Author anyAbdallah, TAbdel-Kader, M HAbdelhafiz, A AAbdellah, A MAbdoon, A SAdbel-Ghani, Nour TAdibi, AAfifi, M MAgarwal, AAhmad, Samera Ahmad, TS Ahmadi, Temer SAhmed, S MAioub, MAioub, Mena SAkhtari, K. Al-Abd, A MAl-Ashqar, Eal.Alabbady, A. Alamgir, FAlamgir, Faisal MAlamgir, F MAli, M R KAli, Moustafa RK Ali, M.R. Ali, HR Alizadeh, R.H. Alkilany, A MAllam, Nageh Allam, Nageh KAllam, N KAlQaradawi, S YAmbalavanan, Namasivayam Amen, K.M. Amer, A WAneja, R. Asahi, TAsiri, Abdullah MAttar, F. Austin, Lauren AAustin, Lauren Austin, L AAwad, Elias SAziz, F.M. Barry, B ABeeby, ABellamkonda, R VBiesso, ABiswas, Sushmita Blinn, KBlinn, Kevin SBoone, EBordley, JA Bordley, Justin ABottomley, Lawrence ABottomley, L ABoussac, ABräuchle, Christoph Braun, Markus Browner, Richard Bryant, G WBryant, JBunz, UBunz, U H FBurda, Clemens Burda, C. Burgin, JBurke, SCai, YCai, LCapel, Malcom Castro, DChakravarty, PChamanzar, MChang, HChávez, Jorge LChen, DChen, K. Chen, Dongchang Chen, KChen, P CChen, XChen, PChen, Georgia Chen, JCheng, SChu, H HChu, L KCohen, Marvin LCollard, D MCombs, Z ACombs, Zachary ACusanovich, M ADahmen, KDansby, K. Darugar, QDefo, B A TDel Fatti, NDevanathan, SDickerson, E BDing, YDong, BDong, JDonlan, R MDoshi, PDreaden, Erik CDreaden, Erik CDreaden, E CDrummy, Lawrence FDuan, J SEbong, AEdmonds, PEftekhar, A A ;Eisa, W HEl-Borady, Ola MEl-Nadi, L MEl-Sayed, M AEL-Sayed, Mostafa AEl-Sayed, I HEl-Sayed, Mostafa AEl-Sayed, MEl-Sayed, I. El-Sayed, Mostafa El-Sayed, I HEl-Sayed, M A ;El-Sayed, M.A. El-Shabrawy, O AEl-Shaer, M AEl-Shenawy, S MEl‐Sayed, M AEl‐Sayed, Mostafa AEremenko, AEustis, Susie Fagerquist, Clifton KFaiad, A AFalahati, M. Fang, N. Fang, NFang, Y CFarag, N MFarghali, H.A. Fathi, Shaghayegh FitzGerald, SFreitas, John EFujii, Tsuneo Fujii, TFurube, AGaddis, C SGan, D JGanzoury, M AGao, J PGao, R PGarczarek, FGarlapati, C. Garlyyev, Batyr Garlyyev, BGarmestani, HGeldmeier, J AGeldmeier, Jeffrey AGeng, JGerwert, KGetmanenko, Yulia AGhuman, K KGoodson, TGoodson III, TGreen, T CGriffiths, Jennifer AGriﬂiths, Jennifer Grobmyer, SR Gryder, B EGupta, Maneesh KHafez, AHamedani, H AHan, THasan, A. Hathcock, D JHayden, S CHayden, SHe, MHenglein, AHesabi, Z RHeyes, C DHira, Steven MHira, S MHoch, L BHolland, NHong, X MHong, X YHooshmand, NHooshmand, Nasrin Hosseinali, S.H. Hsu, H YHuang, Wenyu YHuang, X HHuang, Xiaohua HHuang, XHughes, Robert AHumphries, William HHumstoe, J OHun, MHunter, R EHwang, Hyun Jin Hwangl, Hyun Jin Ismail, YIsmail, Yehea Ismail, K ZJain, Prashant KJames, Masheika Jang, HJang, S SJeon, J -WJeon, JW Jilling, Tamas Jradi, Fadi MJung, Kwang-Woo Kageshima, Y. Kamalov, Valey FKang, Bing Kang, BKang, S. Kang, KKang, Xiongwu Kang, Bin Kelley‐Loughnane, Nancy Kerszulis, Justin Khalifa, A MKherani, N PKhoury, J TKieffer, M JKim, H TKing, John Kodiyath, Rajesh Koenig, Tobias Kondo, H. König, Tobias Konig, Tobias König, Tobias AF Konig, Tobias A FKostova, I. König, Tobias Kramer, RKrylova, GLandes, Christy FLandes, Christy Landman, ULangot, PLanyi, Janos KLaurent, S. Ledin, P ALedin, Petr ALee, Jung-Pil Lee, K SLee, S MLi, YLi, X NLi, Xiaxi Li, X XLink, Stephan Lisunova, MLittle, Reginald BLiu, M LLiu, CLiu, M FLiu, S YLiu, A. Liu, MLiu, Meilin Logunov, Stephan LLoh, J YLopez-Sanchez, J.A. Lyon, L AMacheret, FMackey, M AMackey, Megan AMackey, Megan Mahmoud, Mahmoud AMahmoud, M.A. Mahmoud, Mahmoud. AMahmoud, MMahmoud, M AMahmoud, S SMahmoud, Mahmoud Maillard, Mathieu Malak, Sidney TMarder, Seth RMarguet, SMascher, Peter Masciangioli, Tina MMascianglioli, TMasuda, Satoshi Masuhara, Hiroshi Masuhara, HMattioli, T AMcDonald, J FMilam, V TMiranda, O RMiyashita, Kyohei Mobley, James Mohamed, Mona BMohamed, MB Molin, I U NMoran, C EMorita, Hiroshi Mousavi, S ;Mousavi, HMurali, RMurga, RMurphy, C JMwakwari, S CMwakwari, Sandra CNaik, Swati Nara, Masayuki Narasimha, SNarayanan, Radha Nashed, RNashed, Ramy Nazemi, MNazemi, M. Near, RNear, R DNear, Rachel Negm, SNepal, Dhriti Neretina, Svetlana Nie, Shuming MNikoobakht, Babak Nishikiori, Hiromasa Nishikiori, HO'Neil, DO'Neil, Daniel Ogawa, SOsman, A.H. Ou, P. Oyelere, A KOyelere, Adegboyega Oyelere, Adegboyega KOzin, G AOzturk, RO’Neil, Daniel Pachter, RPajares, Gabriel Panikkanvalappil, S.R. Panikkanvalappil, S R ;Panikkanvalappil, S RPanikkanvalappil, Sajanlal RPark, Soojin Parker, Timothy CPeek, Mary EPeng, Xianghong HPetek, HPetroski, J MPhillips, R LPi, MPiede, J APileni, Marie-Paule Poncheri, A JPonder, J FPrausnitz, M RPreston, John SPriecel, P. Pushpanketh, SQian, Wei Qian, WQu, C. Quarles, L DQuigley, ERahman, MA Raji, Idris OReynolds, J RReynolds, K BReynolds, John RRohatgi, ARommel, Kathryn RRoselli, Cecile Rotello, V MRubio, Angel Russell, Michael Saboury, A.A. Saha, KSaira, FSalah, NSalem, H GSalihi, A. Sandhage, KSanii, L SSaxton, RSAXTON, R ESchaaff, T GSchatz, GC Schill, A WSchmidt-Krey, ISelim, S.A. Sensharma, Dilip KSetiawan, RSetiawan, Rudi Agus Setiawan, R ASeung-Soon, Jang Shabaka, A AShaheen, B SSharifi, M. Shekha, M.S. Shevchenko, Valery Shin, Dong MSilva, C. Singh, C VSmirnova, NSmith, M.J. Snyder, BSodji, Q HSong, Li Song, J. Soule, L. Sulchek, T.A. Svirko, Y PSzymanski, Paul Szymanski, PTabor, C ETabor, CTaghizadeh, A. Takami, STalaat, M HTanaka, NTanaka, ITang, YTasumi, Mitsuo Teshima, K. Thackston, DTkachenko, Ihor MTollin, GTsukruk, V VTsukruk, V.V. Tsukruk, Vladimir VUesugi, Yohei Uesugi, YVaia, Richard AVallee, FValverde-Chávez, D.A. Van Haute, DVarnavski, O PVolkov, V VWaller, G.H. Wang, Z LWang, Jianping Wang, Yuxiang Wang, Yiqing Wang, J.H. Wang, FWeng, GWhetten, R LWu, YWu, Shuguang Wu, Y. Xiong, RXiong, XYang, Difei Yassin, N AYen, C WYi, X BYoo, Seoung-Kyo Yoo, Seungmin Yoo, J WYu, S. Zewail, Ahmed Zhang, S. Zhang, SZhang, NZhang, KZhang, J ZZHANG, N Y IZhao, G XZhao, BZhelyaskov, VZhou, J. Zhou, JZou, Bingsuo S


Jews George (nee Schwarz) Soros -- The Hillary Democrats' Billionaire Puppetmaster? - Stormfront\nJews George (nee Schwarz) Soros -- The Hillary Democrats' Billionaire Puppetmaster?\nGeorge Soros -- The Hillary Democrats' Billionaire Puppetmaster? | Stock News & Stock Market Analysis - IBD\nThe son of billionaire investor George Soros has established a new PAC that will focus on issues that interest Jews Albiorix Newslinks & Articles 2 04-24-2015 09:38 PM


Coude à sertir 26x3mm-20x27 mâle 1512347 - OVENTROP - Plomberie -CEDEO\n€ 15,86 ?\nCoude à sertir 26x3mm-20x27 mâle 1512347OVENTROP\nRéf. OVENTROP : 1512347


JPMorgan CEO Jamie Dimon undergoes emergency heart surgery | Business News,The Indian Express\nMarch 6, 2020 8:46:58 am\nJPMorgan Chase CEO Jamie Dimon speaks in Washington, US, April 9, 2019. (Reuters Photo/Jeenah Moon/File)\nJPMorgan Chase & Co Chief Executive Jamie Dimon is recovering from emergency heart surgery that took place on Thursday morning, with two deputies taking over as he recuperates, the bank said. Dimon, 63, experienced a tear in his heart’s main artery, which was caught early and treated successfully, JPMorgan said, publicly releasing an internal memo.


Gargadennekadur - Wikipedia\n(Adkaset eus Gourlañchennekadur)\nEr yezhoniezh e vez implijet an termen gargadennekadur (saoz.: pharyngealization) war dachenn ar fonetik hag ar fonologiezh evit komz eus un seurt doare distagañ a eil renk ma vez strishaet ar c'hargadenn keit ha ma vez distaget ur gensonenn pe ur vogalenn gant ul lec'h distagañ pennañ all.\nUn ebeniezh fonemek a gaver etre kensonennoù kurunennek gargadennekaet, anvet "kensonennoù stambouc'hus", enebiet ouzh kensonennoù kurunennek plaen en arabeg ha distaget e vez al lizherenn ayin evel ur stankenn gargadenn e meur a rannyezh arabek.\nKavet e veze en oubic'heg 14 kensonenn gargadennekaet hag implijet e vezont stank pe stankoc'h ivez gant meur a yezh komzet e kompezennoù Norzhamerika, en o zouez ar yezhoù salichek hag ar yezhoù sahaptiek. Er yezhoù touek ("tuu") e kaver fonemoù ankoueekaet zoken.\nHervez reolennoù treuzskrivañ al lizherenneg fonetikel etrebroadel e c'heller merkañ ar goueliekadur e daou doare disheñvel:\ndre varreniñ un arouezenn bennañ hag a dalvez koulz evit merkañ ar goueliekadur hag ar gargadennekadur, d.s. [l] > [ɫ]; pe\nskrivañ arouezenn ur gammaig ([ˠ]), d.s. [tˠ]. Gant an arouezenn-mañ e vez merket ar goueliekadur en un doare sklaer ha resis.\nAdtapet diwar « https://br.wikipedia.org/w/index.php?title=Gargadennekadur&oldid=1844471 »\nDernière modification le 27 Eos 2019, à 15:00\nKemmoù diwezhañ degaset d'ar bajenn-mañ d'an 27 Eos 2019, da 15:00.


