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Academic literature on the topic 'Spanish chivalric romance'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Spanish chivalric romance"

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Álvarez-Recio, Leticia. "Spanish chivalric romances in English translation." Cahiers Élisabéthains: A Journal of English Renaissance Studies 91, no. 1 (August 20, 2016): 5–20. http://dx.doi.org/10.1177/0184767816662926.

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West, Michael. "Spenser's Art of War: Chivalric Allegory, Military Technology, and the Elizabethan Mock-Heroic Sensibility." Renaissance Quarterly 41, no. 4 (1988): 654–704. http://dx.doi.org/10.2307/2861885.

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In the medieval romances single combat was the knightly norm. The Italian chivalric epics sought to adapt this convention to the ideals of the Renaissance courtier. In Il Cortegiano, Frederico Fregoso explains “that where the Courtyer is at skirmishe, or assault, or battaile upon the land, or in such other places of enterprise, he ought to worke the matter wisely in seperating himself from the multitude, and undertake his notable and bould feates which he hath to doe, with as little company as he can.“’ But such displays of panache had little place in the massed infantry tactics that dominated the actual battlefields of the sixteenth century. It was disciplined self-restraint that made the Swiss and Spanish pike phalanxes so formidable, relegating cavalry to secondary importance. The Italian courtierknights had been rudely humbled, after all, when Charles XII invaded Italy in 1494 and deployed his excellent artillery.

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Rawski, Jakub. "Błędni rycerze Juliusza Słowackiego — Zawisza Czarny i Beniowski." Prace Literackie 56 (June 29, 2017): 33–49. http://dx.doi.org/10.19195/0079-4767.56.3.

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Knights-errant by Juliusz Słowacki — Zawisza the Black and Beniowski„Zawisza the Black” and „Beniowski” drama there are one of poorly discussed works by Juliusz Słowacki. The unfinished dramas by the poet, dating from the late, mystical phase of his literature, opens awide field of research. It appears advisable to place the thesis of apossible inspiration Słowacki „Don Quixote” by Miguel de Cervantes Saavedra when writing drama „Zawisza the Black” and „Beniowski” drama. Spanish novel, which is amockery of chivalric romances and epics, perhaps, has become for author of „Kordian” point of reference for the creation of the world presented these works. Exemplification of these claims is to analyse „Zawisza the Black”, whose title character is seen as knight-errant possessed by madness and unhappy love, like the character of „Don Quixote”. Reinterpretation of the conditions of polish culture made by Słowacki based on demythologization the most famous knight.

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Ochiagha, Terri. "Neocoductive Ruminations." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1540–43. http://dx.doi.org/10.1632/pmla.2016.131.5.1540.

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I Was Born in Spain to a Spanish Mother and a Nigerian Father. I Moved to Nigeria on the Day That I Turned Seven and remained in the country for nine years. The interplay between my cultural liminality and an early aestheticism has determined my experience of literature—first as a precocious reader and later as a teacher and scholar.My first literary diet, like that of many children, consisted of fairy tales and abridged classics. At primary school in Nigeria, our English textbooks featured passages from African novels to teach reading comprehension. While I found the short storylines interesting, their pedagogical use meant that I did not perceive them as “literature”—a word that I associated with stories to wonder at, get lost in, and daydream about. At the age of nine I graduated to unabridged Dickens novels and Shakespeare plays alongside Mark Twain's The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn, supplementing my diet with Spanish chivalric romances such as Garci Rodríguez de Montalvo's Amadís de Gaula (1508) and Francisco Vázquez's Palmerín de Oliva (1511). Apart from a sense of intrigue, these two works gave me respite from an unrelenting sense of otherness. They provided vicarious adventure, and their settings reminded me of the Castilian castles that formed part of my early-childhood landscape.

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Colahan, Clark. "Imágenes y personajes del «Quijote» transfigurados en la «Galatée» de Florian." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 93. http://dx.doi.org/10.17811/cesxviii.26.2016.93-109.

