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Copyright of Oceánide is the property of Spanish Society for the Study of Popular Culture (SELICUP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tradition Oral Literature / Boletín de Literatura Oral is the property of Boletin de Literatura Oral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Poética Medieval is the property of Instituto Universitario de Investigacion en Estudios Medievales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes the ballad «Habla con enero, mes de la brama de los gatos» through the perspective of Animal Studies. In this poem, Quevedo recreates the feline beyond its traditional use as a mere metaphor of human actions and makes it the protagonist in the context of contemporary Madrid's everyday life. It is possible that Quevedo's cat design is developed following a skeptical vision, which considers that animals are not inferior nor superior to humans. This approach would allow the poem's voice, between humor and seriousness, to invert the hierarchy and put the cat's figure on the spotlight. [ABSTRACT FROM AUTHOR]

Copyright of Co-herencia is the property of Universidad EAFIT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Flamenco lyrics are said to be essentially non-narrative, but there are particular modalities like the A capella genres tonás and martinetes, whose original texts actually derive of large and narrative ballads. This contribution will show that the consideration of lack of narrative aspects is just the result of a long term process by analyzing the documents about tonás and martinetes and comparing the content of their lyrics with the descriptions of certain historical facts. The examples of analysed flamenco lyrics show that there are a lot of cases where the short text fragments coincide with the real events, which also indicates that these texts indeed stem from narrative and large romances, in the sense of epic based ballads with a relevant function as an oral form of news bulletin. As these texts relate about matters of prison and persecution of Spanish Roma, one of the concrete events that actually took place is the Great Gypsy Round-up in 1749, with its preparation and consequences. The origins of the martinetes are not mainly explained by the musical performance but by their first literary texts, originated as oral narrative ballads. So these martinetes must have been composed in the eighteenth century by the affected Spanish Roma, applying the techniques of oral-formulaic composition and using formulas of epic romances. Subsequently, in the nineteenth century with the crystallization of the former elements into flamenco culture, the texts were also transformed into short stanza, associated with certain musical aspects of these A capella songs. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dicenda: Cuadernos de Filologia Hispanica is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many books entitled Romancero del Cid have been printed since the publication of Juan Escobar's Historia del valeroso cavallero el Cid Ruy Díez de Bivar in 1605. Medieval romances were so popular that most of them were included before in pliegos sueltos and cancioneros, but until Escobar's edition printers and editors were not aware of the possibilities that monographic volumes of these ballads could bring. During Romanticism this trend reached its height: the most reknown editions and translations of Cid ballads were published -Herder, Gibson, Michaelis, Monti-, thanks in part to the rise of nationalism and its characteristic love for the Middle Ages. However, none of them -neither those who come after- payed any attention to the modern oral tradition, which has transmitted more than two hundred versions of these ballads. In the Fundación Ramón Menéndez Pidal we are preparing an integral edition of the Romancero del Cid; this paper aims to describe in depth this cultural heritage and to survey the history of its transmission for over four centuries. [ABSTRACT FROM AUTHOR]

Los temas tratados por el movimiento de nueva trova cubana evolucionan durante los años 80, desde baladas o canciones con ciertos temas sociales hasta canciones con reivindicación racial. El autor, quien forma parte de dicho movimiento, explica que en su arte coloca al mismo nivel las expresiones culturales occidentales y afrodescendientes para continuar fundiéndolas, integrándolas recíprocamente, no aceptando la aculturación pasiva, no dejando que una asimile a la otra, sino complementándose en un todo. El autor señala el papel fundamental que el gobierno pudiera tener en la lucha contra la discriminación racial, procurando a sus activistas con muchas de las herramientas para eliminarla. During the 1980s, the themes discussed by the nueva trova movement evolved from ballads or songs about random social themes to anti-racist songs. The author, who is part of this movement, explains that in his art he places Western and Afro-descendant cultural expressions at the same level to fuse them, integrating them reciprocally, not accepting passive acculturation, not allowing one to assimilate the other but complementing each other as a whole. This essay also argues for the fundamental role of the Cuban state in the fight against racial discrimination by providing tools to activists to use in eliminating racism. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An important contribution to the history of romancero antiguo (old ballads) has been the discovery of an unknown text containing medieval versions of troubadour ballads (romances trovadorescos). The fragmentary manuscript, dating from early 16th Century, contains 5 courtisan ballads, one of the unknown to the old tradition, El infante cautivo, which has survived in the Eastern Judeo-Spanish oral modern tradition. [ABSTRACT FROM AUTHOR]

