{"id":79559,"date":"2018-03-09T23:25:26","date_gmt":"2018-03-09T23:25:26","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/the-tale-of-gamelyn-of-the-canterbury-tales-a-new-critical-edition\/"},"modified":"2018-03-09T23:25:26","modified_gmt":"2018-03-09T23:25:26","slug":"the-tale-of-gamelyn-of-the-canterbury-tales-a-new-critical-edition","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/linguistica-diacronica\/the-tale-of-gamelyn-of-the-canterbury-tales-a-new-critical-edition\/","title":{"rendered":"The tale of gamelyn of the canterbury tales: a new critical edition"},"content":{"rendered":"

Tesis doctoral de Nila V\u00e1zquez Gonz\u00e1lez <\/strong><\/h2>\n

La presente tesis doctoral se enmarca en el campo de la edici\u00f3n critica textual y puede describirse como la edici\u00f3n cr\u00edtica del romance conocida como el cuento de gamelyn, un poema de 902 versos pareados, escrito en ingl\u00e9s medio tard\u00edo hacia finales de la segunda mitad del siglo xiv. Este poema aparece \u00fanicamente en manuscritos de los cuentos de canterbury, una de las obras maestras del escritor ingl\u00e9s geoffrey chaucer. la tesis comienza con algunas consideraciones generales acerca del cuento en relaci\u00f3n con los cuentos de canterbury (secci\u00f3n 1.1). A contin7uaci\u00f3n se presentan aquellos manuscritos en los que aparece el romance y se debate la tradici\u00f3n textual de la obra de chaucer. en esta secci\u00f3n (secci\u00f3n 1.2) se discuten las principales teor\u00edas que tratan de explicar tanto las variaciones en cuanto al agrupamiento de los diferentes cuentos como las variantes autoriales encontradas en las distintas familias de manuscritos. Esta secci\u00f3n concluye con el an\u00e1lisis de los diferentes fragmentos que forman los cuentos de canterbury y la clasificaci\u00f3n de los manuscritos que contienen dicha obra, seg\u00fan el orden de sus elementos, en cinco grupos: a, b, c, d y grupos an\u00f3malo. Los veinticinco manuscritos en los que aparece el cuento de gamelyn pertenecen a alguno de los tres \u00faltimos grupos. el cap\u00edtulo segundo contiene la edici\u00f3n de gamelyn propiamente dicha. En un primer apartado (secci\u00f3n 2.1) se analizan los pros y los contras de las anteriores ediciones del cuento y se llega a la conclusi\u00f3n de que ninguna es lo suficientemente completa y que, en muchos casos, el deseo de demostrar que la obra no pertenece a geoffrey chaucer ha llevado a los editores a tratarla incluso con desprecio, oscureciendo el trabajo editorial realizado. como se se\u00f1ala en la secci\u00f3n 2.1.1, las ediciones de gamelyn pertenecientes a los siglos xviii y xix parecen como parte de las ediciones de los cuentos de canterbury, mientras que las que pertenecen al siglo xx<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abThe tale of gamelyn of the canterbury tales: a new critical edition<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 The tale of gamelyn of the canterbury tales: a new critical edition <\/li>\n
  • Autor:<\/strong>\u00a0 Nila V\u00e1zquez Gonz\u00e1lez <\/li>\n
  • Universidad:<\/strong>\u00a0 Santiago de compostela<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 20\/04\/2006<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • L\u00f3pez Couso Mar\u00eda Jos\u00e9<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: teresa Fanego lema <\/li>\n
        • m.w. Robinson peter (vocal)<\/li>\n
        • Santiago Gonzalez fernandez-corugedo (vocal)<\/li>\n
        • Juan camilo Conde silvestre (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

           <\/p>\n","protected":false},"excerpt":{"rendered":"

          Tesis doctoral de Nila V\u00e1zquez Gonz\u00e1lez La presente tesis doctoral se enmarca en el campo de la edici\u00f3n critica textual […]<\/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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[423,977],"tags":[38304,127648,170713,170712,2896,2440],"class_list":["post-79559","post","type-post","status-publish","format-standard","hentry","category-linguistica-diacronica","category-santiago-de-compostela","tag-juan-camilo-conde-silvestre","tag-lopez-couso-maria-jose","tag-m-w-robinson-peter","tag-nila-vazquez-gonzalez","tag-santiago-gonzalez-fernandez-corugedo","tag-teresa-fanego-lema"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/79559","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=79559"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/79559\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=79559"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=79559"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=79559"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}