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RESUMENFlorian fue un autor de éxito popular y académico de ideas francesas ilustradas, pero de frecuente temática española. Ganó renombre como fabulista, dramaturgo y autor de novelas pastoriles, entre ellas su adaptación de La Galatea cervantina. Su Galatée combina un estilo delicado con los ideales fraternales de la época revolucionaria que vivió y emplea imágenes y personajes cervantinos revestidos de tonos y significados nuevos. No se ha comentado en la obra floriana la sistemática transfiguración en pastoril idealizada de lo caballeresco paródico del Quijote, ni siquiera la mera presencia de esta obra. Sin embargo, los fundamentales personajes de Silerio y Timbrio de La Galatea, adaptados muy libremente en Don Quijote con elementos cómicos y dramáticos bajo los nombres de Cardenio y Fernando, no pasan por esta metamorfosis. Florian, a pesar de la gran popularidad de Cardenio en la época, no cambia la caracterización de los dos amigos fieles ni rebaja el tono de su historia, conservando así el idealismo de su modelo pastoril.PALABRAS CLAVEInfluencias, Quijote, Revolución francesa, sátira cervantina, idealismo, novela pastoril, simbolismo, fábulas. TITLEImages and characters from «Don Quixote» transfigured in Florian’s «Galatée»ABSTRACTFlorian was a writer who achieved popular and academic success expressing ideas of the French Enlightenment, though often using Spanish subject matter. He won fame as the author of fables, plays and pastoral romances, among the latter being his adaptation of Cervantes’ Galatea. His Galatée combines a delicate style with the fraternal ideals of the revolutionary era in which he lived, and he made use of images and characters from Cervantes to which he gives a new tone and meaning. There has been no previous study of the systematic transfiguration into idealized pastoral of the chivalric parody of Don Quixote, or even awareness of the mere presence of that work. Nevertheless, the central characters of Silerio and Timbrio in Galatea Don Quixote have been very freely adapted with comic and dramatic elements under the names of Cardenio and Fernando, do not undergo this transfiguration. Florian, in spite of the great popularity of Cardenio in the period, does not change the characterization of the two faithful friends nor lower the tone of their story, thereby preserving the idealism of the pastoral model he has used.KEY WORDSInfluences, Don Quixote, French Revolution, Cervantes’ satire, idealism, pastoral novel, symbolism, fables.

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Soler, Abel. "«Enrique de Villena y Curial e Güelfa»." Revista de Literatura Medieval 30 (December 31, 2018): 233–49. http://dx.doi.org/10.37536/rpm.2018.30.0.74052.

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Resumen: Enrique de Villena (1384-1434), noble aficionado a las letras, autor bilingüe en catalán y castellano, residente algunos años (ca. 1416- 1429) de manera intermitente en la corte valenciana de Alfonso V de Aragón y Juan de Navarra, influyó en el concepto de literatura del autor de la novela caballeresca Curial e Güelfa (Enyego d’Àvalos?), escrita en catalán (Nápoles-Milán, c. 1445-1448) y relacionable con la corte italiana del Magnánimo. El Curial presenta conexiones intertextuales con la obra de Villena, además de hápax y neologismos compartidos. Su autor conoció, sin duda, Los dotze treballs d’Hèrcules (Valencia, 1417) y parodió errores mitográficos de la Eneida romanceada, glosada y moralizada por Villena (Valencia, 1427-1429), dos obras a las que alude implícitamente en la suya. Ambos escritores difundieron el ideal del vir scientificus Hércules (Coluccio Salutati) como alegoría del esfuerzo que los caballeros sçientíficos/scientífichs ponían en estudiar los clásicos greco-latinos para crecer en virtud. Y ambos parece que anticiparon un «virgilianismo político» interpretable como la idea de embellecer literariamente los hechos históricos para eternizar la gloria militar en un digno formato.Palabras clave: Literatura catalana medieval, Enrique de Villena, Curial e Güelfa, Enyego d’Àvalos, Eneida glosada.Abstract: Enrique de Villena (1384-1434), a nobleman keen on arts, a bilingual author in Catalan and Spanish, who lived for some years (ca. 1416- 1429) –in a sporadic way– in the Valencian court of Alfonso V of Aragon and John of Navarre, had an influence on the concept of literature to the author of the chivalric novel Curial e Güelfa (Enyego d’Àvalos?), written in Catalan (Naples-Milan, ca. 1445-1448) and which could be related with the Italian court of the Magnanimous. The Curial displays intertextual connections with Villena’s work, apart from shared hapaxes and neologisms. The author was aware of –undoubtedly– Los dotze treballs d’Hèrcules (Valencia, 1417) and parodied mythographic mistakes from the romanced, glossed and moralised Aeneid by Villena (Valencia, 1427-1429), two works that he alludes to implicitly in his own. Both writers spread the ideal of the vir scientificus Hercules (Coluccio Salutati) as an allegory of the effort the sçientíficos/scientífichs knights put on studying the Greek-Latin classics to grow up in virtue. And both seem to anticipate a «political virgilianism» which could be interpreted as the idea of embellishing literarily the historical events to perpetuate the military glory in a respectable format.Keywords: Medieval Catalan literature, Enrique de Villena, Curial e Güelfa, Enyego d’Àvalos, glossed Aeneid.

