{"id":104241,"date":"2018-03-11T10:27:07","date_gmt":"2018-03-11T10:27:07","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/texto-y-contexto-el-cancionero-del-rey-don-denis-de-portugal-edicioncra%c2%adtica-y-estudio-filologico\/"},"modified":"2018-03-11T10:27:07","modified_gmt":"2018-03-11T10:27:07","slug":"texto-y-contexto-el-cancionero-del-rey-don-denis-de-portugal-edicioncra%c2%adtica-y-estudio-filologico","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/texto-y-contexto-el-cancionero-del-rey-don-denis-de-portugal-edicioncra%c2%adtica-y-estudio-filologico\/","title":{"rendered":"Texto y contexto: el cancionero del rey don denis de portugal (edici\u00f3ncr\u00edtica y estudio filol\u00f3gico)."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda Gimena Del Rio Riande <\/strong><\/h2>\n<p>Edici\u00f3n cr\u00edtica de las 137 cantigas conservadas en el cancionero de la biblioteca nacional de lisboa (b), en el cancionero de la vaticana (v) y en el pergamino sharrer (t) atribuidas al rey don denis de portugal. Se completa con un estudio introducto rio que se aproxima al texto de don denis a trav\u00e9s de su contexto de producci\u00f3n. Asimismo, teniendo en cuenta la densa red social y simb\u00f3lica que se construye en el espacio de la corte regia bajomedieval en la pen\u00ednsula ib\u00e9rica, propone un acercamien to al scriptorium dionisino desde el estudio de sus productos discursivos (en prosa y en verso) y del m\u00e9todo de trabajo de este, tanto a partir de la impronta del legado alfons\u00ed, as\u00ed como de la producci\u00f3n trovadoresca cortesana contempor\u00e1nea a la del  rey. Adem\u00e1s, se centra en cuestiones relacionadas con la paleograf\u00eda y la codicolog\u00eda que hacen a bv y en la relaci\u00f3n del texto y la m\u00fasica en las cantigas dionisinas. En cuanto al texto de don denis, describe y examina los testimonios conservados, haciendo hincapi\u00e9 en la hipot\u00e9tica conformaci\u00f3n del cancionero regio antes de ocupar su actual lugar en las recolecciones colectivas antes mencionadas. Incluye las lecturas paleogr\u00e1ficas de los testimonios bvt. Cada cantiga va acompa\u00f1ada de un aparat o de variantes textuales y gr\u00e1ficas, as\u00ed como de las variantes de las anteriores ediciones diplom\u00e1ticas y cr\u00edticas del cancionero (moura 1874; lang 1894, nunes 1932 y 1973, etc.), Y de su esquema m\u00e9trico-rim\u00e1tico correspondiente. Se completa con un r imario, un elenco con los esquemas m\u00e9trico-rim\u00e1ticos del cancionero del rey, y de los encuentros voc\u00e1licos resueltos en sinalefa.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Texto y contexto: el cancionero del rey don denis de portugal (edici\u00f3ncr\u00edtica y estudio filol\u00f3gico).<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Texto y contexto: el cancionero del rey don denis de portugal (edici\u00f3ncr\u00edtica y estudio filol\u00f3gico). <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda Gimena Del Rio Riande <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 15\/10\/2010<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Jos\u00e9 Manuel Luc\u00eda Meg\u00edas<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: eugenia Popeanga chelaru <\/li>\n<li>Mar\u00eda  mercedes Brea lopez (vocal)<\/li>\n<li>isabel Beceiro pita (vocal)<\/li>\n<li>pilar Lorenzo grad\u00edn (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda Gimena Del Rio Riande Edici\u00f3n cr\u00edtica de las 137 cantigas conservadas en el cancionero de la [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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