Un fals aparegut en el "Tirant lo Blanc"

In the chapters CCXXXI-CCXXXIIII of Tirant lo Blanc, there are two comical scenes where Carmesina and Tirant attempt to keep their love a secret. Carmesina justifies a night riot happened in her chamber by saying that a rat went through her face; whereas Tirant pretends to be a ghost when he runs away from the chamber into the orchard. The dependence of these two episodes opposes the nature of several characters, but the scene that best exhibits the knights’ ambivalent morality is the appearance of Tirant –with the spells of Hipòlit and the viscount of Branches. The comparison of this case with chapter XIX of the «Quixote», and with other works of the modern age, allows to determine how the forms and the meanings of a same commonplace evolve. The appearance of «Tirant» has to be linked especially to three mediaeval traditions: in the first place, the «fabliaux» and the «novelle», like the «Llibre de fra Bernat» or the «Decamerone»; in the second place, the treaties of ghosts, according to the outlines of «De spiritu Guidonis»; in the third place, the motif of the knightly adventure, in the way of Chrétien de Troyes. This is how Joanot Martorell balances and adapts diverse materials to the situations that the case brings up

Cuatro poemas de amor y un elogio cortés: poesía catalana inédita de los siglos XV-XVI

Starting from a state of affairs of different bibliographical contributions on medieval Catalan poetry, this article presents the Repertori d’Obres en Vers (ROV) and includes the edition of five unpublished poems of the fifteenth and sixteenth centuries, whose opening lines are: "Per sospirar trobe aleujament", "Dir-vos-ho he –sia secret–", "Ara·n lo punt de ma partida", "En tal cas astich posat" y "En totes parts on gentilesa·s nota". All these poems are anonymous and have been preserved in a single manuscript.Partiendo de un estado de la cuestión sobre las diferentes aportaciones bibliográficas relativas a la poesía catalana medieval, se presenta el Repertori d'Obres en Vers (ROV) y se ofrece la edición de cinco poemas de los siglos XV-XVI hasta el momento inéditos, cuyos primeros versos son los siguientes: "Per sospirar trobe aleujament", "Dir-vos-ho he –sia secret–", "Ara·n lo punt de ma partida", "En tal cas astich posat" y "En totes parts on gentilesa·s nota". Todos estos poemas son anónimos y se han conservado en un único testimonio manuscrito

Cinc edicions del Venturós Pelegrí a la Bibliothèque Mazarine de París

Abstract: The Ms. 4504 of the Bibliothèque Mazarine in Paris contains, on the one hand, five printed copies of the “Peregrinació del Venturós Pelegrí” ab les “Cobles de la Mort” and, on the other hand, a partial hand-written copy of the Venturós Pelegrí with an incomplete French translation by Josep Tastu (1787-1849), who compiled all the materials of this volume. Apart from presenting the general content of the ms. 4504, we describe in detail the five editions with particular emphasis on the oldest one, probably dating from the mid-sixteenth century or shortly thereafter. This printed book, now acephalous and apodous, in which the lines go all the way across the page, still preserves three woodcuts. As the earliest witness we know of the Venturós Pelegrí, this printed copy provides some evidences to understand the dissemination of this work during the sixteenth and seventeenth centuries

La "Peregrinació del Venturós Pelegrí" ab les "Cobles de la mort": una sèrie de gravats en setze edicions cerverines (circa 1730-1804)

Entre el gran nombre d’edicions de la «Peregrinació del Venturós Pelegrí» ab les «Cobles de la mort» impreses a Cervera als segles XVIII-XIX, n’estudiem setze que transmeten la mateixa sèrie de gravats, en la qual es representen algunes escenes del pelegrí visionari i/o l’ànima del purgatori que se li apareix. A banda de reproduir en facsímil tota aquesta sèrie, la portada de quinze edicions i la primera pàgina conservada d’un exemplar únic acèfal, en fem una descripció bibliogràfica i ressenyem els exemplars localitzats en biblioteques d’arreu del món. Tant des del punt de vista quantitatiu com cronològic, aquesta sèrie destaca per ser la més reiterada i documentada entre totes les que s’han imprès des del segle XVII fins a l’actualitat en edicions d’aquestes obres