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Hester, Nathalie. "Moderata Fonte. Floridoro: A Chivalric Romance. The Other Voice in Early Modern Europe. Ed. Valeria Finucci. Trans. Julia M. Kisacky. Chicago : The University of Chicago Press, 2006. xxx + 494 pp. index. append. bibl. $75 (cl), $29 (pbk). ISBN: 0-226-25677-4 (cl), 0-226-25678-2 (pbk). - Margherita Sarrocchi. Scanderbeide: The Heroic Deeds of George Scanderbeg, King of Epirus. The Other Voice in Early Modern Europe. Ed. and trans. Rinaldina Russell. Chicago : The University of Chicago Press, 2006. xxx + 462 pp. index. append. gloss. bibl. $75 (cl), $29 (pbk). ISBN: 0-226-73507-9 (cl), 0-226-73508-7 (pbk). - Marie-Madeleine Lafayette. Zayde: A Spanish Romance. The Other Voice in Early Modern Europe. Ed. and trans. Nicholas D. Paige. Chicago : The University of Chicago Press, 2006. xxx + 210 pp. illus. bibl. $45 (cl), $18 (pbk). ISBN: 0-226-46851-8 (cl), 0-226-46852-6 (pbk)." Renaissance Quarterly 60, no. 3 (2007): 893–96. http://dx.doi.org/10.1353/ren.2007.0279.

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"Spanish romances of chivalry on the Web." Zagadnienia Rodzajów Literackich 63, no. 2 (2020). http://dx.doi.org/10.26485/zrl/2020/63.2/7.

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Tomasi, Giulia. "From Duel to Dispute." Rassegna iberistica, no. 111 (June 21, 2019). http://dx.doi.org/10.30687/ri/2037-6588/2019/111/001.

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This article highlights the variety that characterises the Spanish romances of chivalry as a genre. The uniqueness of Valerián de Hungría by Dionís Clemente (1540) is given by its rich content and lexicon. By the end of the book, the author includes a heated debate between two knights whose opinions about love contrast. They are Pacífico and Cupidio. Such a dispute needs to be studied in light of the bibliography about the genre within the Middle Ages and the Renaissance, in order to find out which elements Clemente re-elaborates. The investigation develops through the comparison with a few episodes taken from other romances of chivalry, but also with the ideology spread within contemporary works in which the same themes of Valerián are remarked.

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Noonan, Will. "On Reviewing Don Quixote." M/C Journal 8, no. 5 (October 1, 2005). http://dx.doi.org/10.5204/mcj.2415.

