XLII. Agudos and Esdrújulos in Italianate Verse in the Golden Age

PMLA ◽  
1939 ◽  
Vol 54 (3) ◽  
pp. 678-684
Author(s):  
Dorothy Clotelle Clarke

Much has been written for and against or concerning the use of agudos, or oxytones, and esdrújulos, or proparoxytones, in rime in Italianate verse (seven and eleven syllable lines) by the poets of the Spanish Golden Age. The names of Buceta and Zerolo on the esdrújulo, and Menéndez y Pelayo and Rodríguez Marín on the agudo, are outstanding. Nothing has been done, however, so far as I know, to correlate the use of the two chronologically. A short résumé of the history of opinion and criticism of their use may shed some light on the matter.

1985 ◽  
Vol 37 (1) ◽  
pp. 149-151 ◽  
Author(s):  
Edward H. Friedman

1985 ◽  
Vol 50 (2) ◽  
pp. 111
Author(s):  
Frank A. Domínguez ◽  
Henryk Ziomek ◽  
Frank A. Dominguez

1986 ◽  
Vol 54 (1) ◽  
pp. 94
Author(s):  
Alfredo Hermenegildo ◽  
Henryk Ziomek

Hispania ◽  
1987 ◽  
Vol 70 (4) ◽  
pp. 799
Author(s):  
Shirley B. Whitaker ◽  
Henryk Ziomek

Animation ◽  
2020 ◽  
Vol 15 (1) ◽  
pp. 37-60 ◽  
Author(s):  
Maria Pagès

During the 1940s, the Spanish animation industry based in Barcelona reached a high technical level. Despite the Franco dictatorship and austerity following the Spanish Civil War, the Catalan animation industry produced feature-length films that bore comparison with those made elsewhere in Europe. This article looks at the reasons for and the nature of Barcelona’s Golden Age of Animation, and follows the steps on the industry’s path to technical mastery. The author revisits the history of the Spanish Golden Age of Animation (which lasted from 1939 to 1951) in the context of the international animation scene at the time.


Author(s):  
Jonathan Thacker

This study traces, in broad brushstrokes, the history of the translation of Spanish Golden Age drama into English from the barren times of the 17th and 18th century to the comparative flood of versions done in the contemporary period. The move away from translations for the page towards renderings aimed at public performance is explored and translators’ varied approaches to the dramatic material outlined and explained. Different techniques employed by translators and adaptors, faced with the perceived difficulties of the Spanish play-texts, are analysed schematically in the second section.


1987 ◽  
Vol 82 (4) ◽  
pp. 996
Author(s):  
Nigel Griffin ◽  
Henryk Ziomek

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