Trove: Find and get Australian resources. Books, images, historic newspapers, maps, archives and more. Cite this. Title. Las jarchas mozarabes: Forma y significado. Appears In. Romance Philology, v50, no.n1, August, p46(16) (ISSN: ). Author. Mozárabe mio sîdî ïbrâhîm yâ tú uemme dolge fente mib de nohte in non si non keris irey-me tib gari-me a ob legar-te. Jarchas Mozárabes.
|Published (Last):||3 March 2010|
|PDF File Size:||19.15 Mb|
|ePub File Size:||20.68 Mb|
|Price:||Free* [*Free Regsitration Required]|
About a third of extant kharjas are written in Classical Arabic. It is not uncommon to find the same kharja attached to several different muwashshahat. A kharja or kharjah Arabic: Most of the Romance kharjas are not written entirely in Romance, but include Arabic elements to a greater or lesser extent. For the Moroccan footballer, see Houssine Kharja.
Alvaro Galmes de Fuentes (Author of Las Jarchas Mozarabes)
This page was last edited on 31 Mayat jarcnas Approximately three quarters of them are put into the mouths of women, while the jarcchas for Arabic kharjas is nearer one fifth. The Romance kharjas are thematically comparatively restricted, being almost entirely about love. With examples dating back to the 11th century, this genre of poetry is believed to be among the oldest in any Romance language, and certainly the earliest recorded form of lyric poetry in Ibero-Romance.
Generally, though not always, the kharja is presented as a quotation from a speaker who is introduced in the preceding stanza. Most of them were copied by scribes who probably did not understand the language they were recording, which may have caused iarchas in transmission.
Books by Margit Frenk
It has been argued that such blending jaarchas possibly represent the natural speech-patterns of the Romance-speakers,  and that the Romance kharjas must therefore be regarded as macaronic literature. None are recorded in Hebrew even when the muwashshah is in Hebrew. Most of the remainder are in Andalusi Arabic, but there are about seventy examples that are written either in Ibero-Romance or with significant Romance elements.
Webarchive template wayback links Pages with citations lacking titles Articles containing Mozxrabes text Articles containing Spanish-language text Articles containing Portuguese-language text. From Wikipedia, the free encyclopedia.
Because of this, most translations of these texts will be disputed by some. Modern translations of the Romance kharjas are a matter of debate particularly because the Arabic script does not include vowels. Many scholars have compared such themes to the Galician-Portuguese Cantigas de Amigo which date from c.
Tan mal meu doler li-l-habib! A large spectrum of translations is possible given the ambiguity created by the missing vowels and potentially erroneous mozarabea. So great is my pain for my beloved! University Pressp.
These verses express the theme of the pain of longing for the absent lover habib. My heart has left me, Oh sir, will it return to me? Part of a series on. A minority of scholars, such as Richard Hitchcock contend that the Romance Kharjas are, in fact, not predominantly in a Romance language at all, but rather an extremely colloquial Arabic idiom bearing marked influence from the local Romance varieties.
It is sick, when will it be cured? Oh Lord, will you transform me?
Though they comprise only a fraction of the corpus of extant kharjasit is the Romance kharjas that have attracted the greatest scholarly interest.
Other scholars dispute such claims, arguing mozarabed the kharjas stand firmly within the Arabic tradition with little or no Romance input at all, and the apparent similarities only arise because the kharjas discuss themes that are universal in human literature anyway.
Views Read Edit View history. For the Egyptian oasis with same name, see Kharga Oasis. Since the kharja may be written separately from the muwashshahmany scholars have speculated that the Romance Kharjas were originally popular Spanish lyrics that the court poets incorporated into their poems.
Such scholars accuse the academic majority of misreading the ambiguous script in untenable or questionable ways and ignoring contemporary Arab accounts of how Muwashshahat and Kharjas were composed.