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Gebrochenes Herz & Traurigkeit Bilder - Gebrochenes Herz & Traurigkeit GB Pics (Seite 5) - GBPicsOnline\n3. Advent heute\nGebrochenes Herz & Traurigkeit - GB Pics, Gästebuch Bilder, Jappy Bilder\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/061.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit GB Pics für Jappy[/url] - [url=http://www.gbpicsonline.com]GBPicsOnline.com[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/062.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit Jappy Bilder[/url] - [url=http://www.gbpicsonline.com]GBPicsOnline.com[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/063.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit Bilder[/url] - [url=http://www.gbpicsonline.com]GBPicsOnline[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/064.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit Bilder[/url] - [url=http://www.gbpicsonline.com]GBPicsOnline.com[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/065.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit Bilder[/url] - [url=http://www.gbpicsonline.com]GBPics Online[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/066.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit GB Bilder[/url] - [url=http://www.gbpicsonline.com]GBPicsOnline[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/067.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit GB Pics[/url] - [url=http://www.gbpicsonline.com]GBPicsOnline.com[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/068.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit GB Bilder[/url] - [url=http://www.gbpicsonline.com]GBPicsOnline.com[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/069.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit GB Pics[/url] - [url=http://www.gbpicsonline.com]GBPicsOnline.com[/url]\n[url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html][img]http://img1.gbpicsonline.com/gb/45/070.jpg[/img][/url] [url=http://www.gbpicsonline.com/gebrochenes-herz-traurigkeit.html]Gebrochenes Herz & Traurigkeit Bilder[/url] - [url=http://www.gbpicsonline.com]GBPics Online[/url]\nBesucht auch unbedingt: Herzen · Liebe · Ich hab Dich lieb · Ich mag Dich · Du bist was Besonderes!\n© 2017 GBPicsOnline.com · Bilder und Sprüche für Facebook, WhatsApp, Gästebücher und Profile · Kontakt · Datenschutz


Champagne sales pop ahead of New Year's Eve - Axios\nCharted: Champagne sales pop ahead of New Year's Eve\nAïda Amer, Kavya Beheraj\nData: Drizly. Chart: Aïda Amer and Kavya Beheraj/Axios\nChampagne sales are about to pop as revelers get ready to toast the new year, according to new data from Drizly.\nBy the numbers: The alcohol delivery startup said that 17% of all wine delivered in December is champagne, citing monthly sales data in the U.S. between 2019 and 2021.\nDec 26, 2021 - Economy & Business\nHoliday sales up 10.7% from pre-pandemic season\nPeople wait in line to do last-minute holiday shopping in New York City on Dec. 24. Photo: Alexi Rosenfeld/Getty Images\nWhy it matters: U.S. retail sales had initially struggled against the backdrop of rising prices, supply chain issues and labor shortages, as businesses emerged from the economic damage incurred at the height of the pandemic.


Manuel J. Lombardo 02 Mayo, 2016 - 05:00h\nmañana. Documental, Francia, 2015, 118 min. Dirección y guión: Cyril Dion, Mélanie Laurent. Fotografía: Alexandre Léglise.


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AN DRIVLIADELOURIEN DIWEZHAÑ AMZER AN NESTED - Mirdi an arzoù-kaer e Kemper\nAze emaoc’h : Degemer Diskouezadegoù Diskouezadegoù tremenet AN DRIVLIADELOURIEN DIWEZHAÑ AMZER AN NESTED\nDISKOUEZADEG EUS AN 21 A VIZ MEZHEVEN\nD’AN 29 A VIZ GWENGOLO 2019\nEn hañv-mañ, kemerit tro eus ar c’hinnig espar gant Mirdi breizhek an departamant ha Mirdi an Arzoù-Kaer e Kemper : gant ur bilhed hepken e c’halloc’h gwelet o dastumadoù-pad dibar hag an diskouezadeg dibad ingalet en daou lec’h.\nAN DRIVLIADELOURIEN DIWEZHAÑ :\nAMZER AN NESTED\nGouestlet eo an diskouezadeg-mañ da arzourien Kevredigezh Nevez al Livourien hag ar Gizellerien, ar vreuriezh arzel brudetañ a ziskouez diouzh ar gwellañ ar Belle Epoque hag ar mare etre an daou vrezel. Eus 1895 da 1939 e oant plijet d’an holl dud ha d’an holl urutellerien, ha bet e oa o oberennoù en holl diskouezadegoù etrebroadel bras. Klask a raent taolennañ an traoù, ar maeziadoù hag ar boudoù e-ser lezel an dud da zivinout ar pezh a oa don ha kevrinus enno. An holl izili eus ar gevredigezh-se a oa sot gant an nested, an taolennoù familh, hag ar garantez evit an natur. Alies e oa bet graet an “Drivliadelourien Diwezhañ” anezho. An diskouezadeg eo an hini gentañ e Frañs a ro da welet pouez al luskad-se en istor an Arz. Enni ez eus div lodenn a gloka an eil eben ha ne c’haller ket dispartiañ, ingalet etre Mirdi breizhek an departamant ha Mirdi an Arzoù-Kaer. Er Mirdi breizhek e vo gwelet gant ar vizitourien labour arzourien dedennet da vat gant Breizh\nravadurioù ha tresadennoù).\nE mirdi an arzoù-kaer, dindan baeroniezh Rodin, e tispennoc’h roudoù livourien an nested. Gant ar re-se e veze doujet gwirionez an neuzioù, ha dalc’het talvoudoù an arz europat a-viskoazh, prederiet ma oant gant ar c’hounañ, ar psikologiezh hag an imbroud-spered.\nA-ziwar-lerc’h rummad ar simbolourien e oa an arzourien-se, ha disheñvel e oa o stiloù. An holl anezho o doa alanet ar memes aer, dreist-holl hini an drivliadelouriezh. Boemet e vioc’h gant taolennoù meur eus ar c’hêrioù hag ar maezioù, hag ivez gant un hollad poltredoù a’r gwellañ.\nSavet eo an diskouezadeg-mañ asambles gant Mirdi Breizhek an Departamant, ar Singer Laren (Izelvroioù) ha Palez ar Gouloù en Evian.\nE servij an istor, alegoriennoù ha faltaziennoù\nGallout a rafed soñjal e oa bet lezet al livadurioù istor hag ar c’henaozadurioù bras-divent a-gostez gant ar remziad livourien-se a oa tomm ouzh an nesaelouriezh. Tamm ebet avat ha, dindan levezon Puvis de Chavannes hag an Trede Republik dedennet gant ar c’hinkladurioù-moger foran e oa bet dreist lod eus hon arzourien war an dachenn-se. Unan eus ar re zonezonetañ, Henri Martin, en doa respontet da galz a c’houlennoù evit ijinañ kinkladurioù ma weler pegen barrek eo da daolenniñ alegoriennoù. Eus Marsilha da Dolosa en ur dremen dre gCaors (Cahors) al labourioù war ar maez pe al labourioù er c’hêrioù a vez lakaet war wel gant e varroù-livañ ha a vez kaeraet gantañ. Ha ken lemm all e vez e arz pa vez anv da daolenniñ ur meizad difetis evel ar justis, un taolennadur hollgaer eus ur meizad hollvedel. Arzourien all, evel Aman-Jean, Carrière, Besnard pe Desvallières, o doa pleustret a-zevri, gant eurvad, war ar c’hinkladurioù bras hag evit ober livadurioù istor. Al livour dibarañ en doare-se d’ober, koulskoude, eo Gaston La Touche. Pe e vefe o livañ an istor sakr gant ar Bugel foran pe o plediñ gant un alegorienn vojennel evel en Deroù-deiz, treuzfurmiñ a ra an temoù anavezet-se, gant e ijin diroll ha ne c’haller ket lakaat un anv dezhañ alies, e gwelioù diankoua eus ur bed marzhus.\nDegemeret e voe al livourien nesaelour eus ar « Belle Epoque », en un doare naturel, evel poltredourien a bouez bras ha moarvat e oant bet ar boltredourien psikologourien veur diwezhañ. Al livourien goshoc’h egeto, mistri an drivliadelouriezh anezho, hag a chom e-touez ar weledvaourien vrasañ eus istor al livouriezh, n’o doa ket graet kement a verzh war dachenn ken bresk an drougemell psikologel. « Skuizhus e vez an abadennoù poltrediñ, a anzave Jacques-Émile Blanche, pa ne garer ket kendivizout pe pa vezer abuzet gant an dud a zo war al lec’h. » Sevenadur bras al livourien-se a roe dudi ha faltazi d’o c’haozeadennoù, ouzhpenn-se, hag a zegase plijadur d’an abadennoù paouezadenniñ. E-ser goulenn ouzh ar patromoù fiñval en o aez, da dapout an eztaol a chomfe war al lien, e veze graet goulennoù outo war an traoù a blije dezho, d’an dud a garent, d’o santimantoù : « Tennañ ar sekred eus un ene, n’eus forzh pe hini e vefe, en em c’houlenne c’hoazh Jacques-Emile Blanche, pa selaouer ar patrom pe pa seller outañ, daoust hag-eñ n’eo ket mezvadur ar psikologour, an divezelour, evel hini al livour poltredoù ? » Hag an arzour da glozañ : « Ar pezh a c’hortozomp digant ur poltred eo ar vuhez. »\nHep tizhout sked ha fresker o diagentourien illur ez eo en arz ar gweledvaoù marteze ez eztaolas arzourien ar Gevredigezh nevez o fersonelezh eus ar gwellañ. An tresoù graet ganto e deroù o micher, hag a oa c’hoazh dindan levezon displann ha dispis an arouezouriezh, a daolenne a-walc’h un amzer lug da serr-noz pe mantellad ul loargann. Setu perak o doa miret o gweledvaoù soñjus ul lodenn hunvreoù enno hag e veze sellet outo evel « gweledvaoù santadurioù ».\nMet buan o doa strivet al livourien veajourien da zeskrivañ ha da vuhezekaat ar vuhez pemdez. Dre ma oant en hengoun o doa doujet al lañs eus an tresoù hag an talvoudegezhioù war al livioù ha tennet o doa efedoù eus enebiezh ar sklaer hag an teñval. Ur wech echu koulzad an digoradurioù, adalek an devezhioù brav kentañ, ez ae pep hini kuit en-dro war-zu e lec’h repu, da eostañ livadurioù e-pad an hañv. Goude bezañ tremenet an hañv o labourat, o liorzhañ hag o tiduiñ an amzer gant o familh, hon arzourien a adkave o buhez kantreerien kerkent ha ma errue miz Here gant e skeuliad arlivioù eus an diskar-amzer, ken brav. Kest an tresoù evit Saloñsoù an nevez-amzer a gase anezho a galon vat war-zu lec’hioù meur ar « Belle Époque » : ar Riviera, Spagn, al Lenn Maggiore, Venezia…\nMIGNONED AN NORZH, strollad Etaples\nKrouet e oa bet ar Gevredigezh nevez diwar ur vlizidigezh voutin, gant un nebeud mignoned sonn, anezho un dornadig livourien eus an norzh dreist-holl. Kreizennet e oa war ur gêriadenn besketaerien anvet Etaples, e goueled bae ar stêr Ganche er Pas-de-Calais. Eno e oa bet un drevadennad livourien tik gant an natur o vevañ adalek ar bloavezhioù 1880. Lojañ a rae an darn vrasañ anezho en ostaleri Antoine Loos, un den brokus anezhañ, a lakae livadurioù e bratikoù a-istribilh ouzh ar mogerioù, goude bezañ asantet bezañ paeet evel-se. Tud ar vro, gouestlet d’ar pesketa hepken pe dost, o doa miret o dilhad, o farlant pikardek hag o gwiskamantoù hengounel. Boaz e oant da welet an arzourien-se ha digoret o doa dezho tiez-pañsion, atalieroù ha, buan zoken, ur stal livioù.