Until now the diasystematic marking of phraseological units has not received enough attention in works about lexicographical or theoretical Catalan Linguistics. In this article we study the diaphas...
{"title":"FRASEOLOGIA I VARIACIÓ: ALGUNES REFLEXIONS A PROPÒSIT DE L’OBRA DE TONI CUCARELLA","authors":"Pelegrí Sancho-Cremades","doi":"10.3828/CATR.33.4","DOIUrl":"https://doi.org/10.3828/CATR.33.4","url":null,"abstract":"Until now the diasystematic marking of phraseological units has not received enough attention in works about lexicographical or theoretical Catalan Linguistics. In this article we study the diaphas...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48770534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pa negre (Agusti Villaronga, 2010) and Fenix 11·23 (Joel Joan and Sergi Lara, 2012) reflect a recent trend in Peninsular film that is consistent with the historical memory movement, as well as the swelling presence of Catalan culture and identity in Peninsular society. While Pa negre is set in the 1940s at the beginning of the Franco dictatorship and portrays financial stagnation and social class tensions after the Civil War, Fenix 11·23 adapts an actual court case from the mid-2000s. The protagonists’ interactions with the Guardia Civil, their interactions with their parents, and their experiences at school, in addition to the use of a child protagonist and traits of the thriller genre, connect the two historically dissimilar narratives to portray the effects of the political violence perpetuated by the Franco dictatorship. By analyzing these aspects and the responses to these films by viewers, critics, and distributors in Catalonia, Spain, and abroad, this project determines that temporal distance allows these films to be consumed differently by spectators.
{"title":"PA NEGREANDFÈNIX 11·23: FILMING THE CATALAN EXPERIENCE FOR LOCAL AND TRANSNATIONAL AUDIENCES","authors":"Jillian Fortin","doi":"10.3828/CATR.33.7","DOIUrl":"https://doi.org/10.3828/CATR.33.7","url":null,"abstract":"Pa negre (Agusti Villaronga, 2010) and Fenix 11·23 (Joel Joan and Sergi Lara, 2012) reflect a recent trend in Peninsular film that is consistent with the historical memory movement, as well as the swelling presence of Catalan culture and identity in Peninsular society. While Pa negre is set in the 1940s at the beginning of the Franco dictatorship and portrays financial stagnation and social class tensions after the Civil War, Fenix 11·23 adapts an actual court case from the mid-2000s. The protagonists’ interactions with the Guardia Civil, their interactions with their parents, and their experiences at school, in addition to the use of a child protagonist and traits of the thriller genre, connect the two historically dissimilar narratives to portray the effects of the political violence perpetuated by the Franco dictatorship. By analyzing these aspects and the responses to these films by viewers, critics, and distributors in Catalonia, Spain, and abroad, this project determines that temporal distance allows these films to be consumed differently by spectators.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47068198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Santiago Rusinol’s 1901 play Llibertat! is known as a harsh critique of Catalan liberalism. Little scholarly attention, however, has been devoted to the racialized nature in which Rusinol frames his satire. This article will demonstrate that the play uses the rejection of the racialized Other (Jaumet Negre) not only to highlight the hypocrisy of liberal Catalan political rhetoric but also as a way to critique the notion of freedom as a societal ideal. As Josep Maria Mestres’s 2013 mise en scene demonstrates, freedom does exist in Catalonia, but only for some, thus establishing a connection between the racial injustice experienced by Jaumet Negre and the racialized tension that has emerged in contemporary Catalonia as a result of immigration.
Santiago Rusinol 1901年的戏剧《Llibertat！被称为对加泰罗尼亚自由主义的严厉批判。然而，学术界很少关注鲁西诺讽刺作品中的种族化本质。这篇文章将证明，该剧利用对种族化的他者（Jaumet Negre饰）的拒绝，不仅是为了强调加泰罗尼亚自由主义政治言论的虚伪，也是为了批判自由作为社会理想的概念。正如Josep Maria Mestres 2013年的场景所表明的那样，自由在加泰罗尼亚确实存在，但只存在于某些人，从而在Jaumet Negre所经历的种族不公正与当代加泰罗尼亚因移民而出现的种族化紧张局势之间建立了联系。
{"title":"THE RACIAL LIMITATIONS OF FREEDOM IN SANTIAGO RUSIÑOL’S LLIBERTAT!","authors":"Jeffrey K. Coleman","doi":"10.3828/CATR.33.1","DOIUrl":"https://doi.org/10.3828/CATR.33.1","url":null,"abstract":"Santiago Rusinol’s 1901 play Llibertat! is known as a harsh critique of Catalan liberalism. Little scholarly attention, however, has been devoted to the racialized nature in which Rusinol frames his satire. This article will demonstrate that the play uses the rejection of the racialized Other (Jaumet Negre) not only to highlight the hypocrisy of liberal Catalan political rhetoric but also as a way to critique the notion of freedom as a societal ideal. As Josep Maria Mestres’s 2013 mise en scene demonstrates, freedom does exist in Catalonia, but only for some, thus establishing a connection between the racial injustice experienced by Jaumet Negre and the racialized tension that has emerged in contemporary Catalonia as a result of immigration.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42697779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Within the thriving field of literary gerontology, several studies have demonstrated that new approaches and articulations of the self appear in the work of well-known writers in their old age. Besides revealing new facets about the authors’ work, these observations frequently entail discoveries about the meaning that ageing itself has for those writers. In the light of these studies, this article offers a close reading of the late poetry of Joan Margarit (b. 1938) at a time when the widely acclaimed Catalan poet has just entered his eighth decade. As will be demonstrated, the images of ageing that appear in Margarit’s late poems do not necessarily favor the narrative of decline with which old age was associated in earlier stages of the poet’s career. Rather, his later writings lead to a more integrative model of ageing, in which positive and negative views of old age coexist. All in all, a critical reading of Margarit’s most recent poems through the lens of humanistic gerontology throws light not only on the evolution of the poet’s oeuvre and the articulation of selfhood that is expressed in his latest collections, but also on the creative interaction between literature and old age, and the developmental view of ageing that such an interaction entails.
