scholarly journals "Las aves y animales de la oscura y encantada selva do habitamos": tipología y función de los animales en la novela pastoril española = "Las aves y animales de la oscura y encantada selva do habitamos": Tipology and function of animals in Spanish Pastoral Novel

2018 ◽  
pp. 7
Author(s):  
Francisco Javier González García
Keyword(s):  
Seventeenth Century ◽  
Jorge De Montemayor ◽  
And Function ◽  
Pastoral Novel

<p class="Pa15">En este trabajo se analizan las figuras de animales reales presentes en la novela pastoril española de los siglos xvi y xvii, género inaugurado por Jorge de Montemayor con la obra <em>Los siete libros de la Diana </em>(1559). A esta siguió una veintena de obras, cuyo género llegará hasta las tres primeras décadas del siglo xvii. En todas ellas se refiere gran variedad de animales, cuya función suele ser siempre la misma. Sin embargo, a medida que el género evoluciona, aparecen animales fabulosos, tales como las serpientes y perros gigantes.</p><p>In this paper it is analyzed the figures of real animals in the Spanish pastoral novel of the sixteenth and seventeenth centuries, genre inaugurated by Jorge de Montemayor with the work <em>Los siete libros de la Diana </em>(1559), and many will come to the first three decades of the seventeenth century. They refer va­riety of animals, whose role is usually always the same in all of them. However, as the genre evolves, fabulous animals, such as snakes and giant dogs appear.</p>

The Puritan Notion of the Covenant in Jonathan Edwards' Doctrine of Faith

1965 ◽  
Vol 34 (3) ◽  
pp. 328-341 ◽  
Author(s):  
C. Conrad Cherry
Keyword(s):  
Seventeenth Century ◽  
New England ◽  
Jonathan Edwards ◽  
Careful Attention ◽  
And Function

The immense importance of the idea of the covenant for the Puritans of England and New England has been thrown into sharp relief by recent Puritan studies. Many problems regarding the origin and function of the Puritan covenant-idea still await the careful attention of the student of Puritanism, but this much is clear: the notion of the covenant was decidedly a pervasive idea in Puritan theology, and the idea was developed in a rather elaborate scheme by a host of Puritan theologians. As Leonard J. Trinterud has discerned, the idea of the covenant so permeated the thinking of the Puritans that in “the first decades of the seventeenth century … scarcely a single important figure was not a covenant theologian” among “the Presbyterian and Independent Puritans.”1

Music and Meditation: Songs in Johannes Mauburnus's Rosetum exercitiorum spiritualium

2008 ◽  
Vol 88 (3) ◽  
pp. 347-369 ◽  
Author(s):  
Ulrike Hascher-Burger
Keyword(s):  
Seventeenth Century ◽  
Unique Feature ◽  
Structure And Function ◽  
Point Of View ◽  
Varying Length ◽  
Devotio Moderna ◽  
Late Fifteenth ◽  
And Function ◽  
First Time ◽  
Religious Songs

AbstractThe Rosetum exercitiorum spiritualium et sacrarum meditationum of Johannes Mauburnus is considered the most extensive and influential treatise on meditation in the circles of the late Devotio Moderna. It was printed in five editions from the late fifteenth to the early seventeenth century. Besides instructions for numerous meditations of varying length, this treatise contains seven religious songs which were intended to stir up the emotions and facilitate the correct disposition for meditation. These songs were created as contrafacts, meaning that the newly composed texts were sung to well-known melodies of liturgical hymns and religious songs. In song rubrics, Mauburnus gives precise instructions about their function as an aid to summoning the motivation for the great number of spiritual exercises that had to be accomplished by the adherents of the Devotio Moderna every day. A unique feature of the Rosetum is the combination of a concrete meditation with a corresponding written song. These songs have not yet been examined systematically. The texts were edited by Guido Maria Dreves in Analecta hymnica on the basis of the edition printed in Paris in 1510. The melodies have not yet been reconstructed. In this article, the seven contrafacts are studied for the first time from the point of view of their structure and function, and their melodies are reconstructed on the basis of liturgical sources associated with the Devotio Moderna.