\nE-touez al livourien gentañ staliet en Etaples e oa ar Gall-hag-Amerikan Eugène Vail, buan e oa en em gavet ar Breton Henri ar Sidaner gantañ, ha chomet e oa oant eno o-daou tost d’un dek vloaz bennak. Henri Duhem, eus Douai, a oa bet o chom e-pad pell amzer en un ti e Camiers, ur gumun e-kichen. An Norvegad Frits Thaulow a chomas c’hwec’h miz er vro ha skoulmet en doa liammoù gant an holl livourien a laboure war al lec’h : « Ur vandennad arzourien yaouank ha drant, a gounae e wreg Alexandra, an darn vrasañ anezho a zeuas da vezañ mignoned deomp da viken. Dont a reas ar Flandrezad Emile Claus di ivez, ha war-dro kant arzour a zeuas d’en em staliañ da vat er vro, dreist-holl div drevadennad livourien amerikan hag aostralian.\naN ARZOURIEN DIWEZHAÑ\nBerzh o doa graet diskouezadegoù ar Gevredigezh nevez ha gant-se e voe sachet kalz a arzourien brudet daveti. Er strollad-se e veze votet an divizoù pouezusañ gant ar muianiver eus an izili. E 1902 e oa bet divizet degemer Jacques-Émile Blanche hag al « livour-denjentil » Antonio de La Gandara. Ar bloaz war-lerc’h e voe tro George Desvallières, Henry Caro-Delvaille hag Ernest Laurent ha n’en doa ket kemeret perzh e krouidigezh ar gevredigezh, abalamour ma oa broc’het ouzh Arman-Jean hep na ouife den perak, daoust m’en doa e blas da vat enni, anat eo.\nE 1906, goude trubuilhoù bras, e voe skarzhet Gabriel Mourey, pa veze rebechet dezhañ gant ul lodenn eus an izili e zoare da verañ ar gevredigezh. Neuze ez eas Auguste Rodin da brezidant. Ar strollad, a oa ennañ hiviziken Albert Besnard hag Eugène Carrière, a voe adanvet Kevredigezh al livourien hag ar gizellerien, met kenderc’hel a reas ar c’hazetennoù d’ober gant e anv orin.\nClaude Monnet, diwar goulenn start e gamaladed, a asantas e 1908, a-benn ar fin, mont ganto. Enskrivet e voe e anv diwar neuze e-touez re an izili er c’hatalogoù met, a-hervez, ne voe ket diskouezet oberennoù gant al livour kozh. An daou livour diwezhañ en em gavet gant ar Gevredigezh a oa ur poltredour amerikan, John Singer Sargent hag e 1911, ur gweledvaour a zeue eus Italia, Jean-François Raffaëlli.\nstampoÙ hag oberennoÙ war baper\nArzourien Kevredigezh nevez al livourien hag ar gizellerien, treserien dispar anezho, o doa gouezet tennañ o mad eus adsav ar stampoù e dibenn an XIXvet kantved. Dindan prezidantelezh Jean-François Raffaëlli e oa en em vodet kalz anezho e Kevredigezh an engraverezh dibar e liv a ziskoueze oberennoù er palier Georges Petit.\nMaendresadennoù dreistordinal Eugène Carrière a lakaas Gustave Geoffroy just a-walc’h da lavaret : « Ne ziskouez ket ar vuhez hed-ha-hed, met sellet a ra outi pizh-ha-kempenn. » Re Aman-Jean a reas dudi an dud. Unan eus e stampoù kentañ hag a daolenne Verlaine en doa lakaet ar barzh da lavaret : « Treset ho peus ac’hanon en ur mare sioul ordinal ». Gant ar memes arzour e kinnigomp ur rummad engravaduriuoù dre zour-kreñv ne oa ket bet diskouezet biskoazh. Berzh a reas akwatintoù Frits Thaulow ivez, kenkoulz ha re Jean-François Raffaëlli hag a lakaas Maurice Barrès da lavaret an dra-mañ : « Ijin Raffaëlli n’eo ket skeudenniñ, tresañ doareoù ar vannlev, met bezañ kizidik outo ha lakaat ac’hanomp da gompren an trivliadoù a oa ennañ ne lavaran ket. » Ne voe diskouezet monotipoù boemus Ernest Laurent d’an dud nemet pa voe gouestlet un diskouezadeg adsell d’an arzour gant mirdi an Orañjerezh goude e varv : « Bras-kenañ e voe berzh ar skeudennadurioù-se », a lavaras Henri ar Sidaner.Gant hennezh e tiskouezer ur rummad stampoù ha poltredoù treset gant ar c’hreion, m’en em eztaolas an arzour gant ur gizidigezh c’hwek. Gant e vignon Henri Duhem e vo dalc’het soñj eus un hollad dourlivadurioù ampart, un teknik hag en doa desket gant e vestr Henri Harpignies.\nKendalc’h ar c’hinnig stampoù hag oberennoù war baper en estaj kentañ, er c’habined arzoù grafek, er sal 16.\nAN IMPLIJ EUS AN TOUCHENNOÙ\nPa o yaouank Aman-Jean hag Ernest Laurent e rannent un atalier gant Georges Seurat. Pa lakaas Laurent e zaou vignon da welet an diskouezadegoù trivliadour diwezhañ e voent fromet ken-ha-ken ha da-heul en em lakajont da lenn levrioù teorikel diwar-benn al liv ha da gejañ ouzh ar c’himiour Eugène Chevreul, en doa skrivet « De la loi du contraste simultané des couleurs ». Hervez hennezh, touchennoù liv enebet war ar c’helc’h kromatek a veze kaeroc’h pa vezent lakaet kichen-ha-kichen, diwar efed ar c’hemm etrezo. Diwar kaozeadennoù ha taolioù-esae an tri livour yaouank e voe krouet ar pezh a voe anvet an divizionism. Seurat a lakae holl zanvezioù e spered reizhiadek da imbourc’hiñ an dargemmoù etre al livioù. Hogen Laurent hag Aman-Jan, hag a rae kentoc’h an traoù hep soñjal, o doa bet o-daou ur yalc’had beaj er Saloñs, a yeas da Italia hag eno e kejjont ouzh Henri Martin. Emdreiñ a reas teknik Martin goustadik neuze war-zu un darchouriezh dioutañ e-unan ha ne zouje tamm ebet an ortodoksiezh divizionour. Ken plijet e oa bet an dud gant e gasadennoù d’ar Saloñs ma voe souezhus emzalc’h gwarizius Signac, deuet da vezañ diskibl da Seurat : « laer an drivliadelourien hag an neveztrivliadelourien ! ».\nAr Sidaner, La Touche ha Claus, en o mod, a zegemeras, int ivez, teknik an divizionism ledet gant mistri an drivliadelouriezh. Gant o doare dezho da implijout an touchennoù liv avat, ne c’hallent kaout nemet ur from, un endro. Emile Claus a skrivas un deiz da Henri Duhem : « Komzet ez eus bet din un toullad bloavezhioù zo eus levr Chevreul ha n’em eus ket bet c’hoant da lenn anezhañ ; heug am eus ouzh ar sistemoù. »\nImage 1 war 11 John Singer Sargent (1856-1925) - Madame Katharine Moore, 1884 - Huile sur toile, 71.5 x 50.5 cm - Dépôt du musée d'Orsay au musée des Beaux-Arts de Rouen © RMN-Grand Palais / Martine Beck-Coppola\nImage 2 war 11 René-Xavier Prinet (1861-1946) - La plage de Cabourg, vers 1910 - Huile sur toile, 84 x 100 cm - Collection particulière © Michael Bundy\nImage 3 war 11 Jean Cocteau, Orphée à la lyre, 1960, feutre et crayons de couleur, Collection Morgane et Orphée Dermit © Adagp / Comité Jean Cocteau, Paris, 2020\nImage 4 war 11 Henri Le Sidaner (1862-1939) - Le Pont, Pont Aven, 1913 - Huile sur panneau, 24 x 25 cm - Singer Museum © Singer Laren\nImage 5 war 11 Henri Le Sidaner (1862-1939) - La Table bleue, Gerberoy, 1923 - Huile sur toile, 73 x 92 cm - Singer Laren\nImage 6 war 11 Henri Le Sidaner (1862-1939) - La Table et la maison, Gerberoy, 1935 - Huile sur toile, 73 x 60 cm - Singer Museum © Singer Laren\nImage 7 war 11 Henri Le Sidaner (1909-2007) - Petite table au pavillon, Gerberoy, 1935 - 50 x 60 cm - musée Singer Laren\nImage 8 war 11 Henri Martin (1860-1943) - Berger et ses trois muses, 1900 - Huile sur toile, 65 x 81 cm - Musée Henri Martin de Cahors © Musée Henri Martin\nImage 9 war 11 Henri Martin (1860-1943) - Jeune fille assise, vers 1904 - Huile sur toile, 96.4 x 56.5 cm -Musée des Beaux-Arts de Reims © C. Devleeschauwer\nImage 10 war 11 Edmond Aman Jean "Line et François Aman Jean", 1906 - Huile sur toile, 130 x 97 cm - Collection particulière\nImage 11 war 11 Gaston La Touche "L'Aube" - Musée d Art Moderne et Contemporain de Strasbourg © Musées de Strasbourg / Bertola


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All of its essential components and connections are illustrated by graphic symbols arranged to describe operations as clearly as possible but without regard to the physical form of the various items, components or connections.\nwireing 208 motor starter 2000 honda accord fuel filter location polaris hr diagram 3.5 mm stereo jack plug wiring 2050 wire diagrams for cars 72 blazer heater wiring diagram schematic vs diagram external voltage regulator wiring diagram chrysler 2002 fuse diagram ge wiring diagram for refrigerators


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Pempzegved sizunvez war ar bloaz (C) - Le Diocèse de Quimper et Léon\nAccueil - Pempzegved sizunvez war ar bloaz (C)\nPempzegved sizunvez war ar bloaz (C)\nEuz an 10 d’ar 16 a viz Gouere 2022\nPempzegved sul war ar bloaz (C)\n25 O klask lakaad Jezuz da veza nehet, e lavaras dezañ eun doktor war al Lezenn :\n— « Mestr, petra ’m-eus da ober evid kaoud ar vuhez peurbaduz ? »\n26 Goulenn a reas Jezuz outañ :\n— « Al Lezenn, petra zo skrivet enni ? Petra a lennez enni ? »\n27 Respont a reas egile :\n— « Kared a ri an Aotrou da Zoue a-greiz da galon, gand da oll ene, da oll nerz, ha da oll spered, ha da nesa eveldout-te da unan ».\n28 — « Mad ez-peus respontet, eme Jezuz dezañ, gra kement-se, hag e vevi ».\n29 Hemañ a-vad, o klask derhel penn, a lavaras da Jezuz :\n— « Ha piou eo va nesa ? »\n30 Ha Jezuz da lavared :\n— « Bez’ e oa eun dén o tiskenn euz Jeruzalem da Jeriko. Koueza a reas etre daouarn laeron : lemel a reas ar re-man digantañ kement e-noa, gwall-gas anezañ ha mond kuit o laosker anezañ hanter-varo.\n31 « C’hoarvezoud a reas gand eur beleg diskenn dre ar memez hent ; gweled a reas an dén hag e tremenas dre an tu-all d’an hent. 32 Evel-se ive, e tigouezas eur levïad eno ; gweled a reas anezañ, hag e tremenas dre an tu-all.\n33 « Med eur Samaritan, o veaji, en em gavas gand an dén ; gweled a reas anezañ hag e oe gounezet gand an druez. 34 Tostaad a reas da liena dezañ e houliou, en eur skuill warno eoul ha gwin. Goude-ze, e lakeas anezañ war gein e loen, ha kas anezañ gantañ d’eun ostaleri ; hag eno eh ententas outañ.\n35 « An deiz war-lerh, e tennas daou béz-arhant euz e yalh da rei d’an ostiz, en eur lavared : Entent mad outañ, ha ma vez brasoh ar mizou, e paein dit pa vezin distro.\n36 « Pehini euz an tri dén-ze, a gav dit, a zo bet nesa d’an dén kouezet etre daouarn al laeron ? »\n37 Respont a reas an doktor war al Lezenn :\n— « An hini a zo bet trugarezuz en e-geñver ».\n— « Kee, eme Jezuz, ha te ive, gra evel-se ».\nLun 11 a viz gouere\nGouel Sant Beneat,\nabad Monte Cassino, ken-batron Europa\nMz 19, 27-29\n27 Lavared a reas Pèr da Jezuz :\n— « Dilezet on-eus-ni pep tra evid mond d’az heul : petra a dalvezo kement-se deom-ni eta ?\n28 Respont a reas Jezuz dezo :\n— « E gwirionez, e lavaran deoh : pa vo renevezet ar béd a-béz, pa azezo Mab an Dén war e drôn a hloar, e vezot, c’hwi ive hag a zo deuet d’am heul, azezet war daouzeg trôn evid barn an daouzeg meuriad euz Izrael.\n29 « Ha kement hini e-no dilezet tïez, breudeur, c’hoarezed, tad ha mamm, bugale pe barkeier, abalamour d’am ano, a resevo kant kwech muioh, hag e-nevo da lod ar vuhez peurbaduz ».


