This essay aims to review literary journalism both in Catalan and American Modernism, specifically through the works of Ruben Dario and Santiago Rusinol, in order to achieve a better understanding of the contemporary idea of literary Cosmopolitanism. The framework to support this analysis goes from Desde el Molino, written by Rusinol in Paris between 1890 and 1894, to the chapter devoted to Barcelona by Dario in Espana contemporanea, written between 1899 and 1901. Reading these works as journalistic reflections on Modernity and Cosmopolitanism also calls for considering the reactions against them, both from a political and aesthetic perspective, by some prominent Spanish writers. In this respect, the fin-de-siecle Catalan and American literature may be a key aspect concerning a redefinition of the cultural history of literary Cosmopolitanism.
本文旨在回顾加泰罗尼亚和美国现代主义的文学新闻，特别是通过鲁本·达里奥和圣地亚哥·鲁西诺的作品，以便更好地理解当代文学世界主义的思想。支持这一分析的框架从Rusinol于1890年至1894年在巴黎撰写的Desde el Molino，到达里奥于1899年至1901年撰写的《当代西班牙》(Espana contemporanea)中专门讨论巴塞罗那的章节。阅读这些作品作为对现代性和世界主义的新闻反思，也需要考虑一些著名西班牙作家从政治和美学角度对它们的反应。在这方面，世纪末的加泰罗尼亚和美国文学可能是一个关键方面，涉及到文学世界主义的文化历史的重新定义。
{"title":"Rubén Darío i Santiago Rusiñol: política i periodisme literari en la Barcelona modernista","authors":"A. M. Monterde","doi":"10.3828/CATR.30.14","DOIUrl":"https://doi.org/10.3828/CATR.30.14","url":null,"abstract":"This essay aims to review literary journalism both in Catalan and American Modernism, specifically through the works of Ruben Dario and Santiago Rusinol, in order to achieve a better understanding of the contemporary idea of literary Cosmopolitanism. The framework to support this analysis goes from Desde el Molino, written by Rusinol in Paris between 1890 and 1894, to the chapter devoted to Barcelona by Dario in Espana contemporanea, written between 1899 and 1901. Reading these works as journalistic reflections on Modernity and Cosmopolitanism also calls for considering the reactions against them, both from a political and aesthetic perspective, by some prominent Spanish writers. In this respect, the fin-de-siecle Catalan and American literature may be a key aspect concerning a redefinition of the cultural history of literary Cosmopolitanism.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"34 1","pages":"275-304"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70397520","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 is a critical sampling of twenty-four verse excerpts contained in the Hispanic Society of America’s manuscript HC380/632, Poesies varies, as well as in Biblioteca Nacional de Espana (BNE) ms. 1595. Both manuscript collections, combined with a third , BNE ms. 1595bis, offer an exemplary and rather complete collection of Catalan- and Spanish-language poetry indicative of the late rococo in Barcelona and environs. Of special note is a staunch and repeated defense of the Catalan language and typical customs, a critical commentary on the Barcelona industrialist Joan Canaleta, satirical barbs aimed at the Catholic Church’s covetousness, an acute sense of modernity, both in discourse and subject matter, and precise geographical points on the map of late eighteenth-century Barcelona, all of which lead us directly back to the Raval district and the current Institut d’Estudis Catalans. These three aforementioned, long ignored-poetry collections afford the reader valuable insights into the society that populate...
{"title":"Tot Barcelona: \"fin de siècle\" XVIII, segons una família de manuscrits literaris de Nova York i Madrid","authors":"Kenneth Brown, Juan Manuel Martínez Alonso","doi":"10.3828/CATR.30.4","DOIUrl":"https://doi.org/10.3828/CATR.30.4","url":null,"abstract":"This is a critical sampling of twenty-four verse excerpts contained in the Hispanic Society of America’s manuscript HC380/632, Poesies varies, as well as in Biblioteca Nacional de Espana (BNE) ms. 1595. Both manuscript collections, combined with a third , BNE ms. 1595bis, offer an exemplary and rather complete collection of Catalan- and Spanish-language poetry indicative of the late rococo in Barcelona and environs. Of special note is a staunch and repeated defense of the Catalan language and typical customs, a critical commentary on the Barcelona industrialist Joan Canaleta, satirical barbs aimed at the Catholic Church’s covetousness, an acute sense of modernity, both in discourse and subject matter, and precise geographical points on the map of late eighteenth-century Barcelona, all of which lead us directly back to the Raval district and the current Institut d’Estudis Catalans. These three aforementioned, long ignored-poetry collections afford the reader valuable insights into the society that populate...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"30 1","pages":"51-85"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70397558","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":"Urban landscape, global capital, and human scale in Sergi Belbel’s \"Després de la pluja\"","authors":"Loredana Comparone","doi":"10.3828/CATR.30.17","DOIUrl":"https://doi.org/10.3828/CATR.30.17","url":null,"abstract":"","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"66 1","pages":"345-367"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70397682","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 paper presents corpus data on restrictive word combinations in contemporary Catalan language and, specifically, on verb-adverb combinations of the type estimar bojament (‘to love madly’) and fracassar estrepitosament (‘to fail badly’). It is proposed to study these sequences taking into account two theoretical points of view: firstly, on the basis of the theoretical concept of collocation, according to the definition adopted by research (following authors such as Mel’cuk and Hausmann); secondly, on the basis of the interpretation of these same lexical combinations as a result of the semantic restrictions imposed by a predicate to its arguments (Bosque). The analysis of the data provides a starting point for reflecting on certain limitations of the concept of collocation —particularly, with respect to stability and combinatorial restriction as defining features—, while providing considerations for assessing the complementarity of both research strategies for obtaining linguistically significant inform...
