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Cantiga De Amigo
''Cantiga de amigo'' (, ) or ''cantiga d'amigo'' (Galician-Portuguese spelling), literally "friend song", is a genre of medieval lyric poetry, apparently rooted in a female-voiced song tradition native to the northwest quadrant of the Iberian Peninsula. According to Rip Cohen, “In 98% of the poems, the speaker is a girl, her mother, the girl’s girlfriend, or a boy (who is given a voice only in dialogues with the girl—which she begins). The girl can speak to any of the other three personae, but they can only address her (there is no directly represented communication between the other three personae: mother, girlfriend and boy do not speak with one another onstage). There are a dozen cantigas with an outside narrative voice, but most of them include words from a girl’s song.” Much has been made of nature symbolism in this genre, but “Erotic symbolism, though it has rightly attracted attention is not as common as might be imagined. All told, a few dozen poems make ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galician-Portuguese
Galician-Portuguese ( gl, galego-portugués or ', pt, galego-português or ), also known as Old Portuguese or as Medieval Galician when referring to the history of each modern language, was a West Iberian languages, West Iberian Romance language spoken in the Middle Ages, in the northwest area of the Iberian Peninsula. Alternatively, it can be considered a historical period of the Galician language, Galician and Portuguese languages. Galician-Portuguese was first spoken in the area bounded in the north and west by the Atlantic Ocean and by the Douro River in the south, comprising Galicia and northern Portugal, but it was later extended south of the Douro by the ''Reconquista''. It is the common ancestor of modern Portuguese language, Portuguese, Galician language, Galician, Galician-Asturian, Eonavian, and Fala language, Fala varieties, all of which maintain a very high level of mutual intelligibility. The term "Galician-Portuguese" also designates the subdivision of the modern ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhetoric
Rhetoric () is the art of persuasion, which along with grammar and logic (or dialectic), is one of the three ancient arts of discourse. Rhetoric aims to study the techniques writers or speakers utilize to inform, persuade, or motivate particular audiences in specific situations. Aristotle defines rhetoric as "the faculty of observing in any given case the available means of persuasion" and since mastery of the art was necessary for victory in a case at law, for passage of proposals in the assembly, or for fame as a speaker in civic ceremonies, he calls it "a combination of the science of logic and of the ethical branch of politics". Rhetoric typically provides heuristics for understanding, discovering, and developing arguments for particular situations, such as Aristotle's three persuasive audience appeals: logos, pathos, and ethos. The five canons of rhetoric or phases of developing a persuasive speech were first codified in classical Rome: invention, arrangement, style ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Occitan Literature
Occitan literature (referred to in older texts as Provençal literature) is a body of texts written in Occitan, mostly in the south of France. It was the first literature in a Romance language and inspired the rise of vernacular literature throughout medieval Europe. Occitan literature's Golden Age was in the 12th century, when a rich and complex body of lyrical poetry was produced by troubadours writing in Old Occitan, which still survives to this day. Although Catalan is considered by some a variety of Occitan, this article will not deal with Catalan literature, which started diverging from its Southern French counterpart in the late 13th century. Introduction Occitan literature started in the 11th century in several centres. It gradually spread from there, first over the greater portion (though not the whole) of southern France, into what is now the north of Italy and into Spain (Catalonia, Galicia, Castile), and Portugal. In its rise Occitan literature stands completely by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantigas De Santa Maria
The ''Cantigas de Santa Maria'' (, ; "Canticles of Holy Mary") are 420 poems with musical notation, written in the medieval Galician-Portuguese language during the reign of Alfonso X of Castile ''El Sabio'' (1221–1284). Traditionally, they are all attributed to Alfonso, though scholars have since established that the musicians and poets of his court were responsible for most of them, with Alfonso being credited with a few as well. It is one of the largest collections of monophonic (solo) songs from the Middle Ages and is characterized by the mention of the Virgin Mary in every song, while every tenth song is a hymn. The ''Cantigas'' have survived in four manuscript codices: two at El Escorial, one at Madrid's National Library, and one in Florence, Italy. The E codex from El Escorial is illuminated with colored miniatures showing pairs of musicians playing a wide variety of instruments. The ''Códice Rico'' (T) from El Escorial and the one in the Biblioteca Nazionale Centra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro Da Ajuda
The ''Cancioneiro da Ajuda'' (, ; "Ajuda Songbook") is a collection of Galician-Portuguese lyric poems probably dating from the last quarter of the 13th-century. It is the oldest of the Galician-Portuguese ''cancioneiros'' with secular music. Description The ''Cancioneiro'' is kept in the library of the Ajuda National Palace, a former royal residence located in Lisbon. It consists of a parchment codex written in Gothic script by three hands and containing illuminated miniatures. Both the text and the miniatures remained unfinished and not a note of music was written in the space left for it. The whole codex contains 310 poems, nearly all of them ''cantigas de amor'' (male-voiced love songs, though a few are satiric and there are a few male/female dialogs). History The first (crude) edition dates from 1823, but a monumental critical edition, still a standard work, was published by the German-born Romance philologist Carolina Michaëlis de Vasconcellos Carolina may refer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantigas De Escárnio E Maldizer
