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Comparative Literature (2019) 71 (3): 314–332.
Published: 01 September 2019
... influential successor, the late nineteenth- and twentieth-century philologist Ramón Menéndez Pidal, this uncertain claim about the Arabic origins of Castilian popular poetry was also defended by no less a figure than the French writer Victor Hugo, who, Ménendez Pidal recalls, saw in the romancero tradition...
Comparative Literature (2008) 60 (1): 8–13.
Published: 01 January 2008
..., A Pioneer Historian of Spanish Literature.” Comparative Literature 5 (1953): 351-61. 2. “George Ticknor’s History of Spanish Literature: The New England Background.” PMLA 69 (1954): 76-88. 3. “Apuntes sobre los estudios del romancero en Alemania, anteriores a 1830.” Clavileño 5.30...
Comparative Literature (2021) 73 (4): 421–441.
Published: 01 December 2021
... sprouts From her blue eyes A thousand delicious pearls. ( Noroña 118 ) Unlike the earlier Romancero gitano and Poema del cante jondo , in which Lorca attempted to reintegrate and recuperate the figure of the Romani, or gitano , into the Spanish poetic tradition, no such presence of the Arab...
Comparative Literature (2002) 54 (2): 127–144.
Published: 01 March 2002
... churches, convents, and private palaces, and shipped these coveted possessions back to France. The dis- covery of Golden Age art and literature (Velázquez, Murillo, Ribera, Zurbarán, Cervantes, Calderón, the romancero) and of Goya’s depictions of the picturesque and horrific created a fascination...
Comparative Literature (2007) 59 (4): 269–293.
Published: 01 September 2007
... and moriscos in romanceros, and this sort of appropriation can be found as easily in Quevedo as in Valle y Caviedes. However, I am convinced that there is more going on in these verses than a translatio from Old World lower caste mem- ber (moro, morisco) to New World lower caste member (negro, mulato...
Comparative Literature (2020) 72 (4): 377–405.
Published: 01 December 2020
... of the Romancero . (42) Ambiguously mixing praise and blame, Borges lauds the logical rigor of certain metaphors and figures even as he denigrates their poetic and, seemingly, affective virtue. For all its objective, “intellectual” value, the subtlety in the work of Quevedo, Milton, and Gracián never equals...