scholarly journals «Dos motivos recurrentes en el desenlace de la Historia de Merlín en los libros de caballerías castellanos: el aprendizaje mágico y el sabio engañado por una mujer»

1970 ◽  
Vol 26 ◽  
pp. 149-167
Author(s):  
Daniel Gutiérrez Trápaga
Keyword(s):  
Female Characters ◽  
Xvith Century ◽  
Libros De Caballerias ◽  
Chivalric Romances

Resumen: El presente trabajo estudia dos motivos recurrentes en el desenlace de la historia de Merlín en los libros de caballerías castellanos: el aprendizaje mágico y el sabio engañado por una mujer. Ambos están ligados a conocidos personajes de la tradición artúrica, como Morgana y Niviana, y al amor que el mago siente por ellas. En la tradición castellana del siglo XVI, los dos motivos señalados fueron centrales para la caracterización del mago, pero su interpretación varió en cada obra.Palabras claves: Merlín. Libros de caballerías castellanos. Sabio engañado y enseñanza mágica.Abstract: The present work studies two frequent motives in Merlin’s story ending in Castilian Chivalric Romances: the wise-man fooled and magic learning. Both motives are linked to well known female characters in Arthurian tradition, like Morgane le Fay and Niniene, and the wizard’s love for the two of them. In the XVIth century Castilian tradition, the motives already mentioned were central for Merlin’s characterization. Nonetheless, its interpretation and uses changed in each text.Keywords: Merlin. Castilian Romance of Chivalry. Wise-man fooled and magic teaching.

scholarly journals «De vuelta sobre la seducción en los libros de caballerías. Con especial atención a la figura masculina y el ‘donjuanismo’»

1970 ◽  
Vol 26 ◽  
pp. 31-52
Author(s):  
María del Rosario Aguilar Perdomo
Keyword(s):  
Courtly Love ◽  
Tirso De Molina ◽  
Don Juan ◽  
Libros De Caballerias ◽  
Chivalric Romances ◽  
The Ideal ◽  
Falling In Love

Resumen: Este artículo aborda el motivo del caballero seductor y mujeriego, antecedente del Don Juan de Tirso de Molina, que corresponde en el catálogo de Stith Thompson al motivo T10.4 (G), “Man continually falling in love”. Se hace una revisión de los herederos de Gauvain artúrico en los libros de caballerías castellanos, con especial atención a Galaor en el Amadís de Gaula, Rogel de Grecia del Florisel de Niquea y Floriano del Desierto del Palmerín de Inglaterra para descubrir los rasgos que los hermanan y que los hacen transgresores del ideal de amor cortés de fidelidad y servicio a una sola dama.Palabras clave: Libros de caballerías. Seducción. Caballero mujeriego. Amadís de Gaula. Florisel de Niquea. Palmerín de Inglaterra. Abstract: This article approaches the motive of the seductive and womanizer knight, antecedent of Tirso’s de Molina Don Juan, which corresponds to the motive T10. 4 (G) on Stith Thompson’s Index, “Man continually falling in love”. It makes a revision of arturic Gauvain’s heirs on the castilian romances of chivalry, with special attention to Galaor on the Amadis de Gaula, Rogel de Grecia from Florisel of Niquea and Floriano del Desierto from Palmerín de Inglaterra, in order to discover the twinning features among them, that also make them transgressors of the ideal of courtly love and service to one lady.Keywords: Chivalric romances. Seduction. Womanizer knight. Amadís de Gaula. Palmerín de Inglaterra. Florisel de Niquea.

scholarly journals La presencia del gigante en el ciclo amadisiano: Un paradigma antroponímico caballeresco

2014 ◽  
pp. 105
Author(s):  
María Coduras Bruna
Keyword(s):  
Key Words ◽  
Palabras Clave ◽  
Constant Type ◽  
Libros De Caballerias ◽  
Chivalric Romances

<p>Resumen</p> <p>El gigante o jayán es un tipo constante en los libros de caballerías. Simbolizando la desmesura, la soberbia y la brutalidad, representa el mal y se opone al caballero, arquetípicamente virtuoso. En esta ocasión, nos proponemos analizar su presencia en el ciclo amadisiano para, desde él, extraer una poética antroponímica propia de la raza gigantea extensible a todo el género caballeresco.</p> <p>Palabras clave: Gigante, antroponimia, libros de caballerías, ciclo amadisiano.</p> <p> </p> <p>Abstract</p> <p>The giant or <em>jayán</em> is a constant type in romance of chivalry. Symbolizing savageness, arrogance and brutality, represents evil, opposite the knight, vitue’s archetype. On this occasion, we analyze the giant’s presence in the Amadisian cycle, deducing an anthroponimic poetics of giants extensible to all of the chivalric genre.</p> <p>Key words: Giant, anthroponymy, chivalric romances, Amadisian cycle.</p>

scholarly journals Material dimensions of a chivalric romance: metanarrative and book history in Ortúñez de Calahorra’s Espejo de príncipes y cavalleros and other libros de caballerías

Neohelicon ◽  
2020 ◽  
Vol 47 (2) ◽  
pp. 379-392
Author(s):  
Daniel Syrovy
Keyword(s):  
Book History ◽  
Literary Tradition ◽  
Book Design ◽  
Market Strategy ◽  
Textual Evidence ◽  
Recent Developments ◽  
Discursive Strategy ◽  
Chivalric Romance ◽  
Libros De Caballerias ◽  
Chivalric Romances