In the first auto of La Celestina, Calisto quotes the first lines of the romance “Mira Nero de Tarpeya", and he consider It from the point of view of amorous relationships: the blaze of Rome is compared to the metaphorical flames of the lover, and Nero's cruelty stand for the beloved's cruelty. In this article we study this twofold comparison from a historical point of view, that Is, making the comparison with other Spanish and Italian texts that use the same or a similar metaphor. From our analysis we draw the conclusion that La Celestina is ahead of the sixteenth century itallanlst poetry, most probably because Its author Is already acquainted with the Italian lyric poetry of the Quattrocento. [ABSTRACT FROM AUTHOR]

The fortune of the Cid in Spanish Golden Age covers a huge variety of authors and texts. This character appears repeatedly in Quevedo's work. Not taking in account his prose, this article analyses the presence and function of the Cid in Quevedo's poetry: in that way, the author studies three «cidian» ballads of Quevedo («Pavura de los condes de Carrión», number 764; «El Cid acredita su valor contra la invidia de cobardes», number 784; y «Las hijas del Cid Ruy Díaz», number 794) and a selection of diverse references which are spread in other satirical-burlesque of Quevedo's poems. [ABSTRACT FROM AUTHOR]

Copyright of Memorabilia - Boletín de Literatura Sapiencial is the property of Universitat de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tradition Oral Literature / Boletín de Literatura Oral is the property of Boletin de Literatura Oral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tradition Oral Literature / Boletín de Literatura Oral is the property of Boletin de Literatura Oral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín Galego de Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this paper is to make an explanation --and to generate a discussion-- on the importance of taking the resources that traditional literature use not only as the "memory-supporting-formulas" they are, but with an analytic focus that let us value them as a complete aesthetic phenomena. Romancero's Triada let me show the stylistic value of these resources, and how different from cultivated literariness' criteria are those that rule traditional one. Examples and discussion will be based on how the Triada can fulfill different poetic functions and, in some cases, define how rich or poor became the aesthetics results in a poem. [ABSTRACT FROM AUTHOR]

Within the large musical and literary genre of mexican ballads, there is a sub-genre called corrido suriano which was very popular during the 19th and early 20th centuries in the southern region of central Mexico. It's very well-known as ideological vehicle for the revolutionary movement lead by Emiliano Zapata. The corrido suriano is not alike the Spanish ballad neither does it derive directly from it. We try to demonstrate through the concepts of Paul Zumthor's oral poetry and Henri Meschonnic's orality that the southern songs were composed according to esthetical criteria inherited from the nahuatl poetical and euphonical codes even if they were written in Spanish. It is a mestizo cultural product which was sung in Spanish but following poetical rules inherited from the native culture. So forth, these southern ballads must not be analysed according to the usual literary tools of Spanish scholar culture, because they belong to the popular culture oral performance directed at an illiterate and bilingual public. The corrido's formulism recalls us the importance of the public presence in an "orality" situation and indicates us the socio-literary criteria we must use to analyse them. Thus we cannot judge the literary quality of the southern corridos according to the solely semantical and grammatical standards of Spanish language, because they were written for a public which dominated nahuatl esthetical rules still valid in their own mestizo culture. [ABSTRACT FROM AUTHOR]

The ballad 'El Subteniente de Linares' is one of the final revolutionary ballads composed about the Mexican revolution that praised the military. By the 1950's-60's such traditional ballads were disappearing as many Mexicans began to perceive significant abuses of power exercised by the military.