas do século XX na produção literária escocesa, tendo como objeto de análise o romance Trainspotting (1993), de Irvine Welsh. Argumenta-se que o vácuo existencial potencializado pelo abuso de drogas não constitui o tema central da obra e que, na verdade, o livro problematiza o sentimento de letargia de uma geração desiludida com o modelo econômico da sociedade pós-industrial do fim do século XX. As drogas e a consequente inércia dos personagens de Trainspotting são representadas por Welsh como elementos de subversão em op

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6

Breeze, Andrew Charles. "King Arthur 'Dux Bellorum': Welsh Penteulu 'Chief of the Royal Host'." Traduction et Langues 18, no. 1 (2019): 38–55. http://dx.doi.org/10.52919/translang.v18i1.502.

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Although the North British hero Arthur (d. 537) is described in medieval romance as a king, he is not so termed in the earliest documents relating to him. The ninth-century 'Historia Brittonum' states merely that he fought 'cum regibus Brittonum' ('alongside kings of the Britons'), but was himself merely 'dux bellorum'. What this means has been long disputed. It has been taken to represent a senior rank in the Roman army, with Arthur as a commander of cavalry forces fighting up and down Britain. Closer analysis shows this as a fantasy. Comparison with medieval Welsh texts indicates that 'dux b

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7

Cichon, Michael. "Insult and Redress in Cyfraith Hywel Dda and Welsh Arthurian Romance." Arthuriana 10, no. 3 (2000): 27–43. http://dx.doi.org/10.1353/art.2000.0073.

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8

Casas Casals, Marilina, and Ana Isabel Guimarães Borges. "O efeito 2666 e o modelo fractal." Cadernos de Letras da UFF 32, no. 63 (2021): 78–100. http://dx.doi.org/10.22409/cadletrasuff.v32i63.51391.

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Este artigo parte de um exame da repercussão, do sucesso e das circunstâncias especiais da escrita e publicação internacional do romance para especificar o que está sendo chamado de efeito 2666. Procede-se assim para focalizar a análise dos paratextos e incipit (parágrafos iniciais) das diferentes partes de 2666 no horizonte do fractal e da fractalidade segundo Benoit Mandelbrot e Wolfgang Welsch e das temáticas da busca, da representação do horror sem mediações e da autoria. Com esta última toca-se a tentativa de superação dos limites do romance como gênero em 2666, relacionada com a questão

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9

Stalmaszczyk, Piotr. "From 'Ambassador' to 'Whisky': A Note on Celtic Elements in Contemporary Polish Vocabulary." Studia Celto-Slavica 4 (2010): 125–31. http://dx.doi.org/10.54586/ttdb1714.

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The paper discusses elements of Celtic origin present in contemporary Polish vocabulary. Polish did not have any direct contacts with the Celtic languages, however, some elements of Celtic (i.e. Irish, Scottish Gaelic, Welsh, Breton) origin entered it via other languages, especially English and French. Additionally, several early borrowings from Continental Celtic spread through Latin, and subsequently the Romance languages, to other languages, including Polish, thus becoming internationalisms of Celtic origin. For the purpose of this paper all such indirect borrowings will be referred to as ‘

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10

Sayers, William. "Anglo-Norman verse on New Ross and its founders." Irish Historical Studies 28, no. 110 (1992): 113–23. http://dx.doi.org/10.1017/s002112140001066x.

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Literary evidence for political and social developments in medieval Ireland comes down to us in a variety of languages: Latin; a rich and — by European standards — early production in the Irish vernacular; Old Norse; Middle English; with sparser reference in Old English, Welsh and other nearby linguistic communities. Some of this evidence, tightly circumscribed in time, is also in Anglo-Norman French, and reflects a very different Ireland from that of Arthurian romance. These Anglo-Norman works, composed in Ireland or in Britain on the basis of eye-witness testimony, constitute a unique body o

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11

Breeze, Andrew. "Natalia I. Petrovskaia, This is Not a Grail Romance: Understanding ‘Historia Peredur vab Efrawc’. Cardiff: University of Wales Press, 2023, 185 pp." Mediaevistik 36, no. 1 (2023): 427–28. http://dx.doi.org/10.3726/med.2023.01.92.

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Peredur, a thirteenth-century Arthurian romance in the Mabinogion collection, here encounters the trinity of poststructuralism, postmodernism, and postcolonialism. Hence reference to Mikhail Bakhtin, Michel Foucault (whose Ceci n’est pas une pipe prompts the title), and Gayatri Chakravorty Spivak, as well as to professional Celticists at Cambridge (where the author wrote her doctorate) and Aberystwyth. Analysis is set out in six chapters: on the tale’s structure; its topography and landscape; historical context (with emphasis on Constantinople and its Empress); relationship to other texts (som

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12

Bondarenko, Grigory. "Alexander Smirnov and the Beginnings of Celtic Studies in Russia." Studia Celto-Slavica 5 (2010): 139–48. http://dx.doi.org/10.54586/vzlu3138.

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Celtic studies in Russia which have developed during the twentieth century into a recognised and respectable branch on the tree of humanities owe much to one person who undoubtedly has won a right to be called a patriarch of Celtic studies in Russia, namely Alexander Alexandrovich Smirnov. Mostly known for his pioneering translations of early Irish tales into Russian in the early days of his career he was also prominent scholar of Welsh and Breton covering many aspects of Celtic linguistics and literary studies. His biography, achievements and approach to Celtic studies in Russia deserve bette

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13

Breeze, Andrew. "Natalia I. Petrovskaia, This is Not a Grail Romance: Understanding ‘Historia Peredur vab Efrawc’. Cardiff: University of Wales Press, 2023, 185 pp." Mediaevistik 36, no. 1 (2023): 515–16. http://dx.doi.org/10.3726/med.2023.01.140.