''Cantigas de escárnio e maldizer'' (Portuguese), ''cantiga de escarnio e maldicir'' ( Galician) or ''cantigas d'escarnho e de maldizer'' (Galician-Portuguese), literally "derision and curse songs", are a type of literary composition of insult, mockery and scorn – always with comic intent – from the Middle Ages, typical of the medieval Galician-Portuguese lyric. The Galician-Portuguese lyrical ''corpus'' has approximately 400 texts belonging to the genre. It is often incorrectly characterized as satire, the difference being that this genre normally insults named individuals, unlike the satire, that insults entire classes of people. The genre often has complex forms, with a variety of personae, and with the rhetoric being roughly in the middle of complexity in comparation to the ''cantiga de amor'' and the ''cantiga de amigo''. Insult or mockery are the essence, though techniques have a great variation, such as praising in order to blame, defending in order to accuse, tha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galician-Portuguese Lyric
In the Middle Ages, the Galician-Portuguese lyric, also known as ''trovadorismo'' in Portugal and ''trobadorismo'' in Galicia, was a lyric poetic school or movement. All told, there are around 1680 texts in the so-called secular lyric or ''lírica profana'' (see Cantigas de Santa Maria for the religious lyric). At the time Galician-Portuguese was the language used in nearly all of Iberia for lyric (as opposed to epic) poetry. From this language derives both modern Galician and Portuguese. The school, which was influenced to some extent (mainly in certain formal aspects) by the Occitan troubadours, is first documented at the end of the twelfth century and lasted until the middle of the fourteenth, with its zenith coming in the middle of the thirteenth century, centered on the person of Alfonso X, ''The Wise King''. It is the earliest known poetic movement in Galicia or Portugal and represents not only the beginnings of but one of the high points of poetic history in both countr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dialogue
Dialogue (sometimes spelled dialog in American English) is a written or spoken conversational exchange between two or more people, and a literary and theatrical form that depicts such an exchange. As a philosophical or didactic device, it is chiefly associated in the West with the Socratic dialogue as developed by Plato, but antecedents are also found in other traditions including Indian literature. Etymology The term dialogue stems from the Greek διάλογος (''dialogos'', conversation); its roots are διά (''dia'': through) and λόγος (''logos'': speech, reason). The first extant author who uses the term is Plato, in whose works it is closely associated with the art of dialectic. Latin took over the word as ''dialogus''. As genre Antiquity and the Middle Ages Dialogue as a genre in the Middle East and Asia dates back to ancient works, such as Sumerian disputations preserved in copies from the late third millennium BC, Rigvedic dialogue hymns and the ''Mahab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Satiric
Satire is a genre of the visual, literary, and performing arts, usually in the form of fiction and less frequently non-fiction, in which vices, follies, abuses, and shortcomings are held up to ridicule, often with the intent of shaming or exposing the perceived flaws of individuals, corporations, government, or society itself into improvement. Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society. A feature of satire is strong irony or sarcasm —"in satire, irony is militant", according to literary critic Northrop Frye— but parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are all frequently used in satirical speech and writing. This "militant" irony or sarcasm often professes to approve of (or at least accept as natural) the very things the satirist wishes to question. Satire is found in many artistic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tençon
A ''tenso'' (; french: tençon) is a style of troubadour song. It takes the form of a debate in which each voice defends a position; common topics relate to love or ethics. Usually, the tenso is written by two different poets, but several examples exist in which one of the parties is imaginary, including God (Peire de Vic), the poet's horse (Gui de Cavalhon) or his cloak (Bertran Carbonel). Closely related, and sometimes overlapping, genres include: * the ''partimen'', in which more than two voices discuss a subject * the ''cobla esparsa'' or ''cobla exchange'', a tenso of two stanzas only * the ''contenson'', where the matter is eventually judged by a third party. Notable examples *Marcabru and Uc Catola''Amics Marchabrun, car digam'' possibly the earliest known example. *Cercamon and Guilhalmi''Car vei finir a tot dia'' another candidate for the earliest known example. *Raimbaut d'Aurenga and Giraut de Bornelh''Ara·m platz, Giraut de Borneill'' where major exponents of the two ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kharja
A kharja or kharjah ( ar, خرجة tr. ''kharjah'' , meaning "final"; es, jarcha ; pt, carja ; also known as markaz), is the final refrain of a ''muwashshah'', a lyric genre of Al-Andalus (the Islamic Iberian Peninsula) written in Arabic or Mozarabic. The ''muwashshah'' consists of five stanzas (''bait'') of four to six lines, alternating with five or six refrains (''qufl''); each refrain has the same rhyme and metre, whereas each stanza has only the same metre. The ''kharja'' appears often to have been composed independently of the ''muwashshah'' in which it is found. Characteristics of the kharja About a third of extant ''kharjas'' are written in Classical Arabic. Most of the remainder are in Andalusi Arabic, but there are about seventy examples that are written either in Ibero-Romance or with significant Romance elements. None are recorded in Hebrew even when the ''muwashshah'' is in Hebrew. Generally, though not always, the ''kharja'' is presented as a quotation from a sp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mozarab
The Mozarabs ( es, mozárabes ; pt, moçárabes ; ca, mossàrabs ; from ar, مستعرب, musta‘rab, lit=Arabized) is a modern historical term for the Iberian Christians, including Christianized Iberian Jews, who lived under Muslim rule in Al-Andalus following the conquest of the Christian Visigothic Kingdom by the Umayyad Caliphate. Initially, the vast majority of Mozarabs kept Christianity and their dialects descended from Latin. Eventually, some converted to Islam and were influenced, in varying degrees, by Arab customs and knowledge, and sometimes acquired greater social status in doing so. The local Romance vernaculars, with an important contribution of Arabic and spoken by Christians and Muslims alike, have also come to be known as the Mozarabic language. Mozarabs were mostly Roman Catholics of the Visigothic or Mozarabic Rite. Due to Sharia and Fiqh being confessional and only applying to Muslims, the Christians paid the jizya tax, the only relevant Islamic Law oblig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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