Mentions of God were omnipresent in the early vernacular texts of thirteenth-century Spain. In this dissertation, I study the mentions of God in three well-known Spanish narrative poems written down in the thirteenth century. These are the Cantar de mio Cid, the Libro de Alexandre, and the Milagros de Nuestra Señora. In particular, I discuss how the representation of God in these works is shaped by each of the three poets' original intended audiences and the message that he wished to communicate to those listeners. I begin by reviewing critical reconstructions of the original intended audiences of the three poems. I then study three aspects of the representation of God in each of the three poems: the words used to reference God, the descriptions of the deity present in the texts themselves, and the roles and functions assigned to God as a character in each narrative. I conclude that the Judeo-Christian God was an expected element in early Spanish narrative poetry, but that his representation could vary widely based on the differing compositions of the audiences for whom the works were conceived. / text

One of the styles that has influenced opera the most through history has been Bel canto. This work is a recompilation of personal research about its history, characteristics and one of its major exponents, G. Rossini. At the same time, it includes a personal approach on the topic of how to create and perform a character and some exercises aimed to improve the singing in the mentioned style.

Los cronistas de la conquista española de los Andes recogieron en sus textos algunas muestras de la tradición oral ancestral de los pueblos avasallados. Así, Juan de Betanzos incluyó en su Suma y narración de los incas ([¿1551?] 1987) un cantar fúnebre atribuido al inca Tupac Yupanqui cuya interpretación semántica y semiolingüística es presentada en este artículo. / The chroniclers of the Spanish conquest of the Andes gathered in their texts some traces of the colonized people’s ancestral oral tradition. Thus, Juan de Betanzos included in his Suma y narración de los incas ([¿1551?] 1987) a funeral chant ascribed to Tupac Inca Yupanqui. In this article, I present a semantic and semiolinguistic interpretation of this chant.

Made available in DSpace on 2016-04-04T18:28:06Z (GMT). No. of bitstreams: 1 ELIZABETH BROWN VALLIM BRISOLA.pdf: 1960176 bytes, checksum: 5b28927ce568f33132ed26417a40888b (MD5) Previous issue date: 2008-09-23 / Pontif?cia Universidade Cat?lica de Campinas / This is a qualitative exploratory research, with the objective of describing elements that are present in the experience of singing, through the eyes of psychology. A theoretical background on singing and music is presented, with an emphasis on mental health and clinical psychology. Six adults, of both sexes and with varied ages, professions, education and interests, were interviewed about important moments they had in relation to singing. The research steps were taken according to the heuristic method, elaborated by Clark Moustakas, with emphasis on the meanings experienced by the subjects, who were called co-researchers in this study, so as to understand the elements present in their experience. The data analysis is presented in the form of descriptions of the experience of singing in relation to each coresearcher and to the group as a whole; a portrait was drawn of two co-reseachers, chosen as the ones who best represented the experience of the group of co-researchers. The data analysis ends with a creative synthesis. The experience of singing was revealed as a natural human activity that evolves as part of one s individual history, with various physical, emotional, social and spiritual effects. Singing showed itself as an experience wich is both individual, personal and ecological, social, shared; an expression of mental health and personal integration. While being perfected, singing can serve as a means of contacting and developing / Resumo: Trata-se de uma pesquisa qualitativa de tipo explorat?ria que visa descrever elementos presentes na viv?ncia de cantar, considerada do ponto de vista psicol?gico. Apresenta um embasamento te?rico sobre m?sica e cantar, com ?nfase numa perspectiva de sa?de mental e psicologia cl?nica. Foram colhidos os depoimentos de seis adultos, de ambos os sexos e com idades, atividades profissionais, escolaridade e interesses variados, sobre situa??es marcantes vivenciadas em rela??o a experi?ncia de cantar. Os passos da pesquisa foram elaborados de acordo com o m?todo heur?stico, desenvolvido por Clark Moustakas, dando import?ncia para os significados vividos pelos sujeitos, chamados neste estudo de "co-pesquisadores", de forma a apreender os elementos presentes nas suas experi?ncias. A an?lise dos dados ? apresentada sob a forma de descri??es da experi?ncia de cantar em rela??o a cada co-pesquisador e ao grupo como um todo; posteriormente, elaborou-se o retrato de dois dos participantes, escolhidos como aqueles que melhor representavam as viv?ncias deste grupo de co-pesquisadores. Finalmente, comp?s-se uma s?ntese criativa. A experi?ncia de cantar revelou-se como uma atividade humana natural, com desenvolvimento ?nico, original em cada pessoa, com efeitos f?sicos, emocionais, sociais e espirituais. Mostrou-se tamb?m como uma experi?ncia pessoal, individual e, ao mesmo tempo, ecol?gica, social ou compartilhada; uma atividade que promove a sa?de mental e integra??o das pessoas; o seu aperfei?oamento pode servir como um meio de entrar em contato e desenvolver um conhecimento a respeito de m?sica e de si mesmo. Al?m disso observou-se diferentes n?veis de envolvimento ao cantar.