A Spanish Farce of the Early Sixteenth Century

PMLA ◽  
1909 ◽  
Vol 24 (1) ◽  
pp. 1-31
Author(s):  
J. P. Wickersham Crawford
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Ciudad Real ◽  
The Press ◽  
Jorge De Montemayor ◽  
First Time

This farce, which is here published for the first time, is found in a collection of manuscript poetry in the Biblioteca Nacional of Madrid with the press mark 2621. It bears number 1239 in Sr. Paz y Melia's catalogue of plays in the Biblioteca Nacional. The handwriting is of the early sixteenth century. The volume contains poems, for the most part anonymous, of the sixteenth century, in Castilian and Catalan. On the first page, in a hand of the seventeenth century, we read: “En este libro ay poesias de Jorge de Montemayor, de Juan Fernandez, de D. Luis Margarit, de D. Luis de Milan, de D. Diego Hurtado de Mendoza, de N. Torrellas, de D. Hernando de Acuña, de Alvaro Gomez de Ciudad Real y de otros autores inciertos.”

Introduction

2021 ◽  
pp. 1-5
Author(s):  
David Dickson
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Urban Communities ◽  
Urban Growth ◽  
Urban System ◽  
Small Towns ◽  
Urban Centers ◽  
Process Of Urbanization ◽  
Long Eighteenth Century ◽  
And Function

This chapter describes most of Ireland's larger towns, Viking seaports, and the process of urbanization in the country. It recounts the earlier cycle of urban growth in the thirteenth century when Anglo-Normans controlled the island, the slipping back of the urban share of Ireland's modest population in the early fourteenth century, and the large number of villages and small towns established during the seventeenth century in port hinterlands. Following this, the chapter presents the 'long' eighteenth century — from the 1660s to the 1820s — an era of deepening if unsteady commercialization of what had been a largely pre-market economy and, related to this, the transformation in size and function of a handful of very old urban centers. Finally, the chapter reviews North Munster and south-east Ireland's medieval urban system. It examines how the ports of London/Derry and Sligo developed strategically important urban functions during the eighteenth century within their respective hinterlands — west Ulster and north Connacht — and how they merit inclusion in the top group of urban communities.

Unmasking ‘Thomas Tudway’: A New Identity for a Seventeenth-Century Windsor Copyist

1999 ◽  
Vol 32 ◽  
pp. 89-117
Author(s):  
Keri Dexter
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
British Library ◽  
Christ Church ◽  
And Function

Almost thirty years ago John Morehen noted the presence of a common hand in four important pre-Commonwealth sources of sacred music: Pembroke College, Cambridge MSS Mus. 6.1–6 (six part-books; hereafter Cpc 6.1–6); St George's Chapel, Windsor MSS 18–20 (three partbooks; WRch 18–20); British Library, Harley MS 4142 (a wordbook; Lbl Harl. 4142); and Christ Church, Oxford Mus. 1220–4 (five partbooks; Och 1220–4). All four sources appeared to date from the early 1640s. Morehen also observed that the same scribe subsequently copied the earliest post-Restoration part-books at Windsor (WRch 1 and 2). Identifying the copyist(s) is a crucial stage in the study of the sources, with important implications for provenance, date and function, as well as their authority relative to other sources of the period.

Theatre Workshop and the Spanish Drama

2007 ◽  
Vol 23 (4) ◽  
pp. 304-316
Author(s):  
Gwynne Edwards
Keyword(s):  
Seventeenth Century ◽  
Foreign Language ◽  
Latin American ◽  
Stage Design ◽  
Performance Style ◽  
La Celestina ◽  
European Theatre ◽  
And Function ◽  
The University

In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practitioners, sought to integrate the elements of speech, stage design, movement, music, and lighting into a harmonious whole. Indeed, even though Lorca and Littlewood worked independently of each other, their ideas on the nature and function of theatre were very similar, while Lorca's touring company, La Barraca, employed methods very close to those of Theatre Union and Theatre Workshop. Gwynne Edwards was until recently Professor of Spanish at the University of Wales, Aberystwyth, and is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca have been published by Methuen Drama, as well as translations of seventeenth-century Spanish and modern Latin American plays. Many of these have also had professional productions.

