{"id":13196,"date":"2001-08-10T00:00:00","date_gmt":"2001-08-10T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/contrafactura-o-imitacion-del-metro-de-un-poema\/"},"modified":"2001-08-10T00:00:00","modified_gmt":"2001-08-10T00:00:00","slug":"contrafactura-o-imitacion-del-metro-de-un-poema","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/linguistica\/contrafactura-o-imitacion-del-metro-de-un-poema\/","title":{"rendered":"Contrafactura o imitacion del metro de un poema"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mercedes Alvarez Castrejon <\/strong><\/h2>\n<p>El presente trabajo esta dedicado al tema de la mu\u00c2\u00bfarada o \u00ab\u00bbcontrafactura\u00bb\u00bb, que es por definicion, la imitacion del metro de un poema. A lo largo de la historiografia del genero de la muwassaha se fueron constituyendo grupos o \u00ab\u00bbfamilias\u00bb\u00bb de poemas, que dependen de un mismo patron inicial. En esta disertaci\u00f3n hemos seleccionado una docena de estas \u00ab\u00bbfamilias\u00bb\u00bb de poemas, extraidas a partir de la recopilaci\u00f3n de muwassahat impresas, realizada por y.Yahalom en \u00ab\u00bbosar hamuwashshah ha-\u00c2\u00bfibri bi-yme ha-benayim, jerusalem, 1991. Cada uno de estos poemas ha sido vertido al castellano, y comparado con sus respectivas fuentes desde el punto de vista \u00ab\u00bbprosodico\u00bb\u00bb, \u00ab\u00bbtextual\u00bb\u00bb y \u00ab\u00bbtematico\u00bb\u00bb.  este estudio comparativo va acompa\u00f1ado de otros cuatro capitulos, dedicados a indagar las siguientes cuestiones: 1)estado actual sobre la prosodia de la muwassah a: al que aportamos nuestro \u00ab\u00bbgrano de arena\u00bb\u00bb a la luz del fenomeno de la \u00ab\u00bbcontrafractura\u00bb\u00bb o \u00ab\u00bbimitacion\u00bb\u00bb; 2) fuentes del estudio de la mu\u00c2\u00bfarada: ofrecemos una solucion a la antigua polemica creada en torno a la distinta valoracion, positiva o negativa, de la moderna investigacion sobre el habito de \u00ab\u00bbimitar\u00bb\u00bb (hartmann 1887, stern 1947, rosen-moked 1985); 3)definicion de mu\u00c2\u00bfarada: frente a la critica tradicional que ha definido su uso como una practica meramente \u00ab\u00bbformal\u00bb\u00bb (stern 1947), pondremos de relieve que los poemas que imitan mantienen con sus fuentes conexiones de indole \u00ab\u00bbliteraria\u00bb\u00bb; 4)individualidad y estilo: se\u00f1alaremos las peculariaridades propias de cada uno de los poetas, y el uso particular que cada u no hizo de la mu\u00c2\u00bfarada. Asi mismo mostramos como el concepto de mu\u00c2\u00bfarada fue degerando con el paso del tiempo, y el uso distinto que de el hicieron los poetas clasicos(xi-xii), y los autores epigonos que actuaron a partir del s. Xiii.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Contrafactura o imitacion del metro de un poema<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Contrafactura o imitacion del metro de un poema <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mercedes Alvarez Castrejon <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 08\/10\/2001<\/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>Angel Saenz Badillos<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: fernando D\u00edaz esteban <\/li>\n<li>aurora Salvatierra ossorio (vocal)<\/li>\n<li> Cano perez M\u00aa josefa (vocal)<\/li>\n<li>josep Ribera florit (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mercedes Alvarez Castrejon El presente trabajo esta dedicado al tema de la mu\u00c2\u00bfarada o \u00ab\u00bbcontrafactura\u00bb\u00bb, que es [&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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