{"title":"JOAN MARGARIT’S LATE-LIFE POETRY AND THE MEANINGS OF AGEING","authors":"Núria Casado-Gual","doi":"10.3828/CATR.33.3","DOIUrl":"https://doi.org/10.3828/CATR.33.3","url":null,"abstract":"Within the thriving field of literary gerontology, several studies have demonstrated that new approaches and articulations of the self appear in the work of well-known writers in their old age. Besides revealing new facets about the authors’ work, these observations frequently entail discoveries about the meaning that ageing itself has for those writers. In the light of these studies, this article offers a close reading of the late poetry of Joan Margarit (b. 1938) at a time when the widely acclaimed Catalan poet has just entered his eighth decade. As will be demonstrated, the images of ageing that appear in Margarit’s late poems do not necessarily favor the narrative of decline with which old age was associated in earlier stages of the poet’s career. Rather, his later writings lead to a more integrative model of ageing, in which positive and negative views of old age coexist. All in all, a critical reading of Margarit’s most recent poems through the lens of humanistic gerontology throws light not only on the evolution of the poet’s oeuvre and the articulation of selfhood that is expressed in his latest collections, but also on the creative interaction between literature and old age, and the developmental view of ageing that such an interaction entails.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45690310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The influence of Neo-Platonism in Catalan literature is still a field to be studied. This article focuses on how this philosophy affects Francesc Fontanella’s poems to Gileta. The link between the giletes and Neo-Platonism is not a trivial connection because it affects the whole poem, how the relationship is described and the structure of the narrative, including the language and images chosen. In some poems, Francesc Fontanella reproduces the unaltered philosophical theory, but sometimes he forces the sense of the Neoplatonic theory into the verses in order to favour the poetic game. In conclusion, Fontanella proves to be a writer who knows the philosophical currents in vogue at that time and, moreover, he is able to apply them in a very particular way to his poetry, giving it a high level of conceptualism and complexity, just the opposite of the labels of ingenuity and simplicity that have accompanied the giletes throughout the twentieth century.
{"title":"“I AIXÍ, VIVINT EN TA IDEA”: LA POESIA A GILETA DE FRANCESC FONTANELLA A LA LLUM DEL NEOPLATONISME","authors":"Marta Castaño Trias","doi":"10.3828/CATR.33.5","DOIUrl":"https://doi.org/10.3828/CATR.33.5","url":null,"abstract":"The influence of Neo-Platonism in Catalan literature is still a field to be studied. This article focuses on how this philosophy affects Francesc Fontanella’s poems to Gileta. The link between the giletes and Neo-Platonism is not a trivial connection because it affects the whole poem, how the relationship is described and the structure of the narrative, including the language and images chosen. In some poems, Francesc Fontanella reproduces the unaltered philosophical theory, but sometimes he forces the sense of the Neoplatonic theory into the verses in order to favour the poetic game. In conclusion, Fontanella proves to be a writer who knows the philosophical currents in vogue at that time and, moreover, he is able to apply them in a very particular way to his poetry, giving it a high level of conceptualism and complexity, just the opposite of the labels of ingenuity and simplicity that have accompanied the giletes throughout the twentieth century.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46289791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study constitutes an approximation to the vicissitudes of translation into Catalan during the 1960s and the struggle of publishers and translators to find a model of genuine Catalan literary language closer to street talk. To do so, it takes into account a pioneering series at that time, “Isard” (Vergara Publishers), and more specifically the translation of a well-known text and author in Europe and the USA, The Quiet American, by Graham Greene. It was adapted by one of the translators at that time, Eulalia Presas, who was sensitive to seeking a literary Catalan, closer to contemporary language.