Un fals aparegut en el «Tirant lo Blanch»

In the chapters CCXXXI-CCXXXIIII of Tirant lo Blanc, there are two comical scenes where Carmesina and Tirant attempt to keep their love a secret. Carmesina justifies a night riot happened in her chamber by saying that a rat went through her face; whereas Tirant pretends to be a ghost when he runs away from the chamber into the orchard. The dependence of these two episodes opposes the nature of several characters, but the scene that best exhibits the knights’ ambivalent morality is the appearance of Tirant –with the spells of Hipòlit and the viscount of Branches. The comparison of this case with chapter XIX of the «Quixote», and with other works of the modern age, allows to determine how the forms and the meanings of a same commonplace evolve. The appearance of «Tirant» has to be linked especially to three mediaeval traditions: in the first place, the «fabliaux» and the «novelle», like the «Llibre de fra Bernat» or the «Decamerone»; in the second place, the treaties of ghosts, according to the outlines of «De spiritu Guidonis»; in the third place, the motif of the knightly adventure, in the way of Chrétien de Troyes. This is how Joanot Martorell balances and adapts diverse materials to the situations that the case brings up

Automatic instrument localization in laparoscopic surgery

This paper presents a tracking algorithm for automatic instrument localization in robotically assisted laparoscopic surgery. We present a simple and robust system that doesn't need the presence of artificial marks, or special colours to distinguish the instruments. So, the system enables the robot to track the usual instruments used in laparoscopic operations. Since the instruments are normally the most structured objects in laparoscopic scenes, the algorithm uses the Hough transform to detect straight lines in the scene. In order to distinguish among different instruments or other structured elements present in the scene, motion information is also used. We give in this paper a detailed description of all stages of the system

"O Senyor, rei de glòria"" / "Senyor, rei de glòria": difusió i significat de l'Oratio beati Karoli

De les tres versions que coneixem de l'Oratio beati Karoli, una d'elles, començada «O Senyor, rei de Glòria», forma part d'una estampa calcogràfica incunable, mentre que les altres dues ens han arribat per via manuscrita i amb un íncipit diferent: «Senyor, rei de Glòria». Les notables divergències textuals dels tres testimonis i sobretot el fet que rarament hagen estat posats en relació han induït a una anàlisi descontextualitzada del poema, donant peu a algunes errades d'interpretació. Amb el propòsit de subsanar aquestes mancances, oferim per primera vegada una edició sinòptica de les tres versions i, a partir dels indicis que aquestes aporten, intentem desvelar les seues vies de difusió i el seu significat originari. De gran interès és constatar el referons polític del poema, que remet a la figura de Carles, primogènit d'Aragó i príncep de Viana, i que ens situa en els prolegòmens i en l'inici de la guerra civil de Catalunya (1462-1472).«O Senyor, rei de Glòria» / «Senyor, rei de Glòria»: dissemination and significance of the Oratio Beati Karoli Of the three known versions of the Oratio beati Karoli, one of them, which begins ?O Senyor, rei de Glòria?, forms part of an incunabular chalcographic print, while the other two have been handed down to us in manuscript form and with a different beginning: ?Senyor, rei de Glòria?. The considerable differences in the texts of the three renditions and, above all, the fact that they have rarely been related to one another call for a decontextualized analysis of the poem, which reveals some errors of interpretation. With the aimof remedying these deficiencies, we offer for the first time ever a synopsis of the three versions and, on the basis of the evidence they provide, we attempt to show the routes by which they spread and their original significance. It is important to underline the political background to the poem, which refers to Charles, first-born son of Aragon and Prince of Viana, and sets the scene around the build-up to and outbreak of the Catalan Civil War (1462-1472)