AbstractApart from a specific set of conventions in book design, the so-called “género editorial”, the Castilian chivalric romances from the late 15th to the early 17th c., are a varied genre. The paper takes a look at different ways in which materiality plays a role for the romances, situating them between market strategy and complex literary tradition. Certain approaches, from paratextual keywords (‘mirror’, ‘chronicle’) to metanarrative and metafictional elements (found manuscripts, pseudotranslations, metalepsis) are not only fixed topoi, but vary from text to text. In fact, they are in constant dialogue with recent developments in historiography, as well as other fictional genres. Thus, supernatural sources, contradictory textual evidence, and explanations of the marvelous often combine into a complex discursive strategy that helps explain the continuous popularity of the genre for more than 120 years.

Enforcing Performance: Disciplining Girls in British Co-educational Boarding School Stories, 1928–58

2008 ◽  
Vol 1 (2) ◽  
pp. 125-138
Author(s):  
CLARE HOLLOWELL
Keyword(s):  
Gender Roles ◽  
Real Life ◽  
Boarding School ◽  
Educational Setting ◽  
Female Characters ◽  
School Stories ◽  
School Story ◽  
Girls School ◽  
A Site

This paper examines girls and power in British co-educational boarding school stories published from 1928 to 1958. While feminist scholars have hailed the girls’ school story as a site of potential resistance to constricting gender roles, the same can not be said of the co-educational school story. While the genres share many tropes and characterisation, the move from an all-female world to a co-educational setting allows the characters access to a narrower range of gender roles, and renders the female characters significantly less powerful. The disciplinary structures of the co-educational schools, mirroring those in real life, operate in a supposedly progressive manner that in fact removes girls from access to power.

Cicero hunnicus Miklos Oláh's Eloquent Attila

2006 ◽  
Vol 24 (3) ◽  
pp. 275-301
Author(s):  
Thomas Conley
Keyword(s):  
National Identity ◽  
Xvith Century ◽  
Better Than

Abstract The Life of Attila, composed by the Hungarian patriot and churchman Miklos [Nicolaus] Oláh (1493-1568), includes several speeches by Attila. His style, the most striking character of these harangues, cannot be described better than as “elevated Ciceronian” whence the title Cicero hunnicus. This article establishes the manner in which the rhetoric of Attila serves as a strategy of rehabilitation through the use of which Oláh defends the image of his hero (and that of the Hungarian people). In conclusion, there is outlined a sketch of how, in the XVIth century, an attempt was made to establish the Hungarian national identity on rhetorical foundations.

Maritime Fantasies and Gender Space in Three Shakespearean Comedies

2012 ◽  
Vol 11 (1) ◽  
pp. 23-37
Author(s):  
Wai Fong Cheang
Keyword(s):  
Female Characters ◽  
Merchant Of Venice ◽  
Twelfth Night ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
Gender Space ◽  
And Gender ◽  
Gender And Space

Abstract Laden with sea images, Shakespeare‘s plays dramatise the maritime fantasies of his time. This paper discusses the representation of maritime elements in Twelfth Night, The Tempest and The Merchant of Venice by relating them to gender and space issues. It focuses on Shakespeare‘s creation of maritime space as space of liberty for his female characters.

Sub-version of Myth: Portrayal of Karna’s two wives in Kavita Kane’s Karna’s Wife

2019 ◽  
Vol 5 (4) ◽  
pp. 277-292
Author(s):  
Yashika Bisht ◽  
Shweta Saxena
Keyword(s):  
The Novel ◽  
Female Characters

Karna’s Wife is the first work of the writer, Kavita Kane who is “trying to portray a small chunk, a small aspect which has not been dealt with yet” in the Mahabharata. In Karna’s Wife, Kavita Kane portrays female characters like Uruvi and Vrushali who are victims at the hands of men and fate and how they still balance their lives and endure it all. Vrushali is the first wife of Karna and her husband married Uruvi and was deeply in love with her. Her rights, his attention, his love, everything is distributed. Uruvi who is Karna’s second wife is constantly seen striving throughout the novel to keep her husband away from Duryodhana’s evil camaraderie because she fears that this alliance will certainly lead to her husband’s catastrophe. It would be very interesting to see how these two women have come out of these gritty situations, faced the veracity and still lived mightily.

THE FEATURES OF FEMALE IMAGES IN THE TRAGEDIES OF GUSEYN JAVID

2020 ◽  
Vol 5 (3) ◽  
pp. 180-188
Author(s):  
Malika Adigezalova ◽  
Keyword(s):  
Female Characters ◽  
Female Images ◽  
Female Figures ◽  
Characteristic Features ◽  
And Behavior ◽  
The Given

The article is devoted to the features of female types in the tragedies of one of significant playwrights of the XX century Guseyn Javid. In the given article, they analyse and compare the characteristic features and behavior of the female figures of the author’s such literaryworks as «Mother»(Selma, Ismet), «Maral»(Maral, Humay), «Afet»(Afet, Alagoz), «Siyavush»(Farangiz, Sudaba). The basis of the article lies in the creative works of G.Javid, where special attention is attracted by several types of female characters, among which the types of a traditional eastern woman are most brightly represented

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