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The book review might be thought of as a provisionally authoritative assessment designed to evaluate a book on behalf of potential readers, and to place the text within an appropriate literary context. It is, perhaps, more often associated with newly published works than established “classics,” which exist both as saleable commodities in the form of published books, and as more abstract entities within the cultural memory of a given audience. This suggests part of the difficulty of reviewing a book like Miguel de Cervantes’s Don Quixote, originally published in 1605 (Part I) and 1615 (Part II). Don Quixote is a long book, and is often referred to through ellipsis or synecdoche. Pared back to its most famous episode, Don Quixote’s tilting at windmills (Part I ch. 8: 63-5), it is frequently interpreted in terms of a comic opposition between the world of chivalric romance that determines the central character’s perceptions and actions, and the world of early modern Spain in which he is set. This seems as good a summary as any of Don Quixote’s behaviour, as the “quixotic” symbolism of this episode is easily transposed onto both the internal world of the text, and the external world in general. But Cervantes’s novel also seems to resist definition in such simple terms; as I intend to suggest, the relationship between what Don Quixote is seen to represent, and his role in the novel, can generate some interesting repercussions for the process of reviewing. Cervantes represents his character’s delusions as a consequence of the books he reads, providing the opportunity for a review (in the sense both of a survey and a critique) of various contemporary literary discourses. This process is formalised early on, as the contents of Don Quixote’s library are examined, criticised and selectively burnt by his concerned friends (Part I ch. 6: 52-8). The books mentioned are real, and the discovery of Cervantes’s own Galatea among those reprieved suggests a playful authorial reflection on the fictional quality of his work, an impression reinforced as the original narrative breaks off to be replaced by a “second author” and Arabic translator between two chapters (Part I ch. 8-9: 70-6). Part II of Don Quixote depicts characters who have read, and refer to, Part I, effectively granting Don Quixote an internal literary identity that is reviewed by the other characters against the figure they actually encounter. To complicate matters, it also contains repeated mentions of a real, but apocryphal, Part II (published in Tarragona in 1614 under the name Alonso Fernández de Avellaneda), culminating in Don Quixote’s encounter with a proof copy of a (fictional) second edition in a Barcelona printing shop (ch. 62: 916). Ironically, while this text appears to question the later, authorised version from which it differs markedly, Cervantes’s mention of it within his own text allows him both to review the work of his rival, and reflect on the reception of his own. These forms of self-reflexivity suggest both a general interest in writing and literature, and a rather more perplexing sense of the text reviewing itself. In an odd sense, Don Quixote pre-empts and usurps the role of the reviewer, appearing somehow to place external reviewers in the position of being contained or implied within it. But despite these pitfalls, more reviews than usual have appeared in 2005, the four hundredth anniversary of the publication of Don Quixote, Part I. Some refer specifically to editions released for the anniversary: Jeremy Lawrance reviews two new editions in Spanish, while Paddy Bullard examines a newly-restored edition of Tobias Smollett’s 1755 translation, recommended “for readers of Cervantes who are interested in his profound influence on eighteenth-century British culture, or on the development of the novel as a modern literary genre.” This also suggests something about the way in which translations, like reviews, serve to mark and to mediate their own context. Lawrance’s verdict of “still readable” implies the book’s continuing capacity not only to entertain, but also to generate readings that throw light on the history of its reception. Don Quixote provides a perspective from which to review the concerns implied in critical interpretations of different periods. Smollett’s translation (like Laurence Sterne’s invocations of Cervantes in his Tristram Shandy) suggests an eighteenth-century interest in the relationship between Don Quixote and the novel. This may be contrasted, as Yannick Roy suggests (53-4), both with earlier perceptions of Don Quixote as a figure to be laughed at, and the post-romantic perception of a tragicomical everyman seen as representative of a human condition. Modern interpretations of Don Quixote are also complicated by the canonisation of its hero as a household word. Comparing the anniversary of Don Quixote to the attention given to the centenary of Einstein’s Special Theory of Relativity (1905), Simon Jenkins notes “few English people read Don Quixote, perhaps because they think they know it already.” It is frequently described as a foundational text of the modern novel; however, at a thousand pages, it must also compete for readers’ time and attention with the ever-increasing gamut of long prose narratives it helped instigate. Don Quixote, the deluded knight-errant lives on, while the subtleties of Cervantes’s narrative may increasingly be dependent on sympathetic reviewers. It would seem that it is no longer necessary to read the story of Don Quixote in order to know, or even write about him. Nevertheless, not least because the book entertains a complex relationship with its character, and because it seems so conscious of its own literary enterprise, Don Quixote is a dangerous book not to have read. Responding to Jenkins’s claim that Cervantes’s work represents a more unique, and more easily grasped, achievement than Einstein’s, Stephen Matchett takes exception to a phenomenon he describes as “a bloke who tilted at windmills.” Arguing that “most of us are sufficiently solipsistic to be more comfortable with writers who chart the human condition than thinkers who strive to make sense of the universe,” he seems to consider Don Quixote as exemplary of a pernicious modern tendency to privilege literary discourses over scientific ones, to take fiction more seriously than reality. Even ignoring the incongruity of a theory of relativity presented as a paradigm of fact (which may speak volumes about textual and existential anxiety in the twenty-first century), this seems a particularly unfortunate judgement to make about Don Quixote. Matchett’s claim about the relative fortunes of science and literature is not only difficult to substantiate, but also appears to have been anticipated by the condition of Don Quixote himself. Rather than arguing that the survival of Cervantes’s novel is representative of a public obsession with fiction, it would seem more accurate, if nonetheless paradoxical, to suggest that Don Quixote seems capable of projecting the delusions of its central character onto the unwary reviewer. Matchett’s article is not, strictly speaking, a review of the text of Don Quixote, and so the question of whether he has actually read the book is, in some sense, irrelevant. The parallels are nevertheless striking: while the surrealism of Don Quixote’s enterprise is highlighted by his attempt to derive a way of being specifically from a literature of chivalry, Matchett’s choice of example has the consequence of re-creating aspects of Cervantes’s novel in a new context. Tilting at chimerical adversaries that recall the windmills upon which its analysis is centred, this review may be read not only as a response to Don Quixote, but also, ironically, as a performance of it. To say this seems absurd; however, echoing Jorge Luis Borges’s words in his essay “Pierre Menard, Author of the Quixote,” “to justify this ‘absurdity’ is the primary object of this note” (40). Borges explores the (fictional) attempt of obscure French poet Pierre Menard to rewrite, word for word, parts of Cervantes’s Don Quixote. Menard’s initial undertaking to “be Miguel de Cervantes,” to “forget the history of Europe between 1602 and 1918,” is rejected for the more interesting attempt to “go on being Pierre Menard and reach the Quixote through the experiences of Pierre Menard”. While Menard’s text is identical to Cervantes’s, the point is that the implied difference in context affects the way in which the text is read. As Borges states: It is not in vain that three hundred years have gone by, filled with exceedingly complex events. Amongst them, to mention only one, is the Quixote itself. . . . Cervantes’s text and Menard’s are verbally identical, but the second is almost infinitely richer (41-2). Menard’s “verbally identical” Quixote can also be identified as a review of Cervantes’s text, in the sense that it is both informed by, and dependent on, the original. In addition, it allows a review of the relationship between the book as published by Cervantes, and the almost infinite number of readings engendered by the historical permutations of the last three (and now four) hundred years, from which the influence of Don Quixote cannot be excluded. Matchett’s review is of a different nature, in that it stems from an attempt to question the book’s continuing popularity. It seems absurd to suggest that Matchett himself could have served as a model for Don Quixote. But the unacknowledged debt of his piece to Cervantes’s novel, and to the opposition of discourses set up within it, reveals a supremely quixotic irony: Stephen Matchett appears to have produced a concise and richly interpretable rewriting of Don Quixote, in the persona of Stephen Matchett. References Borges, Jorge Luis. “Pierre Menard, Author of the Quixote.” Trans. James E. Irby. Labyrinths. Eds. James E. Irby and Donald A. Yates. New York: New Directions, 1964. 36-44. Bullard, Paddy. “Literature.” Times Literary Supplement 8 Apr. 2005. De Cervantes Saavedra, Miguel. Don Quixote. Trans. John Rutherford. London: Penguin, 2003. (Part and chapter references have been included in the text in order to facilitate reference to different editions.) Jenkins, Simon. “The Don.” Review. Weekend Australian 14 May 2005. Lawrance, Jeremy. “Still Readable.” Times Literary Supplement 22 Apr. 2005. Matchett, Stephen. “A Theory on Einstein.” Review. Weekend Australian 11 June 2005. Roy, Yannick. “Pourquoi ne rit-on plus de Don Quichotte?” Inconvénient: Revue Littéraire d’Essai et de Création 6 (2001): 53-60. Citation reference for this article MLA Style Noonan, Will. "On Reviewing Don Quixote." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/03-noonan.php>. APA Style Noonan, W. (Oct. 2005) "On Reviewing Don Quixote," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/03-noonan.php>.