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Peredur, a thirteenth-century Arthurian romance in the Mabinogion collection, here encounters the trinity of poststructuralism, postmodernism, and postcolonialism. Hence references to Mikhail Bakhtin, Michel Foucault (whose Ceci n’est pas une pipe prompts the title), and Gayatri Chakravorty Spivak, as well as to professional Celticists at Cambridge (where the author wrote her doctorate) and Aberystwyth. Analysis is set out in six chapters: first, on the tale’s structure; second, its topography and landscape; third, historical context (with emphasis on Constantinople and its Empress); fourth, i

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14

MONDJO LOUNDOU, Réal, and Marie-France Prisca ANDEME MBA. "Proximité et voisinage entre Temps de chien de Patrice Nganang et Verre cassé d’Alain Mabanckou." Cahiers Africains de Rhétorique 3, no. 1 (2025): 78–93. https://doi.org/10.55595/0tfpt297.

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Cet article a pour objectif de montrer par une étude couplée des deux romans que nous analysons, qu’il reste possible d’établir une ressemblance par des éléments textuels sans manquer de relever certains aspects du paratexte ainsi que quelques effets du « seuil ». Partant du présupposé qu’il existe manifestement une amitié littéraire entre ces deux romanciers, il importe de ce fait, de postuler pour un rapprochement dont il s’agit d’apprécier à travers les titres, les premières et quatrièmes de couvertures (résumés), les notices bibliographique et biographique, etc. Des points de similitude qu

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15

Timuška, Agris. "Leksēma tēvs Eiropas valodu izloksnēs: ģeolingvistisks pārskats." Vārds un tā pētīšanas aspekti: rakstu krājums = The Word: Aspects of Research: conference proceedings, no. 26 (November 23, 2022): 153–59. http://dx.doi.org/10.37384/vtpa.2022.26.153.

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The article deals with the semantic motivation of the lexeme father on the basis of the material recorded in subdialects of European languages as answers to the questionnaire of the Atlas Linguarum Europae and presented in a geolinguistic map. From the onomasiologic angle, in subdialects of European languages, there are only three motivation patterns for this kinship term: 1) forms continuing IE. *pətḗr in Hellenic, Romance, Germanic, Celtic and Iranian languages, e. g. Gr. pateras, Fr. père, Sp. pa(d)re, It. pat(r)e, Gm. Vater, Engl. father, Dan., Norw., Swed. far, Irish athair, Oss. fyd; 2)

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16

Oket, 1Média Stévha, and Séverin Ngakosso. "Sceptre des spectres lors de la shoah au sein du roman lazareen." Annales de la Faculté des Lettres, Arts et Sciences Humaines 13, no. 1 (2025): 75–91. https://doi.org/10.55595/d5r6xk91.

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:Pour presque tous nos contemporains lettrés : poètes, dramaturges, romanciers, essayistes, autobiographes, historiens, acteurs politiques comme stars de cinéma ; le terme Shoah évoque le drame de six millions de Juifs écrasés sous la botte allemande pendant la Seconde Guerre mondiale. Cette définition est avérée, univoque et ne souffre d’aucune contestation. En d’autres termes, il y a deux camps diamétralement opposés quand on évoque ce plus grand génocide que le monde a connu jusqu’ici : d’un côté, les bourreaux antisémites au pouvoir ; de l’autre, les souffre-douleur juifs généralement parq

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17

Poppe, Erich, and Regine Reck. "A French romance in Wales: Ystorya Bown o Hamtwn: processes of medieval translations. Part I." Zeitschrift für celtische Philologie 55, no. 1 (2007). http://dx.doi.org/10.1515/zcph.2007.122.

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18

Dereza, Oksana. "Paired Adjectives in the Middle Welsh Ystorya Bown o Hamtwn." Studia Celto-Slavica, 2015, 281–82. http://dx.doi.org/10.54586/yzrt5331.

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One of the stylistic devices typical for Medieval Welsh literature is the usage of paired adjectives. It occurs not only in the native tales but also in the adaptations of Continental material, such as an Old French romance of chivalry Geste de Boeve de Haumtone. Predominantly, the paired adjectives in the Welsh source Ystorya Bown o Hamtwn neither have any equivalents in the French source nor correspond to “adverb mult, tut, si, plus, bien + adjective” construction. This fact is indicative of the translator’s independence in stylistic organization of the text; it also draws our attention to t

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19

Cockcroft, Tom, and Martin Wright. "Virtual Volunteers: a solution looking for policing problems." Policing: A Journal of Policy and Practice 19 (2025). https://doi.org/10.1093/police/paaf009.

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Abstract This operational commentary describes an innovative approach to police volunteering that is currently being piloted in Wales, United Kingdom (UK). The programme, named Virtual Volunteers, is a partnership between students, academics, and administrative staff at the University of South Wales (USW) and Tarian (the Welsh word for ‘shield’), the Regional Organised Crime Unit (ROCU) for the southern Welsh police forces. Students engage in the university intranet to review and answer policing problems posed to them by the ROCU. Such problems include romance fraud, AI-enabled crime, and mone

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20

Higley, Sarah L. "Audience, Uglossia, and CONLANG." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1827.

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Could we also imagine a language in which a person could write down or give vocal expression to his inner experiences -- his feelings, moods, and the rest -- for his private use? Well, can't we do so in our ordinary language? -- But that is not what I mean. The individual words of this language are to refer to what can only be known to the person speaking; to his immediate private sensations. So another person cannot understand the language. -- Ludwig Wittgenstein, Philosophical Investigations par. 243 I will be using 'audience' in two ways in the following essay: as a phenomenon that produces

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