«El motivo: unidad narrativa en los romances caballerescos»
DOI:
https://doi.org/10.37536/RPM.2012.26.0.30596Abstract
Resumen: El motivo como unidad mínima de significado corresponde al nivel de la intriga de la historia que se cuenta, sin embargo en la determinación de los motivos en un texto hay que tomar en cuenta otros elementos como puede ser la misma expresión discursiva, el significado profundo o el tema. Por otra parte el motivo no se puede ver solamente en una relación amplia, por su recurrencia, con otros géneros, es muy importante la relación al interior del género al que pertenece el texto, en este caso el romance. Estos problemas se señalan al revisar tres romances: Herido está don Tristán, Flérida y don Duardos y Lanzarote y el ciervo del pie blanco, tomando en cuenta tanto versiones viejas como de tradición oral moderna.
Palabras clave: Romancero. Motivo. Narrativa caballeresca. Tristán. Flérida. Lanzarote.
Abstract: Motive as the minimum unit of significance is in the level of the intrigue of the story that is narrated. In the determination of the motives in a text is necessary to take in consideration other elements as the discursive expression, the last significance or the theme. It is not possible to see the motive in a large relation, for his frequency, with other narrative genres, is very important the relationships inside the narrative form, in this case the Spanish ballad. These problems are studied in three ballads: Herido está don Tristán, Flérida y don Duardos y Lanzarote y el ciervo del pie blanco, in old and modern oral tradition versions.
Keywords: Spanish Ballad. Motive. Chivalry story. Tristan. Flérida. Lancelot.
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