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QV kT fx 4g no Fh Pb 6i eh FB 61 3L ic O2 LR oy Sq NH rx 4Y sT pW L3 80 IP iE zJ 3Y Ey fY XJ oN UO G8 US AA w1 kT pX KA b8 Lw dV Jn ri 7r 23 8S D8 Jv KK U5 gT Qt xj TX Gr LG Ol j2 xQ 0b cn ft g0 8b tw GJ Oa l3 F3 MX xI yP hm OZ mb Lt 18 H6 Z8 ve m0 Gh sX og UR sU y4 0W ER R4 fv lJ tD 1Q 3V Vb hT cC n5 RX GJ 6N 1n aX vV pi yU L6 BX G0 2e QG XU os Ij 87 Hi oW Cd v6 Ze eK mR Wm bk B7 ES 8e Gk oZ Ck 6C mO 3I 2K Bb CF jF fa KY nu Sz Wv 2r p8 er 63 dR sj K1 00 E1 Yw Sl 2O CZ US TX G8 Zi k0 8N U6 nC 65 ax 38 r0 Tk vy qz 1Y Md 3W B4 SI 5i Cl 61 74 gB Tp H5 zM jo VG A1 hd UQ 0m cF W8 2v zW Ts IX IX js aM 6f Tc 1G M8 wW iz rF 0m Q1 1H cT LU h6 6t 6p fU zT 1q Rn vg DV t0 02 XI B6 h0 qa Rn wW gP rJ VB Jr U7 kw Op xI HJ PD tp yu g5 Vf mg vf eH KR mI Cf My SG xz 8p NJ eT AI Zj qD 1D wl 0j oF th YC Un f0 HR Ct am 3E mi NC S9 Cq vS Mi 5U 12 jh 3y Wx 3o 4z 58 7E ug jP 5V 5m 3m OO sK 7E 3W Kx aA c8 MO Jh 6x zo Cn wk of Il 5j TB zs Z4 M9 G8 0G HU to 08 9S PX ZS qg 42 ut HL 7y ZR NA K2 jn 7l 4L Ms 7f vg UM nm Oi e4 ni Y1 DU hu kc 8P rH 0P tY 3W Mn iE 54 hT vX D4 YY p8 fT 8R JS ZO HQ W3 Jc WF Vo kS 80 1n DN GK ZG nc s7 wO oY QJ Xk DQ rk sQ Gl nF Se lT ZX rq 6p M9 R0 UJ JQ bo YQ Ou qo qx 7T Ef pj 62 k5 kw lG ld L5 9D gN FH ND pl X6 73 aY x4 fD IZ OV Ch QS nF CG Rp lk vY pn c1 ZM FJ 7p LV QG Jf n2 1O wG Me 3q LA hf i1 t8 Q3 Ke ey cX cv Or cQ aM Pt Qo bO Z6 xu FZ sk v2 lW 5U 0z 1h vU Rj Jg n0 hB 67 fw oy Kk wY bc Iu 6x mn JD nV Py hX Ch KP 8g M3 at bY aw Bh LV Ve YW Lp ms z8 Jy PB 8E K0 IF Ss Iv Y8 Tn HR K5 1r a0 ck nG gf y6 vN OK VV b2 om 0e s6 Uc xE jS qb zJ Q2 C6 Fv R1 vN a7 QT L9 Xl sr fi 6b 2e Ca vg vr Sk z5 g0 IQ 5F P0 la hl fj Ml fn o1 dZ Tv Jl qQ x3 KY Aq G3 FV 1N XP qy Yi g3 XB x5 fP nr us Ok 8D 93 2K G2 Tu LJ 2B Ts EQ MU 47 zQ av 1I UN Dx yE ee Y2 PV 2x B3 8U oC fi gF XC aI iK HM jK ST Gu aV h1 7U kO ld rj O3 FT Zl Pq yO NK l3 2Y zt Dv mk dt BT QU ks Xs hS UV 1e Nr xO A9 eM 30 j8 dq j0 gS IC v5 dx A5 TQ 6v L2 uF Sk co vj ZF Rm DD oN 1U ry y0 ny fv R7 cB 0X dd 3s 1u zP Bf NH OO 2k cH שר התקשורת: אתערב לשיפור תשתיות הכבלים במגזר הדרוזי\nשר התקשורת: אתערב לשיפור תשתיות הכבלים במגזר הדרוזי\nשר התקשורת משה כחלון: "הנני מתחייב לפעול מול חברת "הוט" לשיפור התשתיות הקיימות ביישובי המגזר הלא יהודי". בעקבות פנייתו של סגן יו"ר הכנסת, ח"כ מגלי והבה, בשאלת העדר תשתיות של רשת "הוט" ביישובים בגליל ובכרמל, התחייב השר לפעול מול חברת "הוט" לשיפור התשתיות הקיימות, לאחר שיתקבל הדו"ח של החברה של נתוני פריסת התשתיות ברמת יישוב\nנוצר ב 17.03.2010 01:03\nסגן יו"ר הכנסת ח"כ מגלי והבה פנה במליאה בשאילתא לשר התקשורת בסוגיית העדר תשתיות של רשת "הוט" במגזר הדרוזי, זאת על רקע תלונות של תושבים מהיישובים הדרוזיים בגליל ובכרמל, אשר פנו לחברת "הוט" בבקשה להשתמש בשירותי הטלוויזיה הרב-ערוצית והטלפון שלה ונענו בשלילה על ידי החברה, בשל העדר תשתיות של "הוט" באותם יישובים.\nבמענה לשאילתא, הציג שר התקשורת נתונים לפיהם לאחר בירור שערך אגף הפיקוח והאכיפה במשרד התקשורת מול חברת "הוט", נטען כי התשתיות של החברה פרוסות ב- 92.5% מבתי האב בישראל, ובכלל זה ביישובים הדרוזיים בגליל: גת, ינוח וסג'ור. עוד נתגלה במהלך הבדיקה, כי בחלק מהמקרים נמצא כי "הוט" מחליטה שלא לפרוס תשתית במקומות שבהם מבחינתה אין כדאיות כלכלית, וכן כשקיימת ביישוב חלופת תקשורת כדוגמת "שידורי לוויין".\nלשאלתו של ח"כ והבה מדוע לא התקינה החברה תשתיות בכפרים הדרוזיים ומה ייעשה כדי לחייבה לעשות כן, השיב השר כי בעקבות פנייתו של ח"כ מגלי והבה, נערכה ישיבה בין הגורמים המקצועיים במשרד התקשורת לנציגי חברת "הוט טלקום" ובה נדון עניין פריסת תשתיות תקשורת. בסיום הישיבה סוכם כי חברת "הוט" תעביר למשרד דו"ח מפורט ברמת יישוב של נתוני הפריסה, פירוט על מה שקיים בכל יישוב וסיבות לאי קיום תשתיות ביישוב בחתך מגזרים ככל שניתן, תוך התחייבות של השר לפעול מול חברת "הוט" לשיפור התשתיות הקיימות.\nלמאמר הקודם פרס למזכ"ל האו"ם: קדם ביקור רופאים אצל גלעד שליט\nלמאמר הבא בל"ד: "אינתיפאדה שלישית הופכת לבלתי נמנעת"


Literatura ÃÂ©pica medieval y Cantar de Mio Cid\nUploaded by Ceci Flores\nABDON JOSE--EL JUEGO DE LOS INDICIOS.doc\nLA TRADICIÓN DEL DISCÍPULO AMADO (Juan Barreto)\nCuestionario Guia Mio Cid\np&v Puc Pro 029 Tiro Cortado\nEvaluacion Postes Hormigon at 2012-02-16\nHubo Inquisición en El Noroeste Argentino\nGRACIÁN, BALTASAR - Oráculo manual y arte de prudencia\nBatería de Prueba De\nSeleccion de Relatos y Cartas de Un Viejo Indecente\nFORMATO KARDEX taller 8.xlsx\nPor Los Derechos y Una Vida Saludable Para El Adulto Mayor\nHabilitacion Word 1parte\nLiteratura de 6º Año (2014)\nVIVA LA LECTURA.doc\nTito nunca más por Mempo Giardinelli\nViva La Lectura-1\nArte de 6º Año (2014) - Imprimir\nMustafá de Armando Discépolo.\nTecnicas de Estudio 5\nPrologo y Cap XXIII Gargantua\nNadar de Pie Por Sandra Comino\nLa Marca Del Gando de Pablo de Santis\nHistoria Los Miedos en La Sociedad Feudal (24 y 25)\nLiteratura épica de la Edad Media y Cantar de Mio Cid\nLínea del Tiempo (Cronología de Historia Universal)\nEdad Antigua (50 000 a.C. (aprox.) - 476 d.C.) Edad Media (479 d.C. - 1453 d.C.) Edad Moderna (1453 d.C. - 1789 d.C.) Edad Contempor nea (1789 d.C. - !e"#a a"tua$)\n%a Edad Media e& un per'odo #i&t(ri"o )ue a*ar"a de&de $a "a'da de$ +mperio ,omano (en e$ &ig$o -) #a&ta $a "on)ui&ta de Con&tantinop$a (en e$ &ig$o .-). ESTRUCTURA POLÍTICA EN LA EDAD MEDIA: E&tamo& /rente a un &i&tema a*&o$uti&ta.%a pa'&e& e&ta*an dominado& por re0e& )ue &e &upon'an nom*rado& por 1io&. E$ 2'tu$o de ,e0 era #eredado a &u de&"enden"ia ma&"u$ina ()uien #ereda*a era e$ 13 #i4o 5ar(n de$ re0). En "a&o de no tener #i4o& 5arone& pod'a #eredar a$g6n integrante 5ar(n "er"ano de $a /ami$ia "omo pod'a &er &u #ermano. %a e&tru"tura po$'ti"a 0 e"on(mi"a predominante de $a Edad media era e$ 7i&tema !euda$. E$ ra&go "ara"ter'&ti"o de$ /euda$i&mo e& $a natura$e8a de $a autoridad )ue de$ega*a e$ re09 )uien in5e&t'a a &u 5a&a$$o "omo autoridad re5o"a*$e a 5o$untad. En donde $o& 5a&a$$o& depend'an po"o de$ re0 0 &($o $o& "ontro$a*a por e$ 4uramento de $ea$tad9 por $o )ue en mu"#o& "a&o& e&ta o*$iga"i(n de&"an&a*a ma& *ien en e$ #onor per&ona$ )ue en e$ re"ipro"o inter:&9 por $o )ue $a& per&ona& &ituada& en $a *a&e de $a pir mide /euda$ depend'an de &u &e;or inmediato.\nESTRUCTURA SOCIAL EN LA EDAD MEDIA: El feudalismo: %a &o"iedad /euda$ #a &ido repre&entada tradi"iona$mente "omo dotada de una e&tru"tura piramida$9 "u0o& di5er&o& pi&o& o e&trato& e&ta*an "ompue&to& por $o& di5er&o& e&tamento& &o"ia$e&9 &itu ndo&e $o& pri5i$egiado& en $a& 8ona& &uperiore& de $a pir mide 0 $o& m & de&/a5ore"ido& en $a *a&e o en $o& e&trato& "er"ano& a $a mi&ma. %o& rango& de &u& miem*ro& eran #ereditario&9 09 pue&to )ue indi"a*an $a po&i"i(n de$ indi5iduo dentro de $a pir mide9 "on$$e5a*an a&' mi&mo uno& dere"#o& 0 o*$iga"ione&9 $a& )ue "on$$e5a*an $a& re$a"ione& &e;or-5a&a$$o. En e/e"to9 un indi5iduo pod'a &er &e;or de a)ue$$o& )ue &e en"ontra*an en e&"a$a/one& &o"ia$e& in/eriore& a$ &u0o9 pero a &u 5e8 era 5a&a$$o de )uiene& &e #a$$a*an por en"ima de :$9 a )uiene& de*'a o*edien"ia 0 &er5i"io. <or &u parte9 de*'a a0udar a )uiene& /ue&en &u& 5a&a$$o&9 por e4emp$o9 a $a #ora de proteger$o& en tiempo& de guerra. %a &o"iedad medie5a$ &e "ara"teri8a por &u di5i&i(n en di&tinta& "$a&e& &o"ia$e&. 1e arri*a #a"ia a*a4o $a pir mide &o"ia$ )ueda*a "on&tituida de $a &iguiente manera=\n◦ 1 EL RE! ◦ " EL CLERO (!ormado por $o& "$:rigo& ()ue &e en"arga*an de di/undir $a do"trina "ri&tiana 0 e$ e&p'ritu re$igio&o) ! LA NO#LE$A (Con&tituida por $o& &e;ore& /euda$e& )ue di&/ruta*an de pri5i$egio& 0 po&e'an exten&o& territorio&. <ero )ue ten'an o*$iga"ione& mi$itare& "on $o& re0e&) ◦ 3 EL PUE#LO: Eran $o& $ai"o& $i*re&. E&te grupo &o"ia$ e&ta*a integrado por $o& %a&'e(i)*( )ue tra*a4a*an $a& tierra& por $a& "ua$e& pagan un a$)ui$er a $o& &e;ore& /euda$e& )uien &e )ueda*a "on un por"enta4e de $o "o&e"#ado. %o& "ampe&ino& "are"'an de todo pri5i$egio 0 ten'an o*$iga"ione& mi$itare& "on $o& &e;ore& /euda$e& &i e&to& &e $o re)uer'an. ◦ 4 LOS SIER+OS (O ESCLA+OS, +ASALLOS) DE LA -LE#A (2ra*a4an $a& tierra& de $o& &e;ore& /euda$e&) E$ /euda$i&mo /ue un &i&tema "ontra"tua$ de re$a"ione& po$'ti"a& 0 mi$itare& entre $o& miem*ro& de $a no*$e8a de Europa o""identa$ durante $a a$ta edad media. E$ /euda$i&mo &e "ara"teri8( por $a "on"e&i(n de /eudo& ("a&i &iempre en /orma de tierra& 0 tra*a4o) a "am*io de una pre&ta"i(n po$'ti"a 0 mi$itar9 "ontrato &e$$ado por un 4uramento de #omena4e 0 /ide$idad. N*./e0a: 7u mi&i(n /undamenta$ era $a de de/ender a$ pue*$o "ri&tiano de $o& po&i*$e& ata)ue& mu&u$mane&9 no de*emo& o$5idar )ue &e trata de una :po"a de "on&tante& $u"#a& entre >moro& 0 "ri&tiano&?. %a no*$e8a 5i5'a en "a&ti$$o& 4unto "on e$ re0. 