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The Estoria de los godos is a paraphrase and summary of the Latin text DeRebus Hispaniae, or Historia Gothica, written by Archbishop don Rodrigo Ximenez de Rada and completed in 1243. The creation of the Estoria de los godos was prompted by a genuine desire to afford the less learned inhabitants of Castile the opportunity to know more about the history of their culture and civilization. It served as a model for historiographers of the thirteenth, fourteenth and fifteenth centuries. This etymological study of all the common names occurring in the text will serve to facilitate the reading comprehension of those interested in Spanish history who may have difficulty understanding and interpreting the language of the 13th century.
This study explores the meaning and importance of flamenco in the works of two of the most important and influential figures in 20th-century Spanish culture, the poet and playwright Federico Garcia Lorca and the film-maker Carlos Saura. Lorca and Saura shared a fascination for flamenco as a medium for the existential ideology of the marginalized and disenfranchised and this work evaluates the development of these themes through a close, contextual study of their works, which are linked explicitly by Saura's film adaptation of Lorca's Bodas de sangre and, more profoundly, by their use of flamenco to express ideas of sexual and political marginalization in pre- and post- Francoist Spain respectively. The study demonstrates that an understanding of the symbolism, visual style, characters, themes and performance system of flamenco is key to a greater understanding of the social, sexual, political and existential themes in the works of Lorca and Saura.
While many scholars have approached Don Juan in terms of myth, this study argues for the understanding of Don Juan as a discourse of gender relations, changing over time. Using examples from the plays by Tirso de Molina, Moliere, Mozart, Zorrila, Shaw and Frisch, it argues that Don Juan's entire identity as a male individual is constructed around women, but that over time - reflecting a growing sense of crisis in the male individual - the women appear more and more pathological in their desire for Don Juan. In contrast with early modern works where women fend for themselves in a positive manner, the heroines of later Don Juan works actively prey on the individual male.This book argues that these changes in approach to the female characters, and, in tandem, the developing identity of the male protagonist, suggest Don Juan as dischronic discourse rather than myth.
Th author explains that his study is an inquiry into how theorists, critics, and artists--especially writers--have used the mirror as a metaphor. Following a theoretical discussion concerning material and figurative mirrors, Schlig (Spanish, Agnes College) examines this metaphor from various angles--art as mirror, mirrors in art, mirrors as art. He then traces the importance of mirrors through the major aesthetic movements of 18th- and 19th-century Spain, including Neoclassicism, Romanticism, Realism and Naturalism, and the Avant-Garde. Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).
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The Religious Polemics of the Muslims of Late Medieval Christian Iberia examines the corpus of polemical literature against the Christians and the Jews of the protected Muslims (Mudejars). Commonly portrayed as communities in cultural and religious decay, Mònica Colominas convincingly proves that the discourses against the Christians and the Jews in Mudejar treatises provided authoritative frameworks of Islamic normativity which helped to legitimize the residence of their communities in the Christian territories. Colominas argues that, while the primary aim of the polemics was to refute the views of their religious opponents, Mudejar treatises were also a tool used to advance Islamic knowledge and to strengthen the government and social cohesion of their communities.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.