The Academies and Seventeenth-Century Spanish Literature

PMLA ◽  
1960 ◽  
Vol 75 (4-Part1) ◽  
pp. 367-376 ◽  
Author(s):  
Willard F. King
Keyword(s):  
Seventeenth Century ◽  
French Literature ◽  
Spanish Literature ◽  
Intellectual Life ◽  
Historical Romance ◽  
Century Literature ◽  
Pastoral Novel

Scholars who deal with Italian letters generally recognize, although they may deplore, the overriding importance of literary academies in the intellectual life of sixteenth- and seventeenth-century Italy, just as students of French literature know that the salons and academies of sixteenth- and seventeenth-century France had much to do with the refinement of taste and manners, with the evolution of critical standards, and with the vogue of the pastoral novel or of the vast historical romance such as Mile de Scudéry's Clélie. Students of Spanish seventeenth-century literature, however, have been remarkably incurious about literary academies, knowing at most, perhaps, that there was an Academia de los Nocturnos functioning in Valencia from 1591 to 1594, or that Lope wrote his much-debated Arte nuevo for an “Academia de Madrid,” and have seemed to regard them as no more than idle games through which the participants passed untouched. Few have asked how widespread the academies were, and even fewer have speculated on their connections with the literature of the time.

Critical Gestures: Writings on Dance and Culture. By Ann Daly. Middletown, CT: Wesleyan University Press, 2002; pp. 320. $19.95 paper.

2004 ◽  
Vol 45 (1) ◽  
pp. 137-139
Author(s):  
André Torres Lepecki
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Modern Art ◽  
Art Form ◽  
Self Sufficiency ◽  
Aesthetic Autonomy ◽  
Late Renaissance ◽  
And Function ◽  
Role And Function ◽  
The Ideal

Western theatrical dance emerges in the late Renaissance as an increasingly autonomous art form. However, as theatrical dance strove toward the ideal of its own aesthetic self-sufficiency, toward an autonomy that would eventually confer it its place as a truly modern art form, dance developed a paradoxically intimate, intricate, and convoluted relationship with its other—writing. The historical persistence of a continuous dialoguing between dancing and writing indicates how dance's aspirations for aesthetic autonomy were precisely that: an impossible (modern) wishing. Historically, the role and function of writing in regards to dance has been one of partnering. This partnering has oscillated among three foundational modes of writings on dance: the archival (writing as the guarantor of dance's historical survival, as seen already in the late 1500s, in Arbeau's Orcheseography), the choreographic (writing as mode of composing dances directly on paper, as seen in the exams for the Académie Royale in late seventeenth-century France), and the writing of criticism. Of these three modes, criticism—understood as writing aimed at explaining or translating to an audience the opacity of dance's appearing—won't emerge in its incipient form until the late eighteenth century. This mode is today the most prominent role writing takes in relation to dance, in which the function of the critic is simultaneously to preserve and explain the dances she witnesses.

Trial by Jury and Trial with the Aid of Assessors in the Superior Courts of British African Territories: III

1961 ◽  
Vol 5 (2) ◽  
pp. 82-98
Author(s):  
J. H. Jearey
Keyword(s):  
Seventeenth Century ◽  
Criminal Trials ◽  
The Law ◽  
And Function ◽  
The Trinity

The use of assessors in Courts of Admiralty in England is of long standing. The first reported case in which they are mentioned is probably The Ann of Mostein, but there is an even earlier reference to the practice of seeking advice from the Trinity House Masters dating from the beginning of the seventeenth century. The true status and function of assessors in England is not in doubt, but the same cannot be said of assessors in criminal trials in Africa, and the aim of this chapter is to clarify the position as far as possible. It is intended first to describe the law governing trial with assessors in the superior courts, then to discuss some of the problems that have arisen, and finally to attempt to define the true role of the assessor.

Conformation of Ribosomes from Escherichia Coli

1974 ◽  
Vol 32 ◽  
pp. 210-211
Author(s):  
M. Boublik ◽  
W. Hellmann ◽  
F. Jenkins
Keyword(s):  
Binding Sites ◽  
Ribosomal Proteins ◽  
Fluorescent Dyes ◽  
Protein Biosynthesis ◽  
Three Dimensional ◽  
Spatial Arrangement ◽  
Dimensional Structure ◽  
Complete Understanding ◽  
And Function

The present knowledge of the three-dimensional structure of ribosomes is far too limited to enable a complete understanding of the various roles which ribosomes play in protein biosynthesis. The spatial arrangement of proteins and ribonuclec acids in ribosomes can be analysed in many ways. Determination of binding sites for individual proteins on ribonuclec acid and locations of the mutual positions of proteins on the ribosome using labeling with fluorescent dyes, cross-linking reagents, neutron-diffraction or antibodies against ribosomal proteins seem to be most successful approaches. Structure and function of ribosomes can be correlated be depleting the complete ribosomes of some proteins to the functionally inactive core and by subsequent partial reconstitution in order to regain active ribosomal particles.

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