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Dissertations / Theses on the topic "Spanish chivalric romance"

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Crowley, Timothy D. "Feigned histories Philip Sidney and the poetics of Spanish chivalric romance /." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9507.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2009.
Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Ortiz, Salamovich Alejandra Andrea. "Translation practice in early modern Europe : Spanish chivalric romance in England." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8799/.

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This thesis analyses the English versions of Spanish chivalric romance as examples of translation practice in early modern Europe. It focuses specifically on three works: Margaret Tyler’s "The Mirror of Princely Deeds and Knighthood" (c. 1578), a translation from Book I of the Spanish romance "Espejo de Príncipes y Caballeros" (1555) by Diego Ortúñez de Calahorra; Anthony Munday’s "Palmerin D’Oliva" (1588), Parts I and II, a translation from the French "L’Histoire de Palmerin D’Olive" (1546), which Jean Maugin had translated from the anonymous Spanish romance "Palmerín de Olivia" (1511); and Books I to IV of Anthony Munday’s "Amadis de Gaule" (1590-1619), all translated from the first four books (1540-1544) of the French "Amadis de Gaule" series, translated by Nicolas Herberay de Essarts from the Spanish "Amadís de Gaula" (1508) by Garci Rodríguez de Montalvo. I analyse the way in which Tyler and Munday use their translation practice to reflect or comment on aspects of their contemporary culture. I examine the way that the translators’ modifications work next to their literal translation. Through a comparative study between the translations and their sources, I focus specifically on how both translators draw attention to the topics of marriage and sexuality in their texts. I also analyse in particular Tyler’s treatment of the classical material in her source and Munday’s attention to the topic of religion. In this respect, this thesis fills particular gaps in the knowledge of literal translations and of early modern romance. Moreover, it widens the scope for exploring the figures of Margaret Tyler and Anthony Munday, showing that the gendered aspect of the former’s translation is only one aspect of her practice and that the latter’s work is more complex than has commonly been assumed.