This work is linked to the line of research Education and Arts in the Post Graduation Program in Education, in the Federal University of Santa Maria and the group FAPEM: Training, Action and Research in Music Education. The objective of the present research was to investigate the impact of the Program LEM: Playing and Singing "for the training and teacher development, from the perspective of student teachers in music/workshop organizers. According to this objective, it is intended to know the aims of undergraduate students to participate as workshop participants of the workshops of the program LEM to analyze the relationships established between the music workshops, its training and development staff, understanding the assumptions that underlie the development of education in the workshops and also place the "Program LEM: Play and Sing" in the context of academic and professional training. The qualitative methodological approach was chosen to analyze the perspectives of seven workshop participants as the subjects of the present research. For data collection it was used the semi-structured interview, which took place in two stages: the first session on Individual (EI) and the second group (EG). Thus, data analysis was established by qualitative analysis, performed from the relationship between the perspectives of workshop participants, workshops in music, education and the development of education. From the interpretation of the background and the references about teacher training and professional development, the conception of the process of training student teachers in music workshops in the Laboratory for Music Education was developed, researching this area as a place of training and academic and professional performance. As a result, we present the "LEM Program: Play and Sing" by addressing its significance for the undergraduates, the relationship between the experiences in music workshops and training, and setting out the objectives of the workshop participants to participate in the program according to assumptions that underlie their teaching in music workshops. Still, we highlight the LEM program as a place of training and academic and professional performance. / Esta dissertação está vinculada à linha de pesquisa Educação e Artes do Programa de Pós Graduação em Educação da Universidade Federal de Santa Maria e ao grupo FAPEM: Formação, Ação e Pesquisa em Educação Musical. O objetivo da pesquisa foi investigar as repercussões do Programa LEM: Tocar e Cantar para a formação inicial e desenvolvimento docente, sob a perspectiva dos licenciandos em música/oficineiros. Para tanto, buscou-se conhecer os objetivos dos licenciandos ao participarem como oficineiros das oficinas do Programa LEM, analisar as relações que estabelecem entre as oficinas de música, sua formação inicial e seu desenvolvimento docente, compreender pressupostos que fundamentam o desenvolvimento da docência nas oficinas e, ainda, situar o Programa LEM: Tocar e Cantar no contexto da formação acadêmico-profissional. Como abordagem metodológica optou-se pela pesquisa qualitativa para analisar as perspectivas de sete oficineiros, sujeitos da pesquisa. Para a coleta dos dados o instrumento utilizado foi a entrevista semi-estruturada, que ocorreu em duas etapas: a primeira em sessão Individual (EI) e a segunda em grupo (EG). A análise dos dados foi constituída pela análise qualitativa de conteúdo, realizada a partir da relação entre as perspectivas dos oficineiros, as oficinas de música, a formação inicial e o desenvolvimento da docência. A partir da interpretação e do embasamento nos referenciais sobre a formação docente e desenvolvimento profissional, foi possível compreender acerca do processo formativo dos licenciandos em música nas oficinas do Laboratório de Educação Musical, analisando esse espaço como um lugar de formação e atuação acadêmico-profissional. Como considerações finais, apresentam-se o Programa LEM: Tocar e Cantar , abordando sua significação para os licenciandos, as relações entre as vivências nas oficinas de música e a formação profissional, e expondo os objetivos dos oficineiros ao participarem do Programa e os pressupostos que fundamentam a sua docência nas oficinas de música. Ainda, destaca-se o Programa LEM como lugar de formação e atuação acadêmicoprofissional.