By Stephen Parkinson, Cláudia Pazos Alonso, T. F. Earle
This better half quantity deals an creation to ecu Portuguese literature for university-level readers. It contains a chronological review of Portuguese literature from the 12th century to the current day, through probably the most amazing literary students of contemporary years, supplemented via a research of the background of translations of Portuguese literature, significant essays targeted on significant authors, genres or classes, and a wide bibliography. It doesn't test an encyclopaedic insurance of Portuguese literature, yet offers crucial chronological and bibliographical info on all significant authors and genres, with extra huge remedy of key works and literary figures, and a specific specialise in the fashionable interval. it really is unashamedly canonical instead of thematic in its exam of significant authors and classes, with no neglecting lady writers. during this approach it presents uncomplicated reference fabrics for college students starting the examine of Portuguese literature, and for a much wider viewers searching for basic or particular details. The editors have made a principled choice to exclude either Brazilian and African literature, that may now not were integrated with enough prominence or intensity, and insist separate remedy.
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Extra info for A Companion to Portuguese Literature (Monografías A)
This was expressed in his treatment of novelistic situations as exemplary of their society, of characters as emblematic of their circumstances, and their circumstances as representative of the society in which they live. Camilo was the first Portuguese writer to support himself entirely from his writing, and he understood his public well. He was a master of literary manipulation of sentimentality without being sentimental himself, sometimes even taking the risk of distancing his readers by ironically warning them before one of his characteristic ‘heart-breaking’ scenes that they were about to have their hearts broken and then coldly, even cruelly perhaps, proceeding to break them.
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. What poets aim at is elegance of form and subtlety of argument and expression in handling a few fixed kinds of situation.
26 RIP COHEN The three main genres can be distinguished for present purposes using the concept of ‘matrix’. The matrix of a genre is a complex of form, pragmatics, and rhetoric. By ‘form’ I mean strophic form, verse length, rhyme-schemes, and virtuosic techniques such as coblas unissonans (‘unison verses’, using the same rhyme-sounds in each strophe) coblas doblas (‘double verses’, alternating two sets of rhyme-sounds), or dobre (using the same word twice in the same position in each strophe). e.