Manuel Murguía y la invención de romancero gallego apócrifo

La anómala situación de los estudios sobre el Romancero de Galicia, y la indefinición de su propio estatuto como rama del Romancero hispánico, tienen su origen, en última instancia, en las posturas cambiantes que adoptó el primer nacionalismo cultural gallego, por razones ideológicas, ante el género de la poesía oral narrativa. Manuel Murguía es considerado hoy, por la amplitud y el eco de su obra, además de por su longevidad (1833-1923) y su papel como impulsor y heredero de la obra poética en gallego de Rosalía de Castro, como indiscutible padre fundador del galleguismo. Un nacionalismo gallego fundamentado en la tradición histórica y cultural tenía forzosamente que conceder gran importancia a las producciones de la poesía narrativa popular, como sucedió en el resto de la Europa coetánea. Sin embargo, a la altura de los 1860, se conocían solo muy escasas muestras de romances en Galicia, y su lengua era básicamente el castellano. El Romancero era así inservible como seña de identidad nacional o regional, y Murguía decidió dar la vuelta al argumento: la inexistencia de un Romancero gallego era en sí misma la prueba de un rasgo diferencial definitorio frente a Castilla. El conocimiento del Romancero portugués y una incipiente exploración de la tradición oral gallega llevaron, pocos años después, al “patriarca” a afirmar no sólo la existencia sino el esplendor de un Romanero gallego con características singulares. Tal romancero ha resultado ser producto de mixtificaciones de diverso grado realizadas por el propio Murguía y otros folcloristas. Se publica en este artículo la primera parte de un estudio, que irá seguida ulteriormente del inventario completo y análisis crítico de los romances gallegos alegados, y nunca publicados en colección, por Murguía

Gallegos, hidalgos y picaros en la España del siglo XVII. Estebanillo González y Salvatierra de Miño

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Historia, razón de Estado y burocracia. Antonio de Solís contra Jerónimo Mascareñas (1662-1663)

En este número no se incluyeron resúmenes ni palabras clave

Valoraciones técnicas y creativas respecto a la aplicación del sonido envolvente 5.1 en las transmisiones de fútbol en televisión

En el presente trabajo proponemos una visión constructiva y esperanzada respecto a la utilización del sonido envolvente 5.1 en las transmisiones futbolísticas en televisión. Entendemos pertinente remarcar que los impedimentos para la transmisión y recepción de señales audiovisuales con sonido 5.1, han sido superados plenamente gracias al desarrollo tecnológico, a la inquietud creativa y a la significativa reducción de los costes. A su vez, y basándonos en experiencias existentes, ponemos de relieve algunas de las numerosas mejoras comunicativas que ofrece el sistema 5.1 frente a los estandarizados sistemas mono, dual y estéreo. Para ello, analizamos comparativamente algunos de los recursos técnico-creativos utilizados en las experiencias con sonido surround en transmisiones futbolísticas en territorio español. Otro punto importante es el beneficio que el citado sistema de sonido envolvente 5.1 puede aportar al usuario desde el punto de vista creativo y pragmático.This paper suggests a constructive, hopeful view about the use of surround sound 5.1 in soccer boroadcasting. We aim to point out that the problems of image and sound 5.1 broadcasting and reception has been solved due the technical devolopment, creative efforts and costs reduction. Our experience alow us to show some communicative improvements that 5.1 system offers against most common solutions such as mono, dual and stereo systems. In order to get it, we analyze in a comparative way some of the technical sources used in soccer broadcasting 5.1 experiences in Spain. Another relevant point deals with the creative and pragmatical benefits that such 5.1 sound system could offer to users.Publicad

Folkloristas asturianos: Aurelio de Llano

Aurelio de Llano (1868-1936) figures among the most important folklorists and ethnographers in 20th-century studies on traditional Asturian culture. Llano' s stature is especially enhanced by the breadth and intensify of field work he conducted during the decade of the 1920s. The present article offers a general overview of his published work as a folklorist. A survey of his extensive correspondence with Ramón Menéndez Pidal helps to reconstruct procedures that led to Llano' s principal publications, most notably those in which he made significant contributions to our understanding of the traditional balladry in Asturias. Finally, this article evaluares certain aspects of Llano's personality that affected, both positively and negatively, his dedication to the study of popular culture.Aurelio de Llano (1868-1936) fue uno de los folkloristas y etnógrafos más importantes con que ha contado el estudio de la cultura tradicional asturiana en este siglo. Su mérito radica especialmente en la intensidad y amplitud del trabajo de campo que realizó en la década de 1920. En este artículo se intenta ofrecer una panorámica general de su obra como folklorista. A la vez, se reconstruye el proceso de elaboración de sus principales libros, según puede seguirse a través de la correspondencia -muy copiosa- de Llano con Ramón Menéndez Pidal. Especial atención se dedica a sus aportaciones al conocimiento del Romancero tradicional en Asturias. Por último, intentamos trazar una semblanza de la personalidad humana de Llano, en la medida en que ésta condicionó, positiva o negativamente, su labor como estudioso de la cultura popular

Gallegos, hidalgos y picaros en la España del siglo XVII. Estebanillo González y Salvatierra de Miño

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Velázquez y los Secretarios de Estado. Vicisitudes flamencas de unos retratos del Conde-Duque