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Moore, Helen D. "The ancient, famous and honourable history of Amadis de Gaule : a critical, modern-spelling edition of Anthony Munday's translation of Book One (1589; 1619) with introduction, notes and commentary." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336252.

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Munoz, Victoria Marie. "A Tempestuous Romance: Chivalry, Literature, and Anglo-Spanish Politics, 1578-1624." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1479905568694913.

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Daniels, Marie Cort. "The function of humor in the Spanish romances of chivalry /." New York ; London : Garland, 1992. http://catalogue.bnf.fr/ark:/12148/cb35698376z.

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Gutierrez, Trapaga Daniel. "Transtextuality in sixteenth-century Castilian romances of chivalry : rewritings, sequels, and cycles." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709212.

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CARDOSO, Maria Inês Pinheiro. "Cavalaria e picaresca no romance D' A Pedra do Reino de Ariano Suassuna." Universidade de São Paulo, 2010. http://www.repositorio.ufc.br/handle/riufc/19551.

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CARDOSO, Maria Inês Pinheiro. Cavalaria e picaresca no romance D' A Pedra do Reino de Ariano Suassuna. 2010. 547f. Tese (Doutorado) - Universidade de São Paulo, Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas, São Paulo, 2010.
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The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author.
O propósito deste trabalho é mostrar que na concepção do Romance d'A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência d'A Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor.

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Cardoso, Maria Inês Pinheiro. "Cavalaria e picaresca no romance D\' A Pedra do Reino de Ariano Suassuna." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-16062011-132209/.

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O propósito deste trabalho é mostrar que na concepção do Romance d A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência dA Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor.
The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author.

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Fuller, Hess Janine. "The Spanish medieval short chivalric romance and the “rey Canamor”: A study of the “Libro del rey Canamor y del infante turián su hijo y de las grandes aventuras que ovieron ansi en la mar como en la tierra,” Valencia 1527." 2002. https://scholarworks.umass.edu/dissertations/AAI3056226.

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The Libro del rey Canamor is one of a small group of chivalric narratives that reached popularity levels in sixteenth-century Europe similar to the “best-seller” of today. In the nineteenth and twentieth centuries these works were often overlooked or easily dismissed by scholars and many have been forgotten by the modern press. My proposal is to present the Libro del rey Canamor to the scholarly public for closer examination, easier access and renewed interest. This study presents a review of the essential distinctions often made between various types of chivalric narratives, leading to a brief discussion of their history in Hispanic literature, as well as their classification and acceptance through the years. It also examines the history of the shorter narratives and their relation to sixteenth-century printing and the creation of an editorial genre. The analysis of the Libro del rey Canamor examines its editorial history and narrative structure. Although some of its contemporaries were published for a longer period of time, this text was not able to extend its publishing life into the seventeenth century. Nevertheless, there were at least ten different editions in its heyday. The Libro del rey Canamor consists of two independent nuclei which create a hybrid text, the first part of which comes from a medieval source, while the second brings to light the aforementioned editorial genre. It is likely that the second part was written specifically for publication in early sixteenth-century Valencia. The analysis of content focuses on the major protagonists, folk motifs and their roles and functions in the more developed episodes. Finally we examine the presence of humor found in each section, concentrating on battle bravado, love intrigues, and jests. The review of the history of the chivalric narratives, both editorial and social, as well as the analysis of the internal elements of the Libro del rey Canamor in particular, show that this brief narrative is a hybrid text: a combination of a medieval narrative, albeit heavily edited, and a newly written second generation, melded together to create one of the best-sellers of sixteenth-century Spain.

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Books on the topic "Spanish chivalric romance"

1

Archipelagoes: Insular fictions from chivalric romance to the novel. Minneapolis: University of Minnesota Press, 2011.

