By Helena Miguélez-Carballeira
Of all of the differentiated areas comprising modern Spain, Galicia is in all probability the main deeply marked via political, financial and cultural inequities through the centuries. almost certainly as a result of the absence of a nationally conscious neighborhood bourgeoisie and the enduringly colonial constructions informing Spanish-Galician financial and cultural family, tactics of nationwide development within the quarter were patchily winning. besides the fact that, Galicia's cultural distinctness is definitely recognisable to the observer, from the language spoken within the region---the modern variation of previous Galician-Portuguese---to the categorical sorts of the Galician equipped panorama, with its distinctive mix of indigenous, imported and hybrid parts. the current quantity deals English-language readers an in-depth creation to the vital elements of Galician cultural background, from pre-historical instances to the current day. when recognition is given to the conventional parts of medieval tradition, language, modern historical past and politics, the booklet additionally privileges compelling modern views on cinema, structure, the town of Santiago de Compostela and the city characteristics of Galician tradition this present day. Helena Miguélez-Carballeira is a Senior Lecturer in Hispanic stories at Bangor college, and Director of the Centre for Galician stories in Wales
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Additional resources for A Companion to Galician Culture
It derived from the romance of SainteMaure which also served as the source material for two Castilian versions, the Historia troyana polimétrica and the Historia troyana of Alfonso XI (Casas Rigall 1999: 235; López Martínez-Morás 2007: 451). In addition to GALICIAN CULTURE AND WRITTEN CULTURE IN THE MIDDLE AGES 25 this lost text there is the extant Crónica Troiana (MS BNM 10233), a translation of an original Castilian text which is now lost although it was affiliated with the Historia troyana of Afonso XI, which a certain Fernán Martínez completed in 1373 under the direction of Fernán Pérez de Andrade.
It is in this way that the medieval Hispanic literatures participated in the same artistic currents as in the rest of Europe and appropriated the principal narratives circulating in the European West during this period. Being part of a shared European cultural space meant, for example, that tales about the Trojan War were imported into Spain (Lorenzo 2000: 401–11). The first popular versions of a long tradition of originally Greco-Latin texts were re-adapted in England at the court of Henry II by Benoît de Sainte-Maure.
The cantigas de amor probe the lover’s psychology and, as a result, lack reference to the outside world and can be highly abstract. Even allusions to the 20 SANTIAGO GUTIÉRREZ GARCÍA lady’s beauty do not tend to refer to her physical attributes but rather to her moral traits. As a result of their limited expressive resources these cantigas tend to have a homogeneous tone which is only broken by very subtle variations in register (Beltran 1995). As with the Occitan cansó, the cantiga de amor was considered to be the conceptual nucleus of the troubadour lyric and, as such, the most prestigious and aristocratic genre.