The correspondence of the Secretarles of State and War of the Government of Flanders shows that between 1637 and 1639 Velázquez received several commissions of portraits of the Count-Duke of Olivares which were to be «originals» based on a 1636 model. This information allows us to cali into question a commonplace in art criticism, namely, that Velázquez never repeated himself and that, therefore, variant versions of the «same» picture must necessarily be regarded as «studio» paintings or copies executed by a different hand. The present study examines the possible interests, utilitarian or symbolic, that the Olivares portraits would have served for a bureaucratic clientele; analogous cases dealing with questions of attribution, as found in the coeval literature; and, finally, Velázquez's social status as an artist.La correspondencia de los Secretarios de Estado y Guerra del Gobierno de Flandes permite documentar diversos encargos a Velázquez, entre 1637 y 1639, de retratos del Conde-Duque de Olivares que habrían de ser «originales» y remontarían a un primer modelo de 1636. Estos datos nos llevan a cuestionar un lugar común de la crítica de arte, según el cual Velázquez no se repetía nunca a sí mismo, por lo que las variantes de un «mismo» cuadro habrían de ser consideradas forzosamente obras de «taller» o copias de mano ajena. Conjeturas sobre las funciones, pragmáticas o simbólicas, que los retratos del privado hubieron de tener en una clientela de burócratas. Analogías con cuestiones de autoría que se plantean en la literatura coetánea. Por último, reflexiones acerca del estatuto social de Velázquez como artista

Re-deconstruyendo la balada: "Atharratze jauregian"

The narrative ballad "Atharratze jauregian" ("La fiancé de Tardets", "La palaciana de Tardets") is known via several versions collected from the oral tradition throughout a century (1847-1947). It is one of the most outstanding "Ballad-Types" of the Basque corpus, but also one of the most problematic ones. This article proposes a method to analyse its central subject and its variations, both formal and of content, that have developed in the course of its oral transmission. Starting from the complete corpus of versions that is currently known, the article differentiates the valid testimonies from the useless, as redundant or partially uncertain ones due to textual manipulations of different degrees.With no aim at a textual ¿reconstruction¿ of the ballad¿s archetype, the article advances the thesis that its origin does not lie in a historical fact of the end of the 16th century, i. e. the marriage between Charles de Luxe and Marie d¿Ossès in 1587 and the couple¿s subsequent exile to Navarre due to its opposition to the Protestant Reformation by Jeanne d¿Albret, (J. Jaurgain), nor in a medieval ballad that in its subsequent evolution would have converged with that historical fact (J. B. Orpustan). The ballad would rather constitute a reflection, endowed with general validity, about the real conflict of exogamy and the dialectics between uxorilocality and virilocality, subjects that also appear in other ancient ballads of the Basque repertoire, where the conflict is usually sorted out by the wife¿s death.Despite the deficiencies of the available corpus, it can be concluded that some particular innovations and developments existed in a central, Low-Navarre area, which are characterized by the personification and novelization of the option contrary to exogamy.In reality, these innovations only make explicit what was already present in the primitive, Souletin, model of the ballad. The article maintains that the polysemous virtuality of the term ¿Sala¿, which originally designated the main character¿s native home, and so the sphere of endogamy, achieved later a new sense: that of a concrete, ¿domestic¿ suitor (¿Sala of Tardets¿), desired by the main character (¿Santa Klara¿), who is opposed to the exogamous husband (¿The King of Hungary¿). In the Low-Navarre reinterpretation, a fully individualized ¿Sala¿, that constitutes a third dramatis persona, receives the exiled woman¿s last message and takes charge of the suicide¿s corpse. However, even in this innovative, novelized model, other reading possibilities still remain latent, closer to the primary, original sense, as postulated here, of the ballad.Along a proposition of sequential division of the story, the article analyses the details of the most significant variants in the corpus of the versions. The variation mechanisms constitute punctual lexical alternations, amplifications of motives and scenes, or "corruptions" by other ballad subjects ("Andre Milia", "Ursua") and probably by independent lyrical short folk songs resemanticized in the context of the ballad. But it is argued that the most important alterations arise from the different realignments caused by the move of some stanzas from some sequences to others. The article includes the edition of the global corpus of the complete primary versions, made of the most reliable, or unique hand-written and printed textual testimonies at our disposal

La balada "Urthubiako alhaba": problemas y conjeturas

The oral ballad Urthubiako Alhaba was published by Julien Vinson in 1884, from an original manuscript. The text, which could date back to a c. 1830 recitation, was considered unauthentic by Vinson, an opinion that has remained in the studies regarding Basque ballads till nowadays. This negative opinion has been strengthened during the last two decades (1990 and 2000), since it has been included among the falsifications attributed to Garay de Monglave, an author known for his falsifications. This last judgement is, no doubt, erroneous: we can be sure that the text comes from Jean Baptiste Archu, a well-known translator and grammarian in Basque studies, besides being a reliable collector of folksongs.The personality of the collector and the internal analysis of the text (expressions, style, metrics) allow us to argue that Urthubiako Alhaba is an authentic traditional ballad, thus invalidating Vinson's opinion, an opinion based on his prejudice regarding the lack of 'originality' in Basque culture, and by the generalized suspicion due to the long amount of fake historical songs spread throughout the XIXth century.The ballad is particularly valuable, since it would be the earliest attested in Basque popular tradition; it also would represent an archaic model of oral narrative poem, which became extinct between XVIII and XIX centuries and was characterized by a run of monorhyme tirades and anisosyllabism.The tragic content of the ballad seems to have its basis in a legend about the lineage of the lords of Urthubia; more precisely, in a shady incident which happened in 1564: the imprisionment and death of Juan de Alzate and his wife, Ana de Ezpeleta, accused of the crime of lese majesty, and taken to Paris by order of King Henry II of France