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is linked to the research line Education the Arts from the PPGE/UFSM and the group of studies and research in Training, Action and Research in Musical Education - FAPEM. Aimed to investigate the "Program LEM: Playing and Singing", in the form of music workshops, seeking to emphasize its contributions in the formation of musical training and teaching-musical by students and former students of Pedagogy/UFSM, which are called up workshopers . Specifically, it is sought to know their ideas about the workshops for the musical and pedagogicmusical development of unidocent teachers, identify the contributions of workshops for the musical and pedagogic-musical development of unidocent teachers, and also map the musical and teaching-music training some needs raised to unidocency. As a methodological approach, the qualitative research was chosen mainly on the basis of the analysis of contexts and realities experienced by eight workshopers subjects of the research. A semi-structured interview was the main tool for collecting data, being divided into two stages: the first, a semi-structured individual interview (EI) and the second, with the completion of an interview in a group (EG). The theoretical reference was built from two subjects: the training of teachers, and the relationship between music education and unidocency, and workshops on music, which presents a brief history of its existence in the country as well as the formation of the "Program LEM: Playing and Singing" at UFSM. Data analysis was divided into crossing between the relationship of workshops with the Program, the workshops and training in Pedagogy, and following, it was sought to make up relations between the unidocent training, the musical education, and the educational practice developed by the workshopers. As a conclusion of this research, there is the "Program LEM: Playing and Singing" as a musical training space-relevant in the initial training of teachers, contributing to the unidocents have more alternatives of work and assurance when working with music in school. Still, it is pointed out that initiatives like this should be encouraged in unidocent forming. / A presente dissertação está vinculada à linha de pesquisa Educação e Artes do PPGE/UFSM e ao grupo de estudos e pesquisas em Formação, Ação e Pesquisa em Educação Musical FAPEM. Teve como objetivo investigar acerca do Programa LEM: Tocar e Cantar , no formato de oficinas de música, buscando verificar suas contribuições na constituição da formação musical e pedagógico-musical de alunas e ex-alunas da Pedagogia/UFSM, denominadas oficinandas. Especificamente, buscou-se conhecer suas concepções sobre as oficinas de música para o desenvolvimento musical e pedagógico-musical de professoras unidocentes, identificar as contribuições das oficinas de música para o desenvolvimento musical e pedagógico-musical de professoras unidocentes, e ainda, mapear algumas necessidades formativas musicais e pedagógico-musicais levantadas para a unidocência. Como abordagem metodológica, optou-se pela pesquisa qualitativa principalmente em função da análise de contextos e realidades vivenciadas pelas oito oficinandas sujeitas da pesquisa. A entrevista semi-estruturada foi o principal instrumento de coleta dos dados, sendo dividida em duas etapas, a primeira em entrevista semi-estruturada individual (EI) e a segunda na realização de uma entrevista em grupo (EG). O referencial teórico foi construído a partir de dois temas: a formação de professores; e a relação entre a unidocência e a educação musical, e oficinas de música, do qual se apresenta um breve relato histórico de sua existência no país bem como a constituição do Programa LEM: Tocar e Cantar , na UFSM. A análise dos dados foi dividida primeiramente num cruzamento entre a relação das oficinas com o Programa, as respectivas oficinas e a formação inicial na Pedagogia e, em seguida, buscou-se tecer relações entre a formação unidocente, a educação musical e a prática educativa escolar desenvolvida pelas oficinandas. Como conclusão dessa investigação, apresenta-se o Programa LEM: Tocar e Cantar como espaço músico-formativo relevante na formação inicial de professores, contribuindo para que as unidocentes possuam mais alternativas de trabalho e segurança no momento da prática com música na escola. Ainda, aponta-se que iniciativas como essas devem ser incentivadas na formação de unidocente.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2017-04-07T19:37:44Z No. of bitstreams: 1 ELIZABETH BROWN VALLIM BRISOLA.pdf: 1755411 bytes, checksum: 14e7e25a069f401ef775a5d9ce3844f5 (MD5) / Made available in DSpace on 2017-04-07T19:37:44Z (GMT). No. of bitstreams: 1 ELIZABETH BROWN VALLIM BRISOLA.pdf: 1755411 bytes, checksum: 14e7e25a069f401ef775a5d9ce3844f5 (MD5) Previous issue date: 2017-02-14 / Research studies that address mothers singing focus on investigating how and why songs facilitate mother-infant communication considering, especially, the acoustical and sociocultural aspects involved. This qualitative and exploratory research study was developed based on Edmund Husserl?s phenomenology and guided by principles of Humanistic psychology, specifically Carl Roger?s Person Centered Approach. It aimed to apprehend the experience of 