Description: PMLA is the journal of the Modern Language Association of America. Since 1884, PMLA has published members' essays judged to be of interest to scholars and teachers of language and literature. Four issues each year (January, March, May, and October) contain essays on language and literature; a Directory issue (September) lists all members and the names and addresses of department and program administrators; and the November issue presents the program for the association's annual convention.
Each issue of PMLA is mailed to over 29,000 MLA members and to 2,900 libraries worldwide. The 'moving wall' represents the time period between the last issueavailable in JSTOR and the most recently published issue of a journal.Moving walls are generally represented in years.
In rare instances, apublisher has elected to have a 'zero' moving wall, so their currentissues are available in JSTOR shortly after publication.Note: In calculating the moving wall, the current year is not counted.For example, if the current year is 2008 and a journal has a 5 yearmoving wall, articles from the year 2002 are available. Terms Related to the Moving Wall Fixed walls: Journals with no new volumes being added to the archive. Absorbed: Journals that are combined with another title. Complete: Journals that are no longer published or that have beencombined with another title. This essay addresses the question of whether the Spanish epic was composed orally or was a literary creation using the oral techniques of bards but composed in writing. Oral dictation played an important role in even the most literate works of the time.
Both in Spain, and through translations, in other countries. Epico, el primer premio.?5. Vuelven a p alpitar aiaterlosamente en los versos. Each Course Planning and Pacing Guide highlights how the components of the AP Spanish Literature and Culture Course and Exam Description — the learning objectives, course themes, and achievement level descriptions — are addressed in the course.
Theme was an important compositional aid employed by bards during performance, and its presence is evident in passages of the 'Cantar de Mio Cid' and the 'Mocedades de Rodrigo'. A new tool of analysis is introduced, the intonation unit, which leads to an understanding of Spanish epic narrative as orally composed and governed by the cognitive constraints of speech. Oral composition eventually included literate individuals whose contributions are linked to the social and political circumstances under which these poems were preserved on parchment.