By Stephen Parkinson, Cláudia Pazos Alonso, T. F. Earle
This spouse quantity bargains an creation to ecu Portuguese literature for university-level readers. It involves a chronological assessment of Portuguese literature from the 12th century to the current day, by way of the most extraordinary literary students of contemporary years, supplemented by means of a research of the historical past of translations of Portuguese literature, enormous essays focused on significant authors, genres or classes, and a wide bibliography. It doesn't try an encyclopaedic assurance of Portuguese literature, yet offers crucial chronological and bibliographical details on all significant authors and genres, with extra broad therapy of key works and literary figures, and a selected specialise in the fashionable interval. it truly is unashamedly canonical instead of thematic in its exam of crucial authors and sessions, with no neglecting lady writers. during this approach it presents easy reference fabrics for college students starting the examine of Portuguese literature, and for a much broader viewers searching for basic or particular info. The editors have made a principled choice to exclude either Brazilian and African literature, that could now not were incorporated with enough prominence or intensity, and insist separate remedy.
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Additional resources for A Companion to Portuguese Literature (Monografías A)
34 RIP COHEN e veeredes, eu o sei como poss’ eu sen vós guarir, e diredes depois por min: ‘Mesela, por que o perdi? ’ […] It’s time for me to go away from my Lady, for it’s been a while that I’ve served her, and I’ve lost her love, and so I’ll go. But first I’ll say this to her: ‘Lady, did I deserve this? ’ And you’ll be forced to feel how much you’ll miss me, and you’ll see, I know, that I can live without you, and you’ll say of me: ‘Poor girl! why did I lose him? ’ The man is leaving, but before he does he will complain about the woman’s unfairness; and then the poet introduces the woman’s voice within a malevoiced frame.
How did it get into a cantiga de amor, where references to the physical world are so rare? 22 Cantigas de escarnho e de mal dizer Although nearly anybody can be an object of insult in CEM, and nearly any technique can be used to insult, I have chosen examples of sexual insults – partly because they are among the most accessible (and entertaining) for modern readers, and partly because the very different image of woman and sexuality provides a point of comparison with Amigo and Amor. Roí Páez de Ribela (CEM 412) A donzela de Biscaia Ainda mi a preito saia De noit’ ou lũar!
In this poem the mother warns her daughter not to speak with the boy without her. As guardian of her daughter’s sexuality, which is in effect family property, the mother must be involved in any negotiations if they are to be legitimised. The genre is loaded with code-words like falar (‘talk’), fazer ben (‘give favours’), etc. which can connote sexual favours, apparently an integral part of the wooing process. Another mode of encryption is through symbols, as in this song:15 14 Bonaval 8. On symbols, see Reckert and Macedo (note 4 above), Alan Deyermond, ‘Pero Meogo’s Stags and Fountains: Symbol and Anecdote in the Traditional Lyric’, Romance Philology 33 (1979–80), 265–83, and Maria do Rosário Ferreira, Águas doces, águas salgadas: da funcionalidade dos motivos aquáticos nas cantigas de amigo (Oporto: Granito, 1999 ) on water imagery.