Amor (Portuguese Edition)

amor (Portuguese Edition) - Kindle edition by Chris Sevla. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like.
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Sempre amor - Portuguese Love Songs

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Diana Castro - "Amor a Portugal" - Prova Cega - The Voice Portugal

That Time of Year. So, it should be noted that when we speak of Galician-Portuguese medieval poetry we speak in terms of the language rather than in spatial terms; in other words, it is poetry that was composed in Galician-Portuguese by a range of Iberian authors, in a geographic space that does not coincide with the more limited area where the language was spoken.

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It is not, however, a merely external patronage: As it is well known, two kings, Alfonso X and his grandson D. Dinis, were among the greatest peninsular poets in Galician-Portuguese language, in a remarkable range of authors which includes a substancial part of the nobility of the time, from simple knights to great lords. Together with these nobles, specifically designated as troubadours , for whom the art of "trobar" was understood as a disinterested activity, at least in terms of its great principles, we find a no less remarkable range of minstrels , authors coming from lower social classes, who went far beyond their socially assigned role of musicians or music players and composed Cantigas as well, and for whom the art of "trobar" was an opportunity to obtain not just the recognition of their talent but also a material profit.

While we know the path of several troubadours, even by their public status, there are many others whose biographical information is scarce or non-existent, which logically also applies to most of the minstrels. In the database the reader will find, however, a short biography of each author, including the data that research was able to gather until now.

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If new data from this research, currently very active, is availiable, it will be included in the DB. The "Art of Trobar" the "art of making songs" underlying the Galician-Portuguese profane songs is the subject of a short anonymous treatise transcribed on the initial pages of Cancioneiro da Biblioteca Nacional. Although lacking its initial chapters, this "Arte de Trovar", a sort of practical guide rather than a theoretical text, provides us with a generic picture of the rules of this art, namelly of the major genres developed by the troubadours and minstrels in their songs.

Thus, the main genres of profane Galician-Portuguese poetry are: Thus, the Cantiga de Amor presents us, in a rhetorically rich style, an essentially sentimental masculine voice singing the beauty and virtues of an unachievable and immaterial lady, and also the correlative coita suffering of the poet before her indifference or his inability to declare his love.

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In a much more popular or bourgeois tone, cantiga de amigo is an autochthonous genre, whose origins seem to date back to a wide archaic tradition of women's songs, a tradition the Galician-Portuguese troubadours and minstrels might have followed, although adjusting it to their courteous and palatial context. Therefore, the feminine voice that the troubadours and minstrels represent refers to a universe almost always defined by the eroticized female body, who's no longer the senhor a noble lady , but instead the young woman in love, singing, sometimes in an open, natural scenery, the moment of her erotic initiation to love.

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  4. That way the velida beautiful , the bem-talhada with a well-shaped body exteriorizes and materializes in several ways all framed by a context of everyday and popular living her loving feelings: Composed and sometimes sung by a man although there may have been feminine voices singing them , cantigas de amigo stage a broad feminine universe, which includes, as her counterparts, her mother, her sisters or her girlfriends.

    Formally, cantigas de amigo frequently use an archaic technique of strophic construction known as "paralelismo", consisting in the presentation of one single idea in alternate verses, with a few verbal variations at the verses finale.

    Quem inventou o amor? (Portuguese Edition) by Luigi Campanello

    In the aforementioned short treaty about the art of trobar, its anonymous author defines them generically as the songs written whenever troubadours wanted to speak bad about someone " dizer mal ", criticize or attack , but establishes a mode-related difference: Although these two variants can be detected in the preserved songs, we may consider their distinction as a more theoretical than a practical one: It is however, in the vast majority of cases, a personalized satire, driven towards a specific personage, whose name is normally referred in the first verses of the composition.

    It should be added that, albeit Arte de Trovar does not refer it explicitly, laughter is a fundamental element of this troubadour's art of "speaking bad" the art of well "speaking bad". At its core, we know the Galician-Portuguese profane songs troughout three major manuscripts. The oldest one, Cancioneiro da Ajuda A , may be dated at the early fourteenth century and it is the only one contemporary of the last generation of troubadours.