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Kinship and marriage in medieval Hispanic chivalric romance. Turnhout, Belgium: Brepols, 2001.

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Estudis lingüístics i culturals sobre Curial e Güelfa: Novel·la Cavalleresca Anònima del Segle XV en Llengue Catalana = Linguistic and cultural studies on Curial e Güelfa : a 15th century anonymous chivalric romance in Catalan. Amsterdam: John Benjamins Pub. Co., 2012.

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Ben Jonson and Cervantes: Tilting against chivalric romances. Tokyo: Maruzen, 2000.

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Castillo, Gabriel Velázquez de. Clarián de Landanis: An early Spanish book of chivalry. Newark, DE: Juan de la Cuesta, 1995.

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Daniels, Marie Cort. The function of humor in the Spanish romances of chivalry. New York: Garland, 1992.

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Castillo, Gabriel Velázquez de. Clarián de Landanís. Alcalá de Henares, Spain: Centro de Estudios Cervantinos, 2005.

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Le chevalier Berger, ou, de l'Amadis à l'Astrée. Paris: Presses de l'Université de Paris-Sorbonne, 2002.

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Palmerín y sus libros: 500 años. México D.F: El Colegio de México, 2013.

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Unamuno, Miguel de. Don Quixote. [London]: Everyman's Library, 1991.

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Book chapters on the topic "Spanish chivalric romance"

1

Demattè, Claudia. "The Spanish Romances About Chivalry. A Renaissance Editorial Phenomenon On Which “The Sun Never Set”." In Crossing Borders, Crossing Cultures, edited by Massimo Rospocher, Jeroen Salman, and Hannu Salmi, 217–26. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110643541-013.

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Evenden-Kenyon, Elizabeth. "7 Portuguese and Spanish Arthuriana: The Case for Munday’s Cosmopolitanism." In Iberian Chivalric Romance, 158–80. University of Toronto Press, 2020. http://dx.doi.org/10.3138/9781487539009-011.

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Cooper, Helen. "10 La Celestina and the Reception of Spanish Literature in England." In Iberian Chivalric Romance, 233–46. University of Toronto Press, 2020. http://dx.doi.org/10.3138/9781487539009-014.

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"Violence in the Spanish Chivalric Romance." In Violence in Medieval Courtly Literature, 308–25. Routledge, 2012. http://dx.doi.org/10.4324/9780203341322-18.

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Pinet, Simone. "The Chivalric Romance in the Sixteenth Century." In A History of the Spanish Novel, 79–95. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199641925.003.0003.

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Moore, Helen. "The Homer of Romancy-Writers." In Amadis in English, 177–212. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0005.

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This chapter’s title quotes Margaret Cavendish’s description of Amadis and it explores the return to prominence post-1660 of Amadis’s relationship to French, rather than Spanish, literary culture. Don Quixote’s ‘witty abusing’ of chivalric romance is tempered from the 1650s by the importation of heroic romance from French and the development of ‘serious’ romance which defines itself in opposition to its Iberian forebears. Amadis became part of the Restoration refashioning of antebellum literary culture partly thanks to English writers’ experience of exile in France and the Low Countries. After the Restoration, Amadis continued to be a popular reference point in comedies, as the archetypal text of ‘amour and adventure’ and a window onto the lost world of Caroline theatre. Behn’s Luckey Chance (1686) and Farquhar’s The Inconstant (1702) are representative of this refashioning of the literary past, while D’Urfey’s Don Quixote plays of the 1690s look back to Jacobean stage satire.

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"Intervernacular Translation in the Early Decades of Print: Chivalric Romance and the Marvelous in the Spanish Melusine (1489–1526)." In Translating the Middle Ages, 149–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315549965-19.

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"THE ROMANCE OF CHIVALRY IN THE SPANISH PENINSULA BEFORE THE YEAR 1500." In Spanish & Portuguese Romances, 9–48. Routledge, 2013. http://dx.doi.org/10.4324/9780203040263-4.

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Moore, Helen. "Introduction." In Amadis in English, 1–23. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0001.

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Beginning with the phenomenon of the postcolonial Amadis as manifested in the works of Gabriel García Márquez, Paul Muldoon, and Walt Whitman, this chapter analyses the cultural and historical flexibilities of Amadis that have recommended it to readers and writers in diverse periods, languages, and cultures. An overview of the genre of the Spanish books of chivalry (libros de caballerías) to which Amadis belongs, an account of its defining relationship with Don Quixote, and a survey of the French translations by Nicolas de Herberay that first mediated the romance to England, set the scene for the succeeding chapters.