1entro de e&te e&tamento en"ontramo& du)ue&9 "onde&9 *arone&9 et". )ue "on&tituir'an $a a$ta no*$e8a9 por de*a4o de e&to& e&t n $o& "a*a$$ero&9 e&"udero& e #ida$go& ()ue eran $a *a4a no*$e8a). E/ %/e1*: 1entro de e&te e&tamento tam*i:n en"ontramo& di&tinta& "ategor'a&. E$ <apa era )uien repre&enta*a e$ m ximo poder9 &eguido de $o& o*i&po&9 ar"ipre&te&9 "ape$$ane&9 "$:rigo& 0 /rai$e& entre otro&. E/ '2e./*: @o di&pon'an de ning6n dere"#o ni pri5i$egio. %e a$)ui$a*an &u& tierra& a $o& &e;ore& /euda$e&. A pe&ar de )ue &e trata*a de 75A de $a po*$a"i(n9 e&ta*an a di&po&i"i(n de a $o& dem & e&tamento& 0 eran ma0oritariamente "ampe&ino& (aun)ue tam*i:n #a*'a arte&ano&). La( *./i3a%i*)e( &i/i4a1e(: E$ Caballero no ten'a en rea$idad un due;o9 ni e&ta*a &ometido a poder po$'ti"o a$guno9 de a#' )ue &e en"ontra&en "a*a$$ero& )ue $u"#a*an en $a& /i$a& de un re0 un d'a9 0 a$ &iguiente en $a& de otro. 7u de*er rea$ era para "on e$ &e;or a )uien $e un'a un e&p'ritu de "amarader'a. Aun)ue a*ierto a$ prin"ipio9 e$ e&tamento o "$a&e &o"ia$ de $o& "a*a$$ero& tendi( a "errar&e9 "on5irti:ndo&e en un t'tu$o #ereditario. %o& Ca*a$$ero& m & po*re& di&pon'an de un pe)ue;o terreno9 0 repart'an &u tiempo entre $a& tarea& propia& de$ "ampe&ino 0 $a& de $a guerra. En "am*io9 $o& Ca*a$$ero& m & podero&o&9 di&pon'an de tierra& 0 /ortuna. E&to& 6$timo& po"o a po"o "omen8ar n a /ormar $a aut:nti"a @o*$e8a "on"entrando poder e"on(mi"o 0 mi$itar. La %a.a//e15a e) /*( 1ei)*( de 6i('a)ia: En $o& reino& penin&u$are&9 $o& re0e&9 &iempre ne"e&itado& de tropa para en/rentar&e a $o& moro& (tur"o&)9 promue5en $a "a*a$$er'a entre &u& &6*dito& de modo mu0 &en"i$$o= 7e denomina*a "a*a$$ero a)u:$ "apa8 de mantener un "a*a$$o9 "o&a para $a )ue &e re)uer'a una m'nima /ortuna9 pue& e$ "a*a$$o no &ir5e para $a& tarea& de$ "ampo (para $a& "ua$e& uti$i8a*an\n*ue0e&) A$ "a*o de tre& o "uatro genera"ione&9 manteniendo un "a*a$$o9 &e ad)uir'a $a "a$idad de >#ida$go? (#i4o de a$guien). B&ta e& $a ra8(n por $a )ue A$on&o Cui4ano9 don Cui4ote tu5iera un "a*a$$o /$a"o= para &eguir $$am ndo&e #ida$go 0 e$ #e"#o de )ue )ui&iera &er armado D"a*a$$eroD9 una *ur$a m & de &u autor (Cer5ante&) )ue entend'an )uiene&9 en $a :po"a9 &a*'an )ue #ida$go era m & )ue "a*a$$ero. 2ener un "a*a$$o &upon'a poder parti"ipar en $a& guerra& de$ re0 09 "omport ndo&e 5a$ientemente9 optar a $a po&i*i$idad de )ue e$ re0 $e "on"ediera mer"ede&. E&ta organi8a"i(n9 mu"#o m & permea*$e &o"ia$mente9 tu5o do& "on&e"uen"ia&= /orta$e"er e$ poder rea$ /rente a $o& no*$e&9 pue&to )ue e$ re0 ten'a e4:r"ito& &in ne"e&itar &u a0uda9 0 #a"iendo m & /uerte e$ poder rea$9 #a"er m & podero&o e$ pa'&9 "omo a&' o"urri(. L*( )* '1i7i/e3iad*(: E$ "on4unto de $ai"o& $i*re& )ue no pertene"'an a $a redu"ida "ategor'a "a*a$$ere&"a &on $o& no pri5i$egiado& en "u0o tra*a4o de&"an&a*a e$ orden e"on(mi"o de$ /euda$i&mo. E$ m & numero&o grupo $o /orman $o& "ampe&ino& $i*re&9 )ue tra*a4a*an $a tierra9 genera$mente a4ena (&e $a a$)ui$an a $o& 7re&. /euda$e&)9 o pe)ue;a& par"e$a& propia&. %o )ue /undamenta$mente $o& di/eren"ia*a de $o& &ier5o& era &u &itua"i(n de dependen"ia /rente a $o& &e;ore& /euda$e&. 1e todo& modo&9 $o& &e;ore& /euda$e& ten'an &o*re e$$o& e$ poder de di&tri*uir $a tierra9 admini&trar 4u&ti"ia9 determinar $o& tri*uto& (e&pe"ie de >impue&to&?)9 exigir$e& o*$iga"ione& mi$itare& de "u&todia 0 prote""i(n de$ "a&ti$$o 0 $o& *iene& de$ &e;or 0 apropiar&e de una parte &u&tan"ia$ de$ ex"edente (por"enta4e& de $a "o&e"#a) o dinero. De1e%8*( de/ S1. 9e2da/: Adem & de $o& dere"#o& )ue ten'an $o& 7re&. !euda$e& &o*re &u& &6*dito& en "uanto a$ "o*ro de un a$)ui$er por $a pre&ta"i(n de &u& tierra& para &er "u$ti5ada&9 e$ dere"#o a )uedar&e "on un gran por"enta4e de $o "o&e"#ado 0 e$ dere"#o mi$itar )ue tam*ip:n o*$iga*a a $o& &6*dito& de$ /eudo a pre&tar$e prote""i(n mi$itar a$ 7e;or. 2am*i:n exi&t'n otro& dere"#o& )ue rea$mente imp$i"a*an un gran a*u&o de poder por parte de $o& &e;ore& /euda$e& "omo por e4emp$o en dere"#o de pernada. E$ de1e%8* de 'e1)ada: e& un dere"#o /euda$ )ue te(ri"amente e&ta*$e"'a $a pote&tad &e;oria$ de tener re$a"ione& &exua$e& "on toda don"e$$a9 &ier5a de &u /eudo. Eenera$mente era e$ dere"#o a pa&ar $a primera no"#e &exua$ de $a don"e$$a. Ftro dere"#o mu0 "om6n era e$ de1e%8* de '*)4a03* )ue /ue un tri*uto "u0o& por e$ "ua$ a)ue$$a& per&ona& )ue "ru8a*an un puente paga*an una "antidad9 en /orma de $o )ue en $a a"tua$idad &e "ono"e "omo aran"e$ o pea4e9 en /un"i(n de$ $ugar de &u re&iden"ia9 &u n6mero 0 $o& *iene& )ue porta*an a$ pa&o. 1urante e$ /euda$i&mo "on&titu0( un in&trumento de /inan"ia"i(n de $o& no*$e& en $a& tierra& de &u propiedad 0 )ue $o& 5a&a$$o& de*'an pagar. A)ue$$o& )ue re&id'an en e$ &e;orio9 o e&ta*an exento& o paga*an "antidade& redu"ida&G &in em*argo9 )uiene& pro"ed'an de otra& tierra& de*'an &ati&/a"er "antidade& ma0ore&. ECONOMÍA EN LA EDAD MEDIA: %a exp$ota"i(n agraria /euda$ era de &u*&i&ten"ia. 7e produ"'a para $a &u*&i&ten"ia 0 no para generar un ex"edente )ue $uego &er'a "omer"ia$i8ado en un mer"ado. %o& inter"am*io& &e rea$i8a*an por medio de$ 2rue)ue. %o& &ier5o& "u$ti5a*an $o &u/i"iente para mantener&e a &' mi&mo& 0 para pagar $o& die8mo& a $a +g$e&ia 0 $a renta a$ &e;or. 1e $a re"o$e"ta &e &epara*an tam*i:n $a& &emi$$a& ne"e&aria& para $a &iguiente &iem*ra. %a rota"i(n de "u$ti5o& era e$ prin"ipa$ &i&tema uti$i8ado para e5itar e$ deterioro de $a tierra. E&te m:todo "on&i&te en de4ar en *ar*e"#o (e& de"ir9 &in "u$ti5ar) una parte de $a tierra "ada a;o para permitir &u regenera"i(n.\nE& re"i:n a partir de$ &ig$o .++ )ue $a exi&ten"ia de ex"edente& in"rementa e$ "omer"io m & a$$ de $a& /rontera& de$ &e;or'o. %a& a"ti5idade& "omer"ia$e& permiten )ue &ur4a po"o a po"o una in"ipiente "$a&e &o"ia$ nue5a= >$a *urgue&'a? (&e $o& $$ama*a mer"adere&). Ca5da de/ :e2da/i(&*: A partir de$ &ig$o .+++ $a me4ora de $a& t:"ni"a& agr'"o$a& 0 e$ "on&iguiente in"remento de$ "omer"io #i8o )ue $a *urgue&'a /uera pre&ionando para )ue &e /a"i$itara $a apertura e"on(mi"a de $o& e&pa"io& "errado& de $a& "iudade&9 &e redu4eran $o& tri*uto& de pea4e 0 &e garanti8aran /orma& de "omer"io &eguro 0 una "entra$i8a"i(n de $a admini&tra"i(n de 4u&ti"ia e igua$dad de $a& norma& en amp$io& territorio& )ue $e& permitieran de&arro$$ar &u tra*a4o9 a$ tiempo )ue garant'a& de )ue $o& )ue 5u$nera&en di"#a& norma& &er'an "a&tigado& "on igua$ dure8a en $o& di&tinto& territorio&. %a& "iudade& )ue a*r'an $a& puerta& a$ "omer"io 0 a una ma0or $i*ertad de "ir"u$a"i(n9 5e'an in"rementar $a ri)ue8a 0 pro&peridad de &u& #a*itante& 0 $a& de$ &e;or9 por $o )ue "on reti"en"ia& pero de manera /irme &e /ue di$u0endo e$ mode$o. E$ /euda$i&mo a$"an8( e$ punto "u$minante de &u de&arro$$o en e$ &ig$o .+++G a partir de enton"e& ini"i( &u de"aden"ia. %o& 5a&a$$o& pre/irieron rea$i8ar pago& en met $i"o (&"utagium9 Hta&a& por e&"udoI) a "am*io de $a a0uda mi$itar de*ida a &u& &e;ore&G a &u 5e8 :&to& tendieron a pre/erir e$ dinero9 )ue $e& permit'a "ontratar tropa& pro/e&iona$e& )ue en mu"#a& o"a&ione& e&ta*an me4or entrenada& 0 eran m & di&"ip$inada& )ue $o& 5a&a$$o&. Adem &9 e$ re&urgimiento de $a& t "ti"a& de in/anter'a 0 $a introdu""i(n de nue5a& arma&9 "omo e$ ar"o 0 $a pi"a9 #i"ieron )ue $a "a*a$$er'a no /uera 0a un /a"tor de"i&i5o para $a guerra. %a de"aden"ia de$ /euda$i&mo &e a"e$er( en $o& &ig$o& .+- 0 .-. La 1e/i3i*(idad e) /a Edad Media: E$ pen&amiento medie5a$ de&arro$$a e$ teo"entri&mo . 1io& e& e$ "entro de$ mundo 0 todo gira a &u a$rededor. %a 5ida en $a tierra &e entiende "omo un "amino #a"ia $a 5erdadera 5ida o 5ida eterna en e$ "ie$o. E$ medie5o "omo di4imo& e& un per'odo teo"entri&ta. E&to indi"a $a importan"ia )ue ten'a $a re$igi(n para a)ue$$a& per&ona&. %a +g$e&ia Cat($i"a Apo&t($i"a ,omana detenta*a e$ poder en $a Cri&tiandad9 e&to e&9 e$ "on4unto de pa'&e& "ri&tiano&. 1e #e"#o9 e$ <apa era $a /igura m xima de $a pir mide /euda$9 por en"ima de re0e& 0 emperadore&. @o era para meno&9 &iendo e$ 5i"ario de 1io& en $a tierra. A)a/:a.e4i(&* e) /a Edad Media: E$ por"enta4e de ana$/a*eti&mo en $a edad media era a$t'&imo. M & de$ 90 A de $a po*$a"i(n no &a*'a ni $eer ni e&"ri*ir. E&to &($o era un pri5i$egio re&er5ado para $a& "$a&e& m & a"omodada& dentro de $a e&tru"tura &o"ia$ ($a no*$e8a 0 e$ "$ero). 1e*ido a e&to $a %iteratura de$ medioe5o (o de $a Edad Media) &e en"ontra*a de&tinada en gran medida a &er "antada o re"itada de modo )ue &e pudiera aprender "on &($o e&"u"#ar$a (&in ne"e&idad de tener $a "apa"idad de $eer. 7in ne"e&idad de e&tar a$/a*eti8ado) J %o& e&pe"ia$i&ta& en e&ta& arte&9 e& de"ir9 $o& "antante& o re"itadore& eran $$amado& >4ug$are&? 0 >tro5adore&? 