By Stephen Parkinson, Cláudia Pazos Alonso, T. F. Earle
This significant other quantity deals an creation to ecu Portuguese literature for university-level readers. It involves a chronological evaluation of Portuguese literature from the 12th century to the current day, through one of the most unique literary students of contemporary years, supplemented through a learn of the historical past of translations of Portuguese literature, great essays focused on significant authors, genres or sessions, and a wide bibliography. It doesn't test an encyclopaedic assurance of Portuguese literature, yet presents crucial chronological and bibliographical info on all significant authors and genres, with extra wide remedy of key works and literary figures, and a selected concentrate on the trendy interval. it really is unashamedly canonical instead of thematic in its exam of imperative authors and sessions, with out neglecting woman writers. during this method it presents simple reference fabrics for college kids starting the research of Portuguese literature, and for a much broader viewers trying to find normal or particular details. The editors have made a principled selection to exclude either Brazilian and African literature, that may no longer were incorporated with adequate prominence or intensity, and insist separate remedy.
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Additional info for A Companion to Portuguese Literature (Monografías A)
António de Oliveira Salazar (1899–1970) established the so-called Estado Novo (New State), becoming the country’s de facto dictator until 1968. Democracy would only be restored in 1974, following another military coup. From a cultural perspective, the most obvious impact of the dictatorial regime was the establishment of State censorship. Many Portuguese intellectuals felt that they were living exiled in their own country, as in the time of the sixteenth-century ‘Village Court’ and, as then, waiting for liberation.
E se vós, filha, meu amor queredes, rogo vos eu que nunca lhi faledes sen mi, ai filha fremosa. E al á i de que vos non guardades: perdedes i de quanto lhi falades sen mi, ai filha fremosa. Lovely daughter, look what I’m telling you: Don’t talk with your boyfriend Without me, oh lovely daughter. And, daughter, if you want my love, I ask you that you never talk with him Without me, oh lovely daughter. And there’s something else you’re not aware of: You lose every word you talk with him Without me, oh lovely daughter.
Particularly interesting is the reference to the other girl, who is moreover a vezinha (‘neighbour’) – a word not found in Amigo. The dramatic complexity of the situation, which outstrips that of nearly any other cantiga de amor, could be attributed either to an early experimental stage in the development of the genre in the thirteenth century, or to a long-standing tradition which was subsequently abandoned in favour of simpler scenarios. As the thirteenth century progresses the genre tends to become less flexible.