Gregorio Cortez Lira, a ranchhand of Mexican parentage, was virtually unknown until one summer day in 1901 when he and a Texas sheriff, pistols in hand, blazed away at each other after a ...misunderstanding. The sheriff was killed and Gregorio fled immediately, realizing that in practice there was one law for Anglo-Texans, another for Texas-Mexicans. The chase, capture, and imprisonment of Cortez are high drama that cannot easily be forgotten. Even today, in the cantinas along both sides of the Rio Grande, Mexicans sing the praises of the great "sheriff-killer" in the ballad which they call "El Corrido de Gregorio Cortez." Américo Paredes tells the story of Cortez, the man and the legend, in vivid, fascinating detail in "With His Pistol in His Hand," which also presents a unique study of a ballad in the making. Deftly woven into the story are interpretations of the Border country, its history, its people, and their folkways.
This paper proposes to analyze several motives from Serbian and Romanian folk literature. It identifies the main themes and motives from the local folklore, similar situations from the folklore of ...the two peoples, the Romanian and the Serbian. The common Balkan history and, especially, the struggle against the Ottoman Turks, are the starting point of both the Serbian and the Romanian legend (The Monastery of Arges and the Building of the Fortress on the River Bojana). This paper attempts to present several motives and their presence in the legends of the two neighboring peoples, stressing not only the similarities, but also the differences between them. What should be pointed out are previous, detailed studies about local and Balkan folklore, starting from names of references and the work they have done in this field. One of the main differences, and one that will mark the overall meaning of the two legends, is related to the ethnic, religious and traditional characteristics of each of the two nations. If with the Romanian the image of creation, the arch spreading over generations and generations - is a church, a religious temple, then with the Serbian it is a tower built as a defense against Turks. Their continuity in space and time is considered from the point of view of the building of the Arges Temple and the Fortress on the Bojana, respectively; in his play about Manole the Craftsman, Lucian Blaga also speaks of mythical time. In the Romanian version, Manole sacrifices himself, which is an idea of creation that defies time, and in the popular mind it implies the necessity of complete sacrifice, and death is transformed into immortality through the acts of building an edifice and a fountain. Common motives in Serbian and Romanian folk literature are the result of good neighborly relations in this part of the Balkans and the legends of Manole the Craftsman and the Building of the Fortress on the Bojana are the best example of this. These two legends symbolize, in folk as well as in contemporary literature, the creative spirit of the two nations. The main characters are true symbols, because they represent something both the Romanian and the Serbian people managed to create and save until today, trough many sacrifices, while throughout history, they were very often forced to lose what they had fought to gain over many centuries.
André Jolles propuso hace más de ochenta años un sistema de formas simples (einfache Formen) que estaría en el origen de los géneros culturales. A partir de estas formas simples este artículo propone ...una aproximación al romancero hispánico renovada. Se trata de encontrar las formas simples del romancero y superar su clasificación por temas y origen. Tales formas simples serían el caso, la historia personal, la anécdota, la lamentación, la consolación, el sueño y el milagro, la burla y la protonovela.
La industria cultural explora el plano de los sentimientos y la intimidad para ofrecerlo como bien de consumo masivo. Uno de los productos más promocionados es la canción en sus diferentes géneros. ...La balada es uno de los productos más difundidos a mediados del siglo XX. Es un fenómeno de masas que además de darle forma a un lenguaje con unos códigos formales y una poética propia, modela una sensibilidad que marca una época. La balada le propone al público joven una nueva manera de sentir y expresar el sentimiento amoroso, la condición de género y la experiencia del cuerpo (del goce y del placer). Este artículo se ocupará de los ejes temáticos de la balada, y en la parte final, de lo que representa en el imaginario de masas la figura del cantante, el mito vivo que toma forma con sus apariciones y presentaciones en público.
El artículo aborda una interpretación en clave comparatista de uno de los poemas de la sección segunda de Poeta en Nueva York, incidiendo en el concepto de duelo proveniente del psicoanálisis y en ...las imágenes que componen la serie de grabados de Otto Dix, Der Krieg. Además, explora su imaginario religioso a través de sus vínculos intertextuales con los textos bíblicos, así como las convergencias temáticas con la poesía expresionista alemana y con otras narraciones de la I Guerra Mundial, como la novela de E. M. Remarque Sin novedad en el frente, leída por Federico García Lorca durante su estancia neoyorkina.
Ovaj rad analiza je leksičkih i morfoloških sličnosti, te, u naznakama, fonetsko-fonoloških osobitosti riječi koje se javljaju u Belostenčevom rječniku, a koristio ih je kasnije Miroslav Krleža u ...Baladama Petrice Kerempuha. Utvrđena je sličnost rječnika koji Krleža pripisuje svojoj baki Tereziji Goričančevoj s leksemima navedenim u Gazofilaciju, te su navedeni i ostali izvori koji su uz Belostenčev rječnik (nastao do 1675., objavljen 1740.) pridonijeli oblikovanju „hibridnog govora“ koji čitatelj upoznaje čitajući Balade. Kako treba najprije odgonetnuti grafiju starih jezikoslovaca, utvrđen je sustav kojim se Belostenec služio u Gazofilaciju, pri čemu valja napomenuti kako su neka njegova rješenja, poput bilježenja dugog i kratkog jata, refleksi jata (ė, é, è, e, ë), te glasova koji se različito ostvaruju u pojedinim hrvatskim krajevima, poluglasovi (e, a, ë, ä, ė), zapravo napredna. Kao i u slučaju rješenja koje je stoljeće i pol kasnije ponudio Vjekoslav Babukić, ono nije bilo prepoznato u punoj promišljenosti ideje koju nudi.