{"title":"L’AMERICÀ PACÍFIC, DE LA COL·LECCIÓ “ISARD”: ENTRE LA CENSURA I LA RECERCA D’UN NOU LLENGUATGE LITERARI","authors":"Eusebi Coromina i Pou, Laura Vilardell","doi":"10.3828/CATR.33.8","DOIUrl":"https://doi.org/10.3828/CATR.33.8","url":null,"abstract":"This study constitutes an approximation to the vicissitudes of translation into Catalan during the 1960s and the struggle of publishers and translators to find a model of genuine Catalan literary language closer to street talk. To do so, it takes into account a pioneering series at that time, “Isard” (Vergara Publishers), and more specifically the translation of a well-known text and author in Europe and the USA, The Quiet American, by Graham Greene. It was adapted by one of the translators at that time, Eulalia Presas, who was sensitive to seeking a literary Catalan, closer to contemporary language.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45950965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At a time when fact-based films and performances are at their peak, documentary theater has experienced a rise in popularity across Europe and the Americas in the last few years. This work assesses two plays written by Jaume Miro, one of the most prominent playwrights of the Balearic Islands, in light of the global debate about the function and aesthetics of documentary theater. The plays Diari d’una miliciana (2011) and Dels llargs camins (2014), which revolve around the Spanish Civil War, are examined in order to explore the imbrications of memory, justice, and documentary on stage. The analysis aims to enrich the study of the remembrance practices of the Spanish Civil War in the works of third-generation authors. I propose that Miro’s plays are “places of meta-theatrical justice” in which real characters and victims make a figurative transition to this kind of fiction and consciously obtain a form of justice that is not attained in the everyday world. Both plays become not only a censure of hegemonic discourses but also a restorative mirror of an unsatisfactory reality. They paradoxically contribute to burying, at least in part, a historical debt on stage.
{"title":"THE STAGE AS A PLACE OF META-THEATRICAL JUSTICE: THE DOCUMENTARY THEATER OF JAUME MIRÓ","authors":"Mariona Surribas","doi":"10.3828/CATR.33.6","DOIUrl":"https://doi.org/10.3828/CATR.33.6","url":null,"abstract":"At a time when fact-based films and performances are at their peak, documentary theater has experienced a rise in popularity across Europe and the Americas in the last few years. This work assesses two plays written by Jaume Miro, one of the most prominent playwrights of the Balearic Islands, in light of the global debate about the function and aesthetics of documentary theater. The plays Diari d’una miliciana (2011) and Dels llargs camins (2014), which revolve around the Spanish Civil War, are examined in order to explore the imbrications of memory, justice, and documentary on stage. The analysis aims to enrich the study of the remembrance practices of the Spanish Civil War in the works of third-generation authors. I propose that Miro’s plays are “places of meta-theatrical justice” in which real characters and victims make a figurative transition to this kind of fiction and consciously obtain a form of justice that is not attained in the everyday world. Both plays become not only a censure of hegemonic discourses but also a restorative mirror of an unsatisfactory reality. They paradoxically contribute to burying, at least in part, a historical debt on stage.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41586594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One crucial event has taken place between our roundtable on “Secessionism and the State: Violence in a Non-violent Conflict” in May of 2017 and now, December of 2017, when I am about to submit my t...
{"title":"SECESSIONISM AND THE STATE: VIOLENCE IN A NON-VIOLENT CONFLICT","authors":"E. Illas","doi":"10.3828/CATR.32.8","DOIUrl":"https://doi.org/10.3828/CATR.32.8","url":null,"abstract":"One crucial event has taken place between our roundtable on “Secessionism and the State: Violence in a Non-violent Conflict” in May of 2017 and now, December of 2017, when I am about to submit my t...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.32.8","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41818091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"WHOSE COERCION SHOULD WE PREFER? THINKING ABOUT STATES, LAW, AND VIOLENCE IN A SECESSION CRISIS","authors":"T. Waters","doi":"10.3828/CATR.32.11","DOIUrl":"https://doi.org/10.3828/CATR.32.11","url":null,"abstract":"","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48959887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The movie Blancanieves (2012), directed by Pablo Berger, became an interesting point of contention between Spanish and Catalan claims to the film’s nationality when the movie was nominated by L’Aca...
{"title":"WHOSE MOVIE IS IT ANYWAY? QUESTIONS OF OWNERSHIP AND NATIONAL IDENTITY SURROUNDING PABLO BERGER’S BLANCANIEVES (2012)","authors":"Molly E. Monroe","doi":"10.3828/CATR.32.4","DOIUrl":"https://doi.org/10.3828/CATR.32.4","url":null,"abstract":"The movie Blancanieves (2012), directed by Pablo Berger, became an interesting point of contention between Spanish and Catalan claims to the film’s nationality when the movie was nominated by L’Aca...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44365045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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