{"title":"D’ESTIMAR BOJAMENT A FRACASSAR ESTREPITOSAMENT: UNA APROXIMACIÓ A LES COMBINACIONS LÈXIQUES RESTRICTIVES BASADA EN CORPUS","authors":"M. À. M. Salom","doi":"10.3828/CATR.30.12","DOIUrl":"https://doi.org/10.3828/CATR.30.12","url":null,"abstract":"This paper presents corpus data on restrictive word combinations in contemporary Catalan language and, specifically, on verb-adverb combinations of the type estimar bojament (‘to love madly’) and fracassar estrepitosament (‘to fail badly’). It is proposed to study these sequences taking into account two theoretical points of view: firstly, on the basis of the theoretical concept of collocation, according to the definition adopted by research (following authors such as Mel’cuk and Hausmann); secondly, on the basis of the interpretation of these same lexical combinations as a result of the semantic restrictions imposed by a predicate to its arguments (Bosque). The analysis of the data provides a starting point for reflecting on certain limitations of the concept of collocation —particularly, with respect to stability and combinatorial restriction as defining features—, while providing considerations for assessing the complementarity of both research strategies for obtaining linguistically significant inform...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"30 1","pages":"231-255"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396950","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 intertextual analysis juxtaposes and examines in detail the texts and contexts of Verdaguer’s “To Barcelona” (“A Barcelona,” 1883) and Maragall’s “New Ode to Barcelona” (“Oda nova a Barcelona,” 1909), with particular attention to, in the latter case, Maragall’s three seminal Setmana Tragica articles in connection with his poem, as well as Maragall’s debt to, and break with, Verdaguer; and in the former case, Verdaguer’s debt to, and break with, Rubio i Ors’ earlier poetic vision of the city (“Barcelona,” 1840). In Verdaguer’s foundational vision of Barcelona, and, by extension, Catalonia, Christian faith underpins an unmistakably patriotic faith in country, where Christendom and pagan antiquity blend in tandem to ensure the dynamic city’s, and country’s, future. In Maragall’s re-foundational palimpsest, the poet calls for the renewal of a faith that has degenerated into static or class-inscribed ritual, and for spiritual and social regeneration spotlighted by the shift in symbolic focus from Barcelon...
这种互文分析将韦尔达格的《致巴塞罗那》(A Barcelona, 1883年)和玛格丽特的《新巴塞罗那颂》(Oda nova A Barcelona, 1909年)的文本和语境并置并详细考察，并特别注意，在后者的情况下，玛格丽特的三篇开创性的Setmana Tragica文章与他的诗有关，以及玛格丽特对韦尔达格的债务，并与韦尔达格分手;在前一种情况下，维尔达格对卢比奥·奥斯(Rubio i Ors)早期对这座城市的诗意描绘(1840年的《巴塞罗那》(Barcelona))有所借鉴，但又有所突破。在Verdaguer对巴塞罗那乃至加泰罗尼亚的基本愿景中，基督教信仰支撑着这个国家一种明确无误的爱国信仰，基督教世界和异教古代融合在一起，确保了这个充满活力的城市和国家的未来。在马格尔重新建立的重写本中，诗人呼吁复兴一种已经退化为静态或阶级的仪式的信仰，以及精神和社会的再生，这些都是由巴塞罗那的象征性焦点转移引起的……
{"title":"Contrast and confluence in Verdaguer’s and Maragall’s poetic peopling of Barