2017
DOI: 10.17561/blo.vextrai1.3
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La Literatura oral sefardí: balance del pasado y perspectivas de futuro / Sephardic Oral Literature: Review of the Past and Future Perspectives

Abstract: Este artículo ofrece una aproximación crítica a las principales labores de documentación y estudios centrados en la literatura sefardí de tradición oral desde los primeros trabajos de campo hasta la actualidad.

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Cited by 18 publications
(2 citation statements)
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“…The tradition of oral performance, which originated in medieval Iberia, was preserved by Sephardic Jewish communities across the world and continued to have an important role in social and family functions into the twentieth century. 28 The poem also imitates the medieval Iberian ballad tradition in its form (octosyllabic verses) and in the use of archaic nouns and verb tenses. The warning to avoid 'el dichoso libro' ('the cursed book' of poetry) is cryptic and full of juxtaposing statements and images connected by the conjunction of choice, 'ó' (or).…”
Section: Penha As Followsmentioning
confidence: 97%
“…The tradition of oral performance, which originated in medieval Iberia, was preserved by Sephardic Jewish communities across the world and continued to have an important role in social and family functions into the twentieth century. 28 The poem also imitates the medieval Iberian ballad tradition in its form (octosyllabic verses) and in the use of archaic nouns and verb tenses. The warning to avoid 'el dichoso libro' ('the cursed book' of poetry) is cryptic and full of juxtaposing statements and images connected by the conjunction of choice, 'ó' (or).…”
Section: Penha As Followsmentioning
confidence: 97%
“…2 Si bien esta afirmación ha sido aceptada de manera unánime para este romance, no hay que olvidar que se ha podido rastrear la presencia de algunos romances nuevos y vulgares en algunas comunidades sefardíes que mantuvieron la comunicación con España, por lo que hay que ser cauto a la hora de considerar la existencia de un romane en la tradición judeoespañola como una prueba irrefutable de su pertenencia a la tradición vieja. Véanse, al caso, los ejemplos de Paloma Díaz-Mas (1982) o Díaz Viana (1984), entre otros.…”
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