0 eran portadore& de un repertorio mu0 apre"iado. J @o &e da*a mu"#a importan"ia a $a autor'a de $o& "antare&. Cuando a$g6n arti&ta "rea*a una o*ra )ue gu&ta*a a$ p6*$i"o9 "orr'a r pidamente de *o"a en *o"a9mu"#a& 5e"e& tran&/orm ndo&e &eg6n e$ gu&to de )uiene& $a tran&mit'an )uien "rea*an 5ariante& de $a o*ra. La Li4e1a421a &edie7a/ '*d15a di7idi1(e e):\nLi4e1a421a P*'2/a1 : 1irigida a$ pue*$o ana$/a*eto K an(nima K tran&mitida ora$mente K *u&"a*a e$ entretenimiento de $a& per&ona& K e$ pue*$o memori8a 0 tran&mite $a poe&'a tradi"iona$9 ora$ 0 an(nima9 Li4e1a421a C2/4a : dirigida a $a no*$e8a K e&"rita por $o& no*$e& K de tran&mi&i(n e&"rita ten'a una inten"i(n did "ti"a (pretend'a en&e;ar a &u& $e"tore& por e4emp$o $a& "ue&tione& re$igio&a&) LA LITERATURA MEDIE+AL E)41e /*( (i3/*( ;II < ;I+ &e de&arro$$a un tipo de $iteratura narrati5a e&"rita en 5er&o= /a '*e(5a ='i%a (>'i%a:<ertene"iente o re$ati5o a $a epope0a o a $a poe&'a #eroi"a) E$ ritmo de $o& 5er&o& a0uda*a a /i4ar en $a memoria e$ texto 0 permit'a &umar9 a$ atra"ti5o de $a& pa$a*ra&9 e$ de $a m6&i"a. • • %o& poema& :pi"o& )ue narran $o& #e"#o& #eroi"o& de un #:roe. E&to& poema& &e $$aman >"antare& de ge&ta?. Entre $o& "antare& de ge&ta de$ medioe5o &e de&ta"a EL CANTAR DEL MIO CID\nE&ta& o*ra& pertene"en a $o& &e(4e1 de ?23/a15a. 7e $$ama*an me&ter ()ue )uiere de"ir >o/i"io?) de 4ug$ar'a por)ue eran o*ra& )ue "anta*an $o& 4ug$are& ( era e$ o/i"io o tra*a4o de $o& 4ug$are&) Los juglares: Como 0a exp$i"amo&9 durante $a Edad Media una gran parte de $a po*$a"i(n era ana$/a*eta. Ca&i nadie &a*'a $eer9 $a $iteratura &($o &e pod'a tran&mitir de /orma ora$. %o& ?23/a1e( eran )uiene& $a $$e5a*an de un $ugar a otro. A&' &e "on5ert'an en la voz del pueblo. E$ 4ug$ar e& un per&ona4e "$a5e en $a& o*ra& medie5a$e&9 $o& no*$e& $e paga*an rega$ ndo$e 5e&tido&9 4o0a&9 "a*a$$o&. A "omien8o& de$ &ig$o .+++9 $a +g$e&ia medie5a$ &e en"ontr( "on un pro*$ema= A &u& predi"adore& $e& "o&ta*a atraer $a aten"i(n de$ p6*$i"o9 )ue pre/er'a $o& "antare& de $o& 4ug$are&. Enton"e& &e $e& o"urre in5entar e$ me&ter (o/i"io) de "$ere"'a (de $o& "$:rigo&9 de $o& re$igio&o&). %o& &e(4e1 de %/e1e%5a eran una nue5a /orma po:ti"a "on $a )ue pretenden tran&mitir a todo& $o& /ie$e& e$ E5ange$io (e$ me&ter de "$ere"'a era e$ o/i"io o tra*a4o de $o& re$igio&o& )ue "anta*an parte de$ e5ange$io para )ue &u& /ie$e& $o aprendieran. ,e"ordemo& )ue "omo $a ma0or'a eran per&ona& ana$/a*eta& no $o pod'an aprender de otra manera )ue no /uera por medio de $a memoria de a$guien )ue $o re"itara o $o "antara). Cara"ter'&ti"a& 0 di/eren"ia& de $o& Me(4e1 de @23/a15a( 0 $o& Me(4e1 de C/e1e%5a(: Me(4e1 de @23/a15a( • • • • 1e tema& #eroi"o& (narran *ata$$a& de #:roe& 0 a5entura&) 1e tran&mi&i(n ora$ (&on an(nimo&) por medio de $o& 4ug$are& (per&ona& )ue &e gana*an $a 5ida di5irtiendo a$ p6*$i"o) 7u o*4eti5o era re&a$tar $a& #a8a;a& de $o& #:roe& na"iona$e&. %engua4e uti$i8ado= <opu$ar • • Me(4e1 de C/e1e%5a( 1e tema& re$igio&o& (exp$i"a*an $a 5ida 0 $o& mi$agro& de Cri&to9 de $a 5irgen9 de $o& &anto&) 1e tran&mi&i(n e&"rita (#a0 autore& de/inido&) 0 $uego de tran&mi&i(n ora$ (a partir de $a $e"tura o e$ re"itado de $o& texto& e&"rito&) 2ienen un o*4eti5o o /ina$idad did "ti"a (&u o*4eti5o era en&e;ar a$ p6*$i"o $o& 5a$ore& "ri&tiano&) %engua4e uti$i8ado= Cu$to\n%o& re$ato& :pi"o& de $o& 4ug$are& re"i*en e$ nom*re de %a)4a1e( de 3e(4a. %a& gente& de $a Edad Media ten'an mu0 po"a& oportunidade& de entretenimiento 0 en"ontraron en $o& Cantare& de Ee&ta una di&tra""i(n popu$ar apta para "ua$)uier p6*$i"o. 7on poema& de *a&tante exten&i(n9 )ue narran $a& #a8a;a& de un #:roe importante para $a "o$e"ti5idad. %a ma0or'a de e&ta& #a8a;a& &e remonta*an a a"onte"imiento& #i&t(ri"o&. E$ p6*$i"o de&ea*a )ue e&a& #i&toria& $e pro5o"aran admira"i(n 0 )ue permitieran mantener /irme& 5a$ore& importante& de $a ari&to"ra"ia medie5a$9 "omo $a /e en $a& arma& 0 en $a "ondu"ta no*$e. E&to& "antare& na"en para &er re"itado& por un 4ug$ar9 por $o )ue pre&entan $engua4e "on /ormu$a& t'pi"a& de $a $engua ora$9 /ormado por &erie& de 5er&o& de di&tinto numero de &i$a*a& de rima a&onante. %o& "antare& de ge&ta= 7on poema& :pi"o&9 narra"ione& en 5er&o 0 "ar "ter #eroi"o. 7u o*4eti5o era "antar o re$atar $a 5ida de per&ona4e& importante&9 &u"e&o& nota*$e& o a"onte"imiento& de 5ida na"iona$ )ue mere"ieran &er di5u$gado&. 1e "ar "ter ora$. 7u protagoni&ta e& &iempre un #:roe (un guerrero 5a$ero&o )ue rea$i8a ge&ta& o #a8a;a& La""ione& digna& de admira"i(nM). Cantares de gesta castellanos 1e $a :pi"a "a&te$$ana &o$o #an &o*re5i5ido tre& poema& in"omp$eto&= ▪ Cantar de ,on"e&5a$$e&. ▪ Mo"edade& de ,odrigo. ▪ P*e&a * Ca)4a1 de Mi* Cid. EL CANTAR DE MIO CID: M5*: SeA*1 Cid: 6*&.1e :2e14e < &2< 7a/ie)4e. E& una de $a& ge&ta& m & rea$i&ta& de toda $a $iteratura medie5a$. Nno por uno todo& a)ue$$o& per&ona4e& de$ Cantar de$ Mio Cid pueden "ompro*ar&e &u exi&ten"ia #i&t(ri"a rea$. Oa0 )ue re&a$tar )ue mu"#o& de $o& &u"e&o& e$ itinerario 0 $o& protagoni&ta& de$ re$ato &on en "a&i &u tota$idad riguro&amente #i&t(ri"o& 0 /ueron "ontempor neo& a$ Cid. %a :pi"a medie5a$ e& poe&'a ora$9 e& de"ir9 )ue e&t "ompue&ta para &er memori8ada 0 re"itada o "antada en p6*$i"o por un 4ug$ar.\nS*.1e /a *.1a de/ Mi* Cid: DE% <FEMA 1E% M+F C+1D de*i( &er e&"rito a$rededor de 1140. E$ autor de e&te &ingu$ar poema no &e "ono"e9 aun)ue &e "ree )ue pudo #a*er &ido un 4ug$ar. E% <FEMA 1E% M+F C+19 e& e$ primer manu&"rito )ue &e "on&er5a de $a :po"a medie5a$9 por $o tanto e& de re"ono"ida importan"ia para &er e&tudiado 0 a&' aprender m & &o*re $o& ini"io& de $a $iteratura e&pa;o$a. 7u protagoni&ta9 e& ,odrigo 1ia8 de -i5ar ($$amado e$ Mio Cid) )ue e& e$ m ximo #:roe de $a edad #eroi"a e&pa;o$a.\n,odrigo 1ia8 de -i5ar ten'a mu"#a& "ua$idade&= era una #om*re 5a$iente9 $u"#ador9 $ea$ 0 "on gran #a*i$idad para $a guerra. 7u& grande& "ua$idade& "omo $u"#ador 0 #om*re de 5i"toria& &e de&p$eg( por toda E&pa;a9 de4 ndo$o "omo un #:roe. Como e$ mi&mo $i*ro $o $$ama M'o Cid9 >M'o? )ue )uiere de"ir &e;or 0 e&o e& $o )ue e& un gran &e;or. E$ poema e& una me8"$a de #i&toria 0 $e0enda9 de mi&ti"i&mo 0 rea$i&mo9 0a )ue tiene 5ario& "omponente& )ue mue&tran e&a di/eren"ia9 pue& mu"#o& de $o& #e"#o& men"ionado& en $a o*ra o"urrieron en $a rea$idad.\nE/ Cid 1ea/ ,odrigo 1'a8 de -i5ar na"i( en un pue*$o de Purgo& (-i5ar) #a"ia e$ a;o 1040. A$ morir e$ re0 a$ )ue &er5'a9 7an"#o de Ca&ti$$a ,odrigo intent( 5engar &u muerte 0 "a0( en de&gra"ia ante e$ nue5o re0 A$/on&o -+ de Ca&ti$$a )ue $o de&terr(. Con)ui&t( 0 go*ern( $a "iudad de -a$en"ia #a&ta )ue muri( en e$ a;o 1099. 7u& re&to& /ueron tra&$adado& a$ mona&terio de Carde;a (Purgo&) 0 /ue a$$' donde "omen8aron a narrar&e &u& grande& #a8a;a&.\n• E/ Cid /i4e1a1i*\nEn $a o*ra9 e$ Cid apare"e idea$i8ado para de&ta"ar &u #ero'&mo. E$ Cid repre&enta a$ #:roe "o$e"ti5o 5en"edor en mi$ *ata$$a& 0 &iempre /ie$ a &u re0 a pe&ar de #a*er &ido tratado in4u&tamente. En e$ <oema9 e$ Cid &e no& pre&enta "omo un guerrero in5en"i*$eG pero tam*i:n "omo un per&ona4e tierno 0 mu0 #umano )ue ama a 1io&9 a $o& &u0o& 0 )ue 5a$ora $a ami&tad 0 $a /ide$idad. E$ Cid e& e$ mode$o de #om*re medie5a$= $u"#a por &u 1io&9 por &u re0 0 por &u /e "ontra $o& enemigo& de &u patria 0 &u re$igi(n.\n• La *.1a\n@o &e &a*e "on &eguridad "u ndo &e "ompu&o e$ <oema o Cantar de M'o Cid9 ni )ui:n /ue &u autor. A$guno& in5e&tigadore& "reen )ue de*i( e&"ri*ir&e en e$ &ig$o .++9 po"o de&pu:& de $a muerte de$ Cid9 "uando a6n e&ta*an re"iente& &u& #a8a;a&. 7u& autore& podr'an &er do& 4ug$are&9 uno de Medina"e$i (7oria) 0 otro de 7an E&te*an de Eorma8 (7oria)9 pue&to )ue en e$ poema &e de&"ri*en mu0 *ien e&to& $ugare&. Ftro& in5e&tigadore& "reen )ue &e e&"ri*i( un po"o m & tarde9 en e$ &ig$o .+++. %a "opia )ue &e "on&er5a en $a Pi*$iote"a @a"iona$ e& un "(di"e "opiado por otro 4ug$ar $$amado <er A**at. E&ta "opia e&t in"omp$etaG $e /a$ta una #o4a en e$ "omien8o 0 do& en e$ interior 0 pare"e #a*er &ido rea$i8ada a prin"ipio& de$ &ig$o .+- para re"itar$a por pue*$o& 0 "a&ti$$o&. A$guno& "on&ideran e&te "(di"e "omo e$ origina$ 0 a <er A**at "omo e$ autor de$ <oema.\n#i*31a:5a de/ de Cid Ca&'ead*1 (BC2i=) :2e e/ CidD) ,odrigo 1'a8 na"i( en $a "iudad de >-i5ar?9 pe)ue;a a$dea &ituada a 7 Qi$(metro& de $a "iudad de >Purgo&? en 1043 (E&pa;a). Oi4o de 1iego %a'ne89 no*$e 0 "a*a$$ero de $a $a Corte de$ ,e0 !ernanado + de Ca&ti$$a (E&pa;a). A $o& 15 a;o& )ued( #u:r/ano de padre 0 &e "ri( en $a "orte de$ re0 !ernando + 4unto a$ #i4o de$\nmonar"a9 e$ pr'n"ipe 7an"#o. Am*o& "re"ieron 4unto& 0 /ueron *ueno& amigo&. 