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Baldwin embraces the chivalry prominent in the first eighty percent of the Avowing and rejects the brutality in his anecdotes of pre-Arthurian siege warfare in Spain. The narrative, which moves from harmony at the beginning through discord and, with Arthur's acknowledgment of Baldwin's worthiness, back to harmony, celebrates Arthurian chivalry. (RD). [ABSTRACT FROM AUTHOR]

The article offers the information on the Majorcan writer and philosopher Ramón Llull who emphasized the significance of chivalry in the Middle Ages and called for books that would instruct and exemplify the concept. It mentions about the pervasive influence of European chivalric literature and French, and Spanish chivalry that's creates blended course, entitled Blood, Sex, and Heroes.

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This article examines the composition of the Historia Roderici and seeks to address the contexts of its production and the resulting implications. Given the general historical accuracy of the text, underscored and presented here in significant detail, this study proposes dating the text with certain proximity to the events it narrates. Furthermore, its relationship with the cultural milieu of Alfonso I of Aragon (r. 1104-34) and some of the initiatives undertaken in his time suggests placing the text in this context, which reveals a profound connection with the memory of Rodrigo Diaz. From these premises, the text is interpreted according to its chivalric and ideological content, as well as to the selection, presentation and manipulation of events. One of the objectives of the Historia Roderici would have been for the kingdom of Aragon to appropriate the symbolic potential of Rodrigo's image. In sum, this article attempts to read the Historia Roderici beyond its documentary value, which has been the focus of almost all critical studies of the text. [ABSTRACT FROM AUTHOR]

The comparative analysis of the "Hall of Justice" ceilings and several fourteenth-century Castilian courtly artefacts—above all, the Crónica Troyana de Alfonso XI (escorial, h.i.6)—provides suggestive insights for thinking about the threads of meaning associated with chivalric imagery in medieval Castile and Granada. Moreover, tracing the different modes of "Iberization" of a repertoire of motifs traditionally considered "northern" or "western," in both thematic and formal terms, as they are incorporated into the ethnic and cultural plurality of the Iberian Peninsula will serve as an opportunity for scholarship to re-examine the processes of cultural formation, allowing us to avoid simplistic labels and rigid parameters. Translation as a paradigm for artistic creation can be useful in this task, since it can help us to make sense, not only of the singularity of Hispanic achievements, but also of the tensions perceivable in the Peninsular dynamics of artistic production. [ABSTRACT FROM AUTHOR]