– Yes I have seen responded Sancho. – Because mesmo said to Don Quixote occurs in the comedy and treatment deste world, where the emperors do, others the Pontiffs, and, finally, all whichever figures can be introduced in a comedy; but, in arriving finally that is when the life finishes, to all it clears the death to them the clothes differentiated that them, and are equal in the grave. -Brave comparison! said to Sancho, although not so new that I heard nonThe Hague many and diverse times, like that one of the game of the chess, that, while the game lasts, each piece has its particular office; and, in finishing the game, all is mixed, they join and they shuffle, and they give with them in a stock market, that is like giving with the life in the grave. – Every day, Sancho said to Don Quixote, you are become less simple and more discreet. (Cervantes, Quijote, II) 2. Alliteration Is the sound effect produced by repetition of consecutive form of a same phoneme, or of similar phonemes. The alliteration usually suggests images related to the senses. According to Lazaro Carreter, the alliteration takes place by the repetition of one or several phonemes frequently perceivable: With the treacherous wing of the slight fan.
(Rubn Daro) When the alliteration tries to imitate sounds or noises, denominates onomatopeya: The whistles of loving airs. (San Juan de la Cruz) 3. Anadiplosis Repetition of the same word or group of words at the end of a verse and in the beginning of the following one, for example: It hears, nonsubjects, and nymph dile, dile that I die. (Esteban Manuel de Villegas, century XVII) My they sien, flowery balcony of my early ages, black it is, and my heart, and my heart with grey hairs. (Miguel Hernandez, century XX) Nobody mistress only a heart: a heart does not serve without a body.
Flamenco, marking cultural the specific one of a town: Andalusia p 3 1.1. Inaugural geography of sings jondo p 3 1.2. Social origins of the flamenco one: the gypsy, the miner, the day laborer and proletarian p 4 1.3. Confusion between the popular Andalusian and national Spanish .
andalucinacin p 5 2. The flamenco ritual and its spaces of sociability p 7 2.1. Flamenco prevailed in front of flamenco public. The desvirtuacin of the flamenco rite: of the familiar celebration to the flamenco-spectacle p 7 2.2. The tendency to the social segmentation in the custom flamenco p 8 2.3. The total expression: the sociocultural phenomenon and the musical phenomenon p 10 3.
The flamenco one: existential gorge of a town. Love and pain p 11 3.1. The pansexualismo Andalusian: erotic desire p 113.2. The aesthetic one of the pain. His tragicismo p 13 BIBLIOGRAPHY p 15 Introduction writes Luis Rosales in the beginning of his indeed distresses that sings is not spoken, sings is not written and I must, sincerely, say that everything what will come next, desoyendo to Rosales, will not be but a useless attempt to write it. It sings is not written. No. It sings is sung. And to write envelope he is to speak of him but without him. In order to hear it, to touch it, to drink it is necessary to live it and, for this reason, any pretension to theorize with him, of to shake vigorously rationally must it be necessarily uncultivated. Therefore, with this brief approach I will not deal to explain sings, to reason it, to express it of scientific way, but to delimit some peripheral questions in any case that serve to locate it like a deeply human product and deeply Andalusian.
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