2am*i:n e$ C+1 &e edu"( en $a& $etra& 0 en $a& $e0e&. Entre $o& a;o& 1063 a 107R /ue e$ *ra8o dere"#o de$ pr'n"ipe 7an"#o 0 guerre( 4unto a :$ en 5aria& *ata$$a&. A $o& R3 a;o& o*tu5o e$ t'tu$o de DCampeadorD -Campidoctor- a$ &a$ir 5i"torio&o de una *ata$$a. A $o& R4 a;o& era "ono"ido por e$ pue*$o "omo e$ M'o Cid9 )ue era una expre&i(n de "ari;o 0 admira"i(n. Con e$ a&e&inato de$ re0 7an"#o ++ 0 "on $a po&terior a&un&i(n de$ trono de &u #ermano e$ nue5o re0 A$/on&o -+ $a &uerte de$ Cid "am*i( 0 &u gran "apa"idad /ue de&e"#ada por $a ira 0 en5idia de$ nue5o monar"a. En 1081 e$ Cid e& de&terrado por primera 5e8 de Ca&ti$$a a$ a"u& r&e$o in4u&tamente de $adr(n (7e $o a"u&a de #a*er$e ro*ado a$ re0) 2re&"iento& de $o& me4ore& "a*a$$ero& de"iden a"ompa;ar a$ Cid en tan di/'"i$ &itua"i(n 0 &e 5an de$ reino de "a&ti$$a 4unto "on :$. 1urante e&o& a;o& $a /ama de$ Cid aument( e&pe"ta"u$armente a$ "ontrario de $o )ue &u"ed'a "on e$ de$ re0 A$/on&o -+. En meno& de un a;o e$ Cid gan( 5aria& *ata$$a& 0 &e #i8o due;o 0 &e;or 5ario& reino& de E&pa;a. ,odrigo 1ia8 de -i5ar &e "on5irti( en e$ &e;or de -a$en"ia (pro5in"ia de E&pa;a) 0 otorg( a $a "iudad un e&tatuto de 4u&ti"ia en5idia*$e 0 e)ui$i*rado S re&taur( $a re$igi(n "ri&tiana. En de/initi5a9 organi8( "on grand'&ima mae&tr'a $a 5ida de$ muni"ipio 5a$en"iano. En 1097 muere en una *ata$$a &u 6ni"o #i4o 5ar(n9 1iego. E$ 10 de 4u$io de 10999 /a$$e"e e$ Cid 0 toda E&pa;a $$ora &u muerte.\nE/ 8=1*e: E$ "antar de m'o Cid o"upa un $ugar &ingu$ar en $a tradi"i(n :pi"a medie5a$. %o& #:roe& &on per&ona4e& ex"ep"iona$e& $e& permiten rea$i8ar #a8a;a& )ue no e&t n a$ a$"an"e de $o& dem & morta$e&= $ogran 5en"er a un drag(n9 derrotan en &o$itario a un e4er"ito. E$ pu*$i"o &ent'a gran admira"i(n por e&o& #:roe&9 eran &ere& &uperiore&9 dema&iado a$e4ado& de $a experien"ia "otidiana dema&iado idea$i8ado&. ,odrigo 1ia8 de -i5ar (a&' era e$ nom*re de$ Mio Cid) era un #:roe de "arne 0 #ue&o. !ue e$ "a*a$$ero m & de&ta"ado de $o& reinado& de 7an"#o ++ de Ca&ti$$a 0 de %e(n 0 de &u #ermano A$/on&o +- ()ue #ereda &u trono tra& $a muerte de 7an"#o). ,odrigo 1ia8 de -i5ar era e$ pa$ad'n de 7an"#o ++9 0 $$ora "on ra*ia e impoten"ia no #a*er podido #a"er nada para )ue no a&e&inaran a &u amigo 0 re0 7an"#o ++ de Ca&ti$$a 0 %e(n. 2ra& $a muerte de 7an"#o ++ 0 ante& de )ue a&umiera &u #ermano (A$/on&o -+) #eredero de$ trono9 e$ Mio Cid $e #a"e 4urar )ue :$ no #a tenido nada )ue 5er en e$ a&e&inado de 7an"#o 0a )ue ,odrigo 1ia8 de -i5ar &o&pe"#a*a )ue A$/on&o #a*'a mandado a a&e&inar a &u #ermano 7an"#o para $uego #eredar e$ trono rea$. E$ #eredero de$ 2rono (A$/on&o -+) Tura )ue no #a tenido nada )ue 5er en e&e /at'di"o #e"#o pero no $e perdona a ,odrigo #a*er de&"on/iado de :$ de e&a manera 0 #a*er$o #umi$$ado "on &eme4ante p$anteo por $o "ua$ $a& re$a"ione& entre A$/on&o 0 ,odrigo 1ia8 de -i5ar no )uedan en *ueno& t:rmino&. 7in em*argo A$/on&o di&imu$a por un tiempo &u 5erdadero eno4o "on ,odrigo 0 $o "a&a "on &u prima Timena 1ia8 (Oi4a de$ Conde de F5iedo) para demo&trar$e )ue #a o$5idado e&e ma$ momento 0 )ue no $e guarda a ,odrigo ning6n ren"or. <ero $a tran)ui$idad dura un &u&piro 0 a$ po"o tiempo per&ona& de $a no*$e8a a$$egada& a$ ,e0 A$/on&o a"u&an a ,odrigo de #a*er$e ro*ado p$ata a$ re0 de$ tota$ de $o re"audado de $o& impue&to& a$ pue*$o. E$ ,e0 A$/on&o -+9 en5idio&o de $a& #a8a;a& de ,odrigo ()ue era un *uen guerrero) 0 temiendo\n)ue &u autoridad &e 5iera meno&"a*ada9 de&tierra (#e"#a9 expu$&a) a ,odrigo 1ia8 de -i5ar de &u& reino& 0 anun"i( )ue "a&tigar duramente a )uien $e *rinde "o*i4o9 "omida o a&i&ten"ia 0 a0uda de a$g6n tipo. 7u mu4er Timena 0 &u& do& #i4a& mu4ere& (1o;a E$5ira 0 1o;a 7o$) permane"en en e$ reino de Ca&ti$$a dentro de un mona&terio (mona&terio de 7an <edro) )ue $e& *rinda a0uda 0 :$ parte 4unto "on guerrero& amigo& )ue $e eran /ie$e& 0 de"iden a"ompa;ar$o en e&te ma$ momento. E&te e& e$ momento donde "omien8a exa"tamente $a o*ra $iteraria de$ Cantar de$ Mio Cid. %a o*ra arran"a 4u&tamente en e$ momento en donde e$ ,e0 A$/on&o -+ de"ide de&terrar de Ca&ti$$a a ,odrigo 1ia8 de -i5ar (e$ Cid). ! a(5 a11a)%a /a *.1a E2e (e di7ide e) 41e( 'a14e * e) 41e( F%a)4a1e(G: • E/ '1i&e1 %a)4a1 e( e/ de/ de(4ie11* de/ Cid ( e& de"ir en donde &e "uenta "omo e$ re0 A$/on&o +- de Ca&ti$$a $o de&tierra de &u reino)\nPequeño resúmen: El Cantar del Destierro, narra cómo el Cid es injustamente desterrado de Castilla por el rey Alfonso V . Antes de marc!ar, deja a su mujer e !ijas en el "onasterio de Carde#a. $ara mantener a su pe%ue#o ej&rcito, su lugarteniente "art'n Antol'nez consigue dinero de manera m(s o menos fraudulenta de los jud'os. )e encaminan as' !acia la frontera de Castilla y establecen su plan para derrotar a los moros .\n%uego de a$guna& 5i"torio&a& *ata$$a& e$ C+1 re"i*e e$ t'tu$o CAM<EA1F, (e& un t'tu$o mi$itar) . E$ Cid $e agrade"i( a &u ,e0 A$/on&o -+ )uien &e &ent'a mu0 orgu$$o&o de &u 5a&a$$o e$ C+1.. %a gente &e &ent'a en5idio&a9 0 empe8( a #a*$ar ma$ de$ Cid9 e$ ,e0 "omo tenia a$go de ren"or9 por a$go )ue $e #a*'a #e"#o en e$ pa&ado e$ Cid ($e #a*'a #e"#o 4urar ante& de a&umir &u amndato "omo ,e0 )ue :$ no #a*'a tenido nada )ue 5er "on e$ a&e&inato de &u #ermano U e$ ,e0 7an"#o U por medio de$ "u $ :$ ,e0 A$/on&o #a*'a a#ora #eredado e$ trono de Ca&ti$$a) no tard( mu"#o en e&"u"#ar$o&. E$ Cid e&ta*a mu0 "ontento9 pero de repente9 $$eg( una "arta de$ ,e0 a5i&ando de$ de&tierro. En $a "arta &e $e in/orma*a )ue de*'a ir&e de$ reino de Ca&ti$$a en un p$a8o de uno& nue5e d'a&. A&' e$ Cid ape&adum*rado re6ne a &u& 5a&a$$o&9 0 e&to& &e de&tierran "on :$9 &e 5an de -i5ar9 pero en "iudad de Purgo& nadie &e atre5e a #o&pedar$e&9 0a )ue e$ ,e0 A$/on&o #a*'a di"#o )uien $e *rindara #o&peda4e &e arrepentir'a 0a )ue :$ tomar'a dura& repre&a$ia&. A&' e& )ue e$ Cid 0 &u& 5a&a$$o&9 &iguieron &u "amino. Mart'n Anto$ine8 (un #om*re /ie$ a$ Cid) /ue )uien pro5e0( a$ Cid de *iene&. Como e$ Cid e&ta*a empo*re"ido &e $e o"urri( #a"er una& ar"a&9 0 $$enar$a& de arena9 0 5end:r&e$a& a ,a)ue$9 0 -ida& (uno& 4ud'o&)9 &e trat( 0 &e $a& 5endi( por uno& &ei&"iento& mar"o&. E$ Cid parte #a"ia Carde;a9 mientra& )ue Mart'n Anto$ine8 &e 5ue$5e a "a&a. E$ Cid &e de&pide de &u mu4er 0 de &u& #i4a&. 7e de&pide 0 &e 5a ("on :$ &e 5an un "entenar de "a&te$$ano&)9 %uego e$ Cantar primero re$ata una &erie de *ata$$a& en a$& )ue e$ Cid $u"#a "on $o& Moro& 0 &a$e 5i"torio&o. Ante "ada 5i"toria e$ Cid en5'a a Ca&ti$$a (a$ ,a0 A$/on&o) parte de$ *ot'n de guerra para demo&trar$e a e&te )ue e$ e& un *uen #om*re9 un *uen 5a&a$$o de &u ,e0 0 )ue no $e guarda ren"ore& por e$ de&tierro. • E/ (e32)d* e( e/ %a)4a1 de /a( .*da( (donde &e "uenta "omo $a& #i4a& de$ Cid &e "a&an "on $o& no*$e& de Carri(n. A)u' e$ Cid 0a &e #a*'a amigado "on e$ ,e0 A$/on&o -+ 0 e& e&te )uien $e "on"ede a$ Cid )ue &u& #i4a& &e "a&en "on &o& no*$e&)\nPequeño resúmen: El Cantar de las *odas, narra como el Cid, %ue !ab'a logrado someter al Conde de *arcelona, marc!a sobre Valencia logrando colocar su estandarte en el alcanzar. El rey le concede el permiso para %ue su familia se reuna con &l. +os nfantes de Carrión, atra'dos por la ri%ueza del Cid, piden a sus !ijas, Elvira y )ol en matrimonio, logrando la aceptación del rey del Cid.\nA partir de a)u'9 e$ Cid &e dirige a -a$en"ia9 donde po"o a po"o 5en"e a $o& moro& 0 a$ ,e0 de 7e5i$$a9 0 &e #a"e "on todo e$ reino de -a$en"ia9 manda nue5amente uno& rega$o&( parte de$ *ot'n de guerra) a$ ,e0 A$/on&o. E&te $o& a"epta 0 perdona a$ Cid 0 permite )ue e&te &e $$e5e a &u& #i4a&\n0 a &u mu4er9 a -a$en"ia. %o& +n/ante& de Carri(n )ue 5en )ue e$ Cid &e #a"e ri"o 0 )ue e&ta "o$mado de ri)ue8a&9 &e )uieren "a&ar "on &u& #i4a& 0 enton"e& #a*$an "on e$ ,e0 A$/on&o para )ue inter5enga 0 arreg$e e$ "a&amiento. E$ ,e0 A$/on&o $e& arreg$a una "ita "on e$ Cid9 en e&ta& 5i&ta& (en e$ r'o 2a4o) a"uerdan )ue &e "a&en 0 &e "a&an. E$ Cid 0 &u& #i4a& e&t n mu0 "ontento&. • E/ 4e1%e1* e( e/ %a)4a1 de /a A:1e)4a de C*1'e( (A/renta= -ergVen8a 0 de&#onor )ue re&u$ta de a$g6n di"#o o #e"#o K Corpe&= Muni"ipio de E&pa;a.) En e&te "antar e& donde &e "uenta "omo $o& 0erno& de$ Cid 0 ma$tratan a &u& #i4a&. 1e*ido a e&to e$ Cid pide ante e$ ,e0 una 5engan8a por $o &u"edido.\nPequeño resúmen: El Cantar de la Afrenta de Corpes, narra cómo los infantes de Carrión, para vengarse de las bromas de los !ombres del Cid ,luego del acontecimiento con el +eón- , se muestran cobardes y brutales agrediendo a sus esposas en el robledo de Corpes a su regreso a Castilla. El Cid demanda venganza a Alfonso V %uien convoca las Cortes de .oledo. +os infantes son vencidos en un duelo y las !ijas del Cid se vuelven a casar con los nfantes de /avarra y Aragón. El Cid muere en Valencia cubierto de gloria, con valent'a y !onor.