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"appealed to the Queen on being besieged by the wild sense, especially in the concluding cantos, of leaving Irish (see Vi4.1n). In reading this ‘darke conceit’, an iron world to enter a golden one. But do these no one could have failed to recognize these allusions. ways lead to an end that triumphantly concludes the The second point is that Spenser’s ﬁction, when 1596 poem, or to an impasse of the poet’s imaginat-compared to historical fact, is far too economical ive powers? For some readers, Book VI relates to the with the truth: for example, England’s intervention earlier books as Shakespeare’s ﬁnal romances relate in the Netherlands under Leicester is, as A.B. Gough to his earlier plays, a crowning and fulﬁlment, ‘a 1921:289 concludes, ‘entirely misrepresented’. It summing up and conclusion for the entire poem and would seem that historical events are treated from for Spenser’s poetic career’ (N. Frye 1963:70; cf. a perspective that is ‘far from univocally celebratory Tonkin 1972:11). For others, Spenser’s exclamation or optimistic’, as Gregory 2000:366 argues, or in of wonder on cataloguing the names of the waters what Sidney calls their ‘universal consideration’, i.e. that attend the marriage of the Thames and the what is imminent in them, namely, their apocalyptic Medway, ‘O what an endlesse worke haue I in hand, import, as Borris 1991:11–61 argues. The third | To count the seas abundant progeny’ (IV xii point, which is properly disturbing to many readers 1.1–2), indicates that the poem, like such sixteenth-in our most slaughterous age, especially since the century romances as Amadis of Gaul, could now go matter is still part of our imaginative experience as on for ever, at least until it used up all possible virtues Healy 1992:104–09 testiﬁes, is that Talus’s slaughter and the poet’s life. As Nohrnberg 1976:656 aptly of Irena’s subjects is rendered too brutally real in notes, ‘we ﬁnd ourselves experiencing not the allegorizing, and apparently justifying, Grey’s atrocit-romance of faith or chastity, but the romance of ies in subduing Irish rebels (see V xii 26–27n). Here romance itself ’. For still others, there is a decline: Spenser is a product of his age, as was the Speaker ‘the darkening of Spenser’s spirit’ is a motif in many of the House of Commons in 1580 in reporting studies of the book, agreeing with Lewis 1936:353 the massacre of Spanish soldiers at Smerwick: ‘The that ‘the poem begins with its loftiest and most Italians pulled out by the ears at Smirwick in solemn book and thence, after a gradual descent, Ireland, and cut to pieces by the notable Service of a sinks away into its loosest and most idyllic’; and with noble Captain and Valiant Souldiers’ (D’Ewes Neuse 1968:331 that ‘the dominant sense of Book 1682:286). As this historical matter relates to Book V, VI is one of disillusionment, of the disparity between it displays the slaughter that necessarily attends the the poet’s ideals and the reality he envisions’; or that triumph of justice, illustrating the truth of the common the return to pastoral signals the failure of chivalry in adage, summum ius, summa iniuria, even as Guyon’s Book V to achieve reform (see DeNeef 1982b). destruction of the Bower shows the triumph of tem-Certainly canto x provides the strong sense of an perance. This is justice; or, at best, what justice has ending. As I have suggested, ‘it is as difﬁcult not to become, and what its executive power displayed in see the poet intruding himself into the poem, as it is that rottweiler, Talus, has become, in our worse than not to see Shakespeare in the role of Prospero with ‘stonie’ age as the world moves towards its ‘last the breaking of the pipe, the dissolving of the vision, ruinous decay’ (proem 2.2, 6.9). In doing so, Book and our awareness (but surely the poet’s too) that his V conﬁrms the claim by Thrasymachus in Plato’s work is being rounded out’ (1961a:202). Republic: justice is the name given by those in power Deﬁned as ‘doing gentle deedes with franke to keep their power. It is the one virtue in the poem delight’ (vii 1.2), courtesy is an encompassing virtue that cannot be exercised by itself but within the book in a poem that sets out to ‘sing of Knights and Ladies must be over-ruled by equity, circumvented by mercy, gentle deeds’ (I proem 1.5). As such, its ﬂowering and, in the succeeding book, countered by courtesy. would fully ‘fashion a gentleman or noble person in vertuous and gentle discipline’ (Letter to Raleigh 8). Courtesy: Book VI." In Spenser: The Faerie Queene, 36. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-34.

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