Jezgra rada je komparacija leksema koji se javljaju u Gazofilaciju, kao i u Baladama, te u nekim slučajevima njihovih morfoloških i fonetsko-fonoloških osobitosti.
Navedenom analizom utvrđena je sličnost koja izvan granica sumnje pokazuje u kojoj mjeri negdašnja znanja mogu obogatiti književna djela nastala stoljećima kasnije. Zablistala je u svojoj punini arhaična kajkavština koja progovara jezikom seljaka, kmetova, ugnjetavanih ljudi koji breme tuđinske vlasti i pohlepe domaćih moćnika najjače osjete na svojim plećima i progovaraju jezikom koji sumira svu patnju proživljenog poniženja, očaja, siromaštva i koji će kulminirati u lucidnim zaključcima često prepunim sarkazma i cinizma koji ruši svaku nadu.
In this paper, we analyze some of the narrative aspects of Balada del Manzanares: themes, characters, elements of discourse, space and time. This analysis of Sueiros’ work fulfills several of the ...rules of the so-called historical novel that flourished in the Spanish narrative scene since 1975. The novel is one of the few works devoted to the rigorous analysis of Franco. Thus, in terms of themes and narrative techniques, the novel is like a paradigm of what was being published in Spain in the late 80s.
En este trabajo, se analizan algunos de los aspectos narrativos de Balada del Manzanares: temas, personajes, elementos discursivos, espacio y tiempo. Este análisis permite ver que la obra de Sueiro cumple varias de las normas de la llamada novela histórica que floreció en el panorama narrativo español a partir de 1975. La novela es una de las pocas obras dedicadas al análisis riguroso del franquismo. Así, en cuanto a temática y técnicas narrativas, la novela viene a ser como un paradigma de lo que se venía publicando en España a finales de los años 80.
Resumen: En este trabajo, se analizan algunos de los aspectos narrativos de Balada del Manzanares: temas, personajes, elementos discursivos, espacio y tiempo. Este análisis permite ver que la obra de ...Sueiro cumple varias de las normas de la llamada novela histórica que floreció en el panorama narrativo español a partir de 1975. La novela es una de las pocas obras dedicadas al análisis riguroso del franquismo. Así, en cuanto a temática y técnicas narrativas, la novela viene a ser como un paradigma de lo que se venía publicando en España a finales de los años 80.Abstract: In this paper, we analyze some of the narrative aspects of Balada del Manzanares: themes, characters, elements of discourse, space and time. This analysis of Sueiros’ work fulfills several of the rules of the so-called historical novel that flourished in the Spanish narrative scene since 1975. The novel is one of the few works devoted to the rigorous analysis of Franco. Thus, in terms of themes and narrative techniques, the novel is like a paradigm of what was being published in Spain in the late 80s.
This article explores the revival of 1970s and early 1980s balada among middleclass vicenarians in 1990s Chile. In the first section I analyze the stigmas attached to classic balada. While previous ...studies have tried to explain balada's bad reputation by considering individual prejudices—aesthetic, political, or socio-economic—in isolation, I propose here that they must be considered together in order to provide more satisfactory answers. In the second half of the essay I study the ways in which two groups of core revivalists, namely radio DJs and rock musicians, grappled with the problem of balada as guilty pleasure. I focus on two radio shows that were instrumental in defining the limits of the revival and framing it as a guilty pleasure, and I analyze a popular 2001 rock cover of the classic balada song "Maldita primavera" that illustrates what made the genre simultaneously attractive and repellent for local artists. /// Este artículo es un estudio del revival, organizado por veinteañeros de clase media, de la balada de los años 1970s y comienzos de los 1980s en el Chile de los 1990s. En la primera parte analizo los estigmas asociados a la balada clásica. Estudios anteriores han tratado de explicar la mala reputación de la balada tomando en consideración prejuicios estéticos, políticos o socioeconómicos individualmente; aquí propongo que es necesario considerarlos juntos para producir respuestas satisfactorias. En la segunda mitad del ensayo estudio la manera en que los promotores originales del revival (DJs y músicos de rock) enfrentaron el problema de la balada como placer culpable. Estudio dos programas radiales que contribuyeron a definir los límites del revival y en promover una estética de placer culpable, y analizo un cover de la balada "Maldita Primavera" grabado el año 2001 para ilustrar qué del estilo lo hacía simultáneamente atractivo y repelente para artistas locales.
Documentary about the agricultural transformation experienced in the Balada area, in the Ebro river Delta. Between the Montsià and the Baix Ebre is the Balada agricultural zone, where they transform ...the lands from the mechanization of the work in the field. The waters cover everything. They plant rice, harvest it, and bag it.
Documental sobre la transformació agrícola viscuda a la zona de Balada, al delta del riu Ebre. Entre el Montsià i el Baix Ebre es troba la zona agrícola de Balada, on transformen els terrenys a partir de la mecanització del treball al camp. Les aigües ho cobreixen tot. Planten arròs, el cullen i l’envasen.
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