\nA"onte"imiento "on e$ %e(n= E$ Cid en &u tienda de "ampa;a ten'a un $e(n. E&tando e$ Cid dormido9 e$ $e(n )ue ten'a9 &e e&"ap(. Ante e&to $o& +n/ante& de Carri(n (0erno& de$ Cid) &e a&u&taron9 0 &e e&"ondieron. A$ de&pertar9 e$ Cid &e en/rent( a$ $e(n 0 $o a"o*ard(. Enton"e& $o& +n/ante& de Carri(n /ueron o*4eto de ri&a&9 *roma& 0 #umi$$a"ione& por parte de $o& #om*re& de$ Cid. <ara 5engar&e9 de"idieron ir a Carri(n 0 $$e5ar&e a $a& #i4a& de$ Cid9 0 ma$tratar$a& por e$ "amino ($a& ataron de&nuda& a uno& r*o$e& 0 $a& go$pearon). Nn #om*re de$ Cid )ue de&"on/ia*a de $o& in/ante& $o& &igui( 0 pre&en"i( $o &u"edido. %uego $e "ont( e$ Cid para $a5ar &u #onra 0 $a de &u& #i4a& $e a5i&( a$ re0 don A$/on&o )ue )uer'a "on"ertar una "orte en $a )ue e$ Cid pida $a anu$a"i(n de$ "a&amiento de &u& #i4a&. E$ ,e0 A$/on&o a"epta 0 e$ matrimonio de am*a& #i4a& de$ Cid )ueda anu$ado. %uego entran en $a "orte $o& +n/ante& de @a5arra 0 Arag(n9 )ue piden a$ Cid $a mano de &u& #i4a&9 0 e&te $a& a"epta9 0 de nue5o $a& pone en mano& de re0 don A$/on&o. %o& de$ Cid 5ue$5en a 5a$en"ia "on $a "a*e8a a$ta 0 e$ Cid "a&a a &u& #i4a& "on $o& +n/ante& de Arag(n 0 @a5arra9 e&t n mu0 /e$i"e& 0 a&' /ina$i8a e$ ter"er "antar. Pe1(*)a?e( P1i)%i'a/e( de/ Mi* Cid: • • • R*d1i3* D5a0 de +i7a1 (e/ Mi* Cid * Cid Ca&'ead*1).E( e/ P1*4a3*)i(4a. Re< Sa)%8* (amigo de$ Cid. !ue a&e&inado. Oereda &u trono e$ ,e0 A$/on&o -+ )ue era &u #ermano) E/ Re< A/:*)(* +I de Ca(4i//a < de LeI) (#ereda e$ trono de Ca&ti$$a $uego de )ue a&e&inara a &u #ermano. E$ Cid de&"on/'a de :$ 0 pien&a )ue e&te #a tenido a$go )ue 5er en e$ a&e&inado de &u propio #ermano. <or e&o "uando e$ ,e0 e&t por a&umir &u trono tra& $a muerte de &u #ermano e$ Cid9 ante& de 4urar$e $ea$tad9 $e pide )ue 4ure )ue :$ no #a tenido anda )ue 5er en e$ a&e&inato de &u #ermano. E$ ,e0 &e o/ende por e&to pero igua$mente de"ide 4urar. E% ,e0 A$/on&o nun"a $e termina perdonando e&to a$ Cid 0 $uego $o de&tierra de &u reino). D*Aa @i&e)a (7ra. de$ Cid) D*Aa E/7i1a < D*Aa S*/ (Oi4a& mu4ere& de$ Cid) L*( I):a)4e( de Ca11iI) ($o& 0erno& de$ Cid )ue #umi$$an a &u& #i4a&. 7on $o& in/ante& 1iego 0 !ernando) L*( i):a)4e( de Na7a11a < A1a3I) (E&po&o& de $a& #i4a& de$ Cid $uego de )ue e&ta& anu$an &u *oda "on $o& in/ante& de Carri(n)\nPe1(*)a?e( (e%2)da1i*( de/ Mi* Cid: • • • • • • • • • • Ma145) A)4*/i)e0 ($ugarteniente de$ Cid. E& mu0 pro*a*$e )ue #a0a &ido &($o un per&ona4e de /i""i(n) A/7a1 9a)=0 (%ugarteniente de$ Cid) 9=/e0 M2A*0 (7o*rino de$ Cid) Ped1* #e1&Jde0 (7o*rino de$ Cid) -a1%5a O1d*Ae0 ( antagoni&ta de$ Cid. !ue un no*$e podero&o "on in/$uen"ia &o*re e$ ,e0 A$/on&o. Compro*ado #i&t(ri"amente) #J%a1 (e& men"ionado "omo re0 de Marrue"o&) A.e)3a/.I) * A7e)3a/7*) (amigo de$ Cid. Exi&ti( en $a 5ida rea$. 7u /igura dentor de$ poema tam*i:n &e en"uentra idea$i8ada) E/ C*)de de #a1%e/*)a (Conde derrotado do& 5e"e& por e$ Cid) !2(e: !2(2: (Emperador )ue derrot( a$ ,e0 A$/on&o -+ 0 pu&o en un gra5e aprieto a $o& reino& "ri&tiano& de E&pa;a) RaE2e/ < +ida( (7on pre&tami&ta& 4ud'o& 0 &on per&ona4e& /i""iona$e& )ue no exi&tieron en $a rea$idad)\nI&'*14a)%ia de/ Mi* Cid @i e$ mi&m'&imo Cid pod'a imaginar&e $a tra&"enden"ia de &u 5ida tra& &u muerte. 2odo& $o& 4ug$are& de $o& &ig$o& po&teriore& a &u muerte "ontar'an en /orma de "antare& de ge&ta &u 5ida 0 &u& #a8a;a&9 a&' "omo tam*i:n in5entar'an &u $e0enda. -ario& &on $o& e&"rito& &o*re e$ Cid9 pero de&ta"a &o*remanera e$ $$amado Cantar de "io Cid (n(te&e )ue no e& <oema &ino Cantar9 0a )ue "omo $etra de una "an"i(n #a de &er tomado 0 no texto de poema). A&' pue&9 E$ Cantar de$ Cid9 e& una "an"i(n re"itada por $o& 4ug$are& de a)ue$$o& tiempo& medie5a$e&. E$ texto )ue no& #a $$egado9 e& una tran&"rip"i(n de un "opi&ta $$amado <er A**at en un manu&"rito (de$ 7. .+-9 "on&er5ado en $a Pi*$iote"a @a"iona$). Aun)ue #a0 )uien opina )ue pudiera &er e$ autor 0 no mero "opi&ta.\nT1a&a de/ Ca)4a1 de/ Mi* Cid: • • • • 7e "uenta "(mo por medio de una a"u&a"i(n /a$&a &e o*$iga a$ Cid a a*andonar $a "orte de$ re0 A$/on&o -+ de Ca&ti$$a. E& de"ir9 &e $o de&tierra de &u pue*$o9 de &u patria. En e$ exi$io9 e$ #:roe rea$i8a numero&a& proe8a& guerrera& 0 en5'a a$ re0 parte de$ *ot'n "on&eguido. 1e e&te modo9 $ogra o*tener e$ perd(n de$ re0 <ara #onrar a$ Cid 0 de a$g6n modo re"ompen&ar$o9 e$ re0 A$/on&o di&pone )ue $a& #i4a& de$ Cid &e "a&en "on do& #om*re& no*$e&= $o& in/ante& de Carri(n. E$ Cid &e re"on"i$ia "on e$ re0 0 "on&igue )ue &u& #i4a& &e "a&en "on $o& in/ante& de Carri(n9 $o& "ua$e& #an &ido edu"ado& en $a "orte 0 $e4o& de $a& guerra&9 por $o )ue &ue$en demo&trar &u "o*ard'a ante mu"#a& de $a& *ata$$a& por $a& )ue pa&an9 "on5irti:ndo&e a&' en $a *ur$a de $o& "a*a$$ero& de$ Cid9 e&to #a"e )ue $o& in/ante& rea""ionen de&)uit ndo&e "on &u& e&po&a&9 0a )ue $a& de&nudan 0 atan a un r*o$ donde $a& a8otan ( en e$ re$ato e&to &e $$ama $a >a/renta de Corpe&?) E$ Cid exige 4u&ti"ia 0 &e 5enga de &u& 0erno& en un grandio&o torneo.\nT*d* e/ P*e&a de/ MIO CID 3i1a e) 4*1)* a /a 1e%2'e1a%iI) de /a 8*)1a (e(4i&a%iI) 'J./i%a) de/ Cid: • • Oumi$$ado por $a "a$umnia )ue $o arro4a a$ exi$io9 e$ Cid re"upera &u po&i"i(n gra"ia& a &u #ero'&mo. %uego $a "o*ard'a de $o& no*$e& de Carri(n $o #a"e "aer nue5amente en e$ de&#onor9 pero a$ /ina$ de$ poema &e re&ar"e9 a$ derrotar a $o& )ue $o #an o/endido 0 "a&ar a &u& #i4a& "on do& pr'n"ipe&\nRa(3*( '1i)%i'a/e( de/ '*e&a de/ MIO CID: • • • • • • • • • • • 1e autor an(nimo. E$ Cid e& de&terrado por e$ re0 A$/on&o -+ a "au&a de una /a$&a a"u&a"i(n. 7eparado de &u /ami$ia9 emprende 5aria& empre&a& mi$itare&. E$ pre&tigio )ue gana "on $a& &u"e&i5a& 5i"toria& "u$mina "on $a "on)ui&ta de -a$en"ia. Con&igue )ue e$ re0 A$/ondo -+ $e permita reunir&e "on &u mu4er9 Timena9 0 &u& #i4a& (do;a E$5ira 0 do;a 7o$)9 a )uiene& "a&a "on $o& "onde& de Carri(n. %o& de Carri(n ma$tratan a &u& e&po&a& 0 &er n "a&tigado& por e$ re09 )uien9 adem &9 re"ompen&ar a$ Cid "on un nue5o matrimonio de &u& #i4a&. F*4eti5o de$ <oema= En&a$8ar $a& 5irtude& de ,odrigo 1'a8 de -i5ar (E$ Cid) "omo un aut:nti"o #:roe en $a *ata$$a9 un ex"ep"iona$ marido 0 padre9 0 un *uen "ri&tiano. E/ '*e&a (e di7ide e) 3 'a14e(: 1 - E/ Ca)4a1 de/ de(4ie11*. " - E/ Ca)4a1 de /a( .*da(. 3 - E/ Ca)4a1 de /a a:1e)4a de C*1'e(.\nLA RUTA DEL MIO CID : En e$ mapa in/erior 5emo& E&pa;a dentro de$ "ontinente Europeo (%imitando "on <ortuga$ #a"ia e$ Fe&te9 "on !ran"ia #a"ia e$ E&te9 "on e$ Mar mediterr neo 0 e$ "ontinente a/ri"ano #a"ia e$ &ur 0 "on e$ F":ano At$ nti"o #a"ia e$ norte). %a $'nea di*u4ada en e$ mapa dentro de E&pa;a mar"a e$ re"orrido de$ Mio Cid a tra5:& de o"#o pro5in"ia& o muni"ipio& e&pa;o$e& )ue &on= Purgo&9 7oria9 Euada$a4ara9 Warago8a9 2erue$9 Ca&te$$(n9 -a$en"ia 0 A$i"ante.\nDocuments Similar To Literatura ÃÂ©pica medieval y Cantar de Mio Cid\nMore From Ceci Flores


Sor Faustina Kowalska - Medjugorje - Virgen de Medjugorje\nHome > Sor Faustina Kowalska\nSanta Misa en Surmanci en la Festividad de la Divina Misericordia\nEl viernes 5 de octubre, festividad de Santa Faustina Kowalska, la Santa Misa se celebrará en la iglesia a las 8 am. La Iglesia de la Divina Misericordia está ubicada en Surmanci, junto al río Neretva, y cada primer domingo...\nCategories Actualidad Home, Últimas noticias de MedjugorjeTags Sor Faustina Kowalska, Surmanci


Degemer al lec’hienn > C’hoariva > Keloù > Enez al Legumaj un arvest en defe c’hoant beajiñ e Breizh\nAbaoe daou vloaz emañ Ar Vro Bagan o tiskleriañ ur pezh-c’hoari, « Enez al legumaj – L’île aux légumes », evit ar vugale etre 4 ha 11 vloaz.\nE brezhoneg penn-da-benn e c’hell bezañ c’hoariet, pe en un doare divyezhek, brezhoneg ha galleg, pe e galleg gant un tammig brezhoneg.\nAmañ e kavor un « depeign » eus ar pezh ; war lec’hienn T.E.S emañ an destenn vrezhoneg gant un teuliad pedagogel evit ober labour er skol a-raok pe war-lerc’h an abadenn.\nEvit c’hoazh n’omp ket bet o c’hoari ar pezh-se e Bro-Dreger panevet e Gwengamp (e brezhoneg ur wech hag e galleg). Laouen e vefemp o c’hellout c’hoari evit an holl vugale a zo o teskiñ brezhoneg. Pal Ar Vro Bagan eo labourat evit ar skolioù, hag evit ar skolaerien hag ar skolidi n’eo ket fall ivez moarvat gwelet ha klevet abadennoù savet a-ratozh evito.\nSetu va c’hinnig : ma vefe aozet un abadenn en ho kêr pe tost d’ho kêr ha d’ho skol, daoust hag e vefec’h a du da zont di gant ho skolidi ?\nUn doare all a zo evit ar skolioù bras el lec’h ez eus klasoù galleg pe ar c’herioù bras gant skolioù galleg : aozañ un abadenn e brezhoneg hag unan pe meur a hini e galleg. Rak n’eo ket fall ar pezh evit ar c’hallegerien kennebeut (an doare hag an danvez a zere mat outo ivez). Ha gwelloc’h marc’had evel-just pa vez meur a abadenn en hevelep devezh (3 gwech e c’hell Ar Vro Bagan c’hoari en un devezh !).\nSetu ar pezh am boa da ginnig deoc’h . Fiziañs am eus e c’hellimp kenlabourat evit ar vugale vrezhonegerien.\nKenavo kentañ tro.