13 mothers who gave birth to their first child during the past 18 months, about the meaning of singing to their infants. The researcher spoke to each of the participants, all with a college education, during a dialogical encounter, and immediately afterwards wrote a comprehensive narrative to register her comprehension regarding that mother?s experience, based on her own impressions. A narrative-synthesis and a creative synthesis were constructed based on the narratives to enable a phenomenological process of analysis that presupposes three phases: description, comprehension and interpretation of the experience. The structural elements that emerged from the mothers' experience of singing to their infants are: (a) a means of communication hugging their infant with their song; (b) the establishment of an emotional bond with their infant; (c) a way to better know their infant as it develops; (d) a means of recognizing themselves as mothers; (e) a form of sharing personal values and family customs; (f) a creative way of expressing themselves, and (g) a possibility of personal growth. The meaning of this experience enables further reflections regarding human relationships from a psychological viewpoint and can stimulate dialogues with other areas of knowledge. / Las pesquisas que abordan el canto materno se preocupan en investigar c?mo y por qu? las canciones son facilitadoras de la comunicaci?n madre-beb?, dando atenci?n principalmente a los aspectos ac?sticos y socioculturales. Esta pesquisa, cualitativa y de naturaleza exploratoria, fue desarrollada con base en la fenomenolog?a de Edmund Husserl y en orientaciones te?ricas de la psicolog?a humanista, m?s espec?ficamente del Enfoque Centrado en la Persona, de Carl Rogers. Su foco fue aprender de la experiencia de 13 madres que tuvieron su primer hijo en los ?ltimos 18 meses sobre el sentido de cantarle a su beb?. La investigadora convers? com cada participante, mujeres universitarias, durante un encuentro dial?gico, y escribi?, de inmediato, una narrativa comprensiva para registrar su comprensi?n sobre la experiencia de aquella madre a partir de sus propias impresiones. Una s?ntesisnarrativa y una s?ntesis creativa fueron construidas a partir del conjunto de narrativas de manera que sea posible concluir el proceso de an?lisis fenomenol?gico que supone tres fases: descripci?n, comprensi?n e interpretaci?n de la experiencia. Los elementos estructurales que emergieron de las vivencias de las madres sobre cantarles a sus beb?s son: (a) un modo de comunicarse abrazando al beb? con sus sonidos; (b) la construcci?n de un v?nculo; (c) una forma de conocer mejor a su beb? a medida que ?ste se desarrolla; (d) un reconocimiento de s? misma como madre; (e) una manera de transmitir valores personales y costumbres familiares; (f) un modo creativo de expresarse; e (g) la posibilidad de crecimiento personal. El sentido de esta experiencia posibilita nuevas reflexiones sobre el tema de la relaci?n humana en t?rminos psicol?gicos y puede estimular interlocuciones con otras ?reas de conocimiento. / As pesquisas que abordam o cantar materno preocupam-se em investigar como e por que as can??es s?o facilitadoras da comunica??o m?e-beb?, dando aten??o principalmente aos aspectos ac?sticos e socioculturais. Esta pesquisa, qualitativa e de natureza explorat?ria, foi desenvolvida com base na fenomenologia de Edmund Husserl e em norteadores te?ricos da psicologia humanista, mais especificamente da Abordagem Centrada na Pessoa, de Carl Rogers. Objetivou apreender a experi?ncia de 13 m?es que tiveram seu primeiro filho nos ?ltimos 18 meses sobre o sentido de cantar para seu beb?. A pesquisadora conversou com cada uma das participantes, todas com forma??o universit?ria, durante um encontro dial?gico, e escreveu, em seguida, uma narrativa compreensiva para registrar sua compreens?o sobre a experi?ncia daquela m?e a partir de suas pr?prias impress?es. Uma narrativa-s?ntese e uma s?ntese criativa foram constru?das a partir do conjunto de narrativas de forma a possibilitar concluir o processo de an?lise fenomenol?gica que sup?e tr?s fases: descri??o, compreens?o e interpreta??o da experi?ncia. Os elementos estruturais que emergiram das viv?ncias das m?es sobre cantar para seu beb? s?o: (a) um modo de comunicar-se abra?ando o beb? com seus sons; (b) a constru??o de um v?nculo; (c) uma forma de conhecer melhor seu beb? ? medida que ele se desenvolve; (d) um meio de reconhecer a si mesma como m?e; (e) uma maneira de transmitir valores pessoais e costumes familiares; (f) um modo criativo de expressar-se; e (g) a possibilidade de crescimento pessoal. O sentido desta experi?ncia possibilita novas reflex?es sobre o tema do relacionamento humano em termos psicol?gicos e pode estimular interlocu??es com outras ?reas de conhecimento.

This analysis employs the sociolinguistic framework of status and solidarity (Holmes, 2001) to examine the use of codeswitching on the relational development between the characters in three plays by Cuban-American playwright Dolores Prida. The three plays discussed are Beautiful Señoritas (1978), Coser y cantar (1981) and Botánica (1991). Linguistic scholars recognize the lack of linguistic analysis of literary texts; specifically, codeswitching at present is not fully explored as a linguistic phenomenon in written contexts. Furthermore, Prida's works have never before been appraised using linguistic methodology. Hence, this work aims to add to scholarly research in the fields of codeswitching, discourse analysis, and literary linguistics, using the status and solidarity framework to examine the codeswitching in Dolores Prida's plays. Dolores Prida is a feminist and Hispanic dramatist whose central theme is the search for identity of Hispanic immigrants, specifically women, in the United States today. Due to her ideological stance, it is expected that a strong emphasis on solidarity rather than status and the use of affective rather than referential speech functions are present in the relationships in her plays. Accordingly, the analysis of Botánica reveals that indeed codeswitching between the characters does affect their relational development in maintaining solidarity and intimacy. However, the relationships found in Beautiful Señoritas and Coser y cantar do not offer such conclusions, due to the variable nature of the relationships identified. Further analysis of these and other literary works will more accurately determine benefits of the status and solidarity framework as applied to the codeswitching research.

This analysis employs the sociolinguistic framework of status and solidarity (Holmes, 2001) to examine the use of codeswitching on the relational development between the characters in three plays by Cuban-American playwright Dolores Prida. The three plays discussed are Beautiful Señoritas (1978), Coser y cantar (1981) and Botánica (1991). Linguistic scholars recognize the lack of linguistic analysis of literary texts; specifically, codeswitching at present is not fully explored as a linguistic phenomenon in written contexts. Furthermore, Prida's works have never before been appraised using linguistic methodology. Hence, this work aims to add to scholarly research in the fields of codeswitching, discourse analysis, and literary linguistics, using the status and solidarity framework to examine the codeswitching in Dolores Prida's plays. Dolores Prida is a feminist and Hispanic dramatist whose central theme is the search for identity of Hispanic immigrants, specifically women, in the United States today. Due to her ideological stance, it is expected that a strong emphasis on solidarity rather than status and the use of affective rather than referential speech functions are present in the relationships in her plays. Accordingly, the analysis of Botánica reveals that indeed codeswitching between the characters does affect their relational development in maintaining solidarity and intimacy. However, the relationships found in Beautiful Señoritas and Coser y cantar do not offer such conclusions, due to the variable nature of the relationships identified. Further analysis of these and other literary works will more accurately determine benefits of the status and solidarity framework as applied to the codeswitching research.

Dans cette thèse de doctorat, nous analysons les rapports et l’influence possible que l’épique médiévale française a pu exercer sur l’hispanique au niveau des motifs et des formules. L’étude se compose de deux grandes parties, précédées d’une introduction et suivies d'un deuxième volume d’annexes. Dans la section introductive, nous présentons certains aspects essentiels : nous définissons le corpus, nous reprenons certains points sur lesquels l’influence des chansons de geste sur le Cantar de mio Cid a été proposée ou rejetée, nous définissons les concepts fondamentaux employés et nous justifions la structure de notre étude. La thèse se compose de deux grandes parties complémentaires, dans lesquelles nous analysons d’un point de vue comparatiste les motifs et le formulisme, respectivement. Dans la première, nous étudions six motifs qui méritent une attention spéciale : la description générale de la bataille, l’attaque à la lance, le coup d’épée, la prière du plus grand péril, l’apparition de l’ange et l’itinéraire épique. L’analyse est fondée sur deux niveaux : l’un externe, où nous explorons la relation du motif et des personnages qu’il met en jeu au sein de l’œuvre dans laquelle il s’insère ; et l’autre interne, où nous nous intéressons à la composition du motif et à l’actualisation formulaire des phases qui le composent. La deuxième grande partie s’ouvre avec l’examen du rapport entre l’oralisme et le formulisme. Ensuite, à partir des exemples du Cantar de mio Cid, nous analysons en détail les différentes espèces d’expressions formulaires en tenant compte du type de variation qu’elles expérimentent. De même, nous analysons les procédés de création de formules, ainsi que les différents fonctions et effets de l’emploi de ces unités. La thèse se poursuit avec un examen quantitatif des formules du Cantar. Cette deuxième grande partie se clôt avec un chapitre dédié au système formulaire de l’épique hispanique à la lumière des chansons de geste françaises. Les annexes incluent les vers et les formules des six motifs analysés dans la première partie, toujours à partir des exemples du corpus ; les différents types de locutions formulaires du Cantar ; le registre de la totalité des formules et des phrases formulaires du poème castillan ; et un index des vers cités, provenant tant de l’épique française que de l’hispanique. / In this doctoral dissertation we analyze the relations and the possible influence that the Medieval French Epic could have exerted on the Hispanic one on the motifs and formulas levels. The study consists of two parts, preceded by an introduction and followed by a second volume of appendix. In the introductory section, some essential aspects are presented: the corpus, the status quaestionis of the French epic influence on the Cantar de mio Cid, the fundamental concepts employed and the structure of the study. In these two parts, we analyze from a comparative perspective two complementary aspects: the motifs and the formulism. In the first one, we study six motifs which deserve a particular attention: the general description of the battle, the lance attack, the blow with the sword, the narrative prayer, the appearance of the angel and the epic itinerary. These examinations are founded on two levels: the external one, in which the relation of the motif and the characters is explored; and the internal one, that deals with the motif composition and the formulaic way in which it is expressed. The second part opens with the relation between oralism and formulism. Thereafter, drawn from the examples of the Cantar de mio Cid, we analyze in detail the different kinds of formulaic expressions, taking into consideration the type of variation. In addition, we study the methods of generation of the formulas, and we also examine the diverse functions and effects of these units. The thesis continues with a quantitative exam of the formulas of the Cantar. This second part closes with a chapter devoted to the study of the Hispanic formulaic system in light of French epic. The annexes contain the verses and formulas of the six analyzed motifs, taken from the examples of the corpus; the different types of formulaic expressions of the Cantar de mio Cid; the register of all formulas and formulaic expressions of this Castilian poem; and a final index with the verses quoted both from the French and the Hispanic epic. / En esta tesis de doctorado, analizamos las relaciones y la posible influencia que la épica medieval francesa pudo ejercer en la hispánica en el nivel de los motivos y las fórmulas. El estudio se compone de dos grandes bloques, precedidos de una introducción y seguidos de un segundo volumen de anexos. En el apartado introductorio, presentamos algunos aspectos esenciales: definimos el corpus, retomamos algunos puntos sobre los que se ha propuesto o desechado la influencia de las chansons de geste en el Cantar de mio Cid, definimos los conceptos fundamentales empleados y justificamos la estructura del estudio. La tesis está formada por dos grandes partes complementarias, en las que analizamos desde una perspectiva comparatista los motivos y el formulismo, respectivamente. En la primera, estudiamos seis motivos que merecen una atención especial: la descripción general de la batalla, el ataque con la lanza, el golpe con la espada, la oración narrativa, la aparición del ángel y el itinerario épico. El análisis está fundado en dos niveles: uno externo, donde exploramos la relación del motivo y de los personajes que en él participan; y otro interno, donde nos interesamos por la composición del motivo y por la actualización formular de las fases que lo componen. La segunda gran parte de la obra se abre con el examen de la relación entre el oralismo y el formulismo. A continuación, a partir de los ejemplos del Cantar de mio Cid, analizamos en detalle los diferentes tipos de expresiones formulares, teniendo en cuenta las clases de variaciones que experimentan. De igual modo, estudiamos los procedimientos de creación de fórmulas, así como las diferentes funciones y efectos del empleo de estas unidades. La tesis prosigue con un examen cuantitativo de las fórmulas del Cantar. Esta segunda gran parte se cierra con un capítulo dedicado al sistema formular de la épica hispánica a la luz de las chansons de geste francesas. Los anexos incluyen los versos y las fórmulas de los seis motivos analizados en la primera parte, siempre a partir de los ejemplos del corpus; los diferentes tipos de locuciones formulares del Cantar; el registro de la totalidad de las fórmulas y frases formulares del poema castellano; y un índice de versos citados, procedentes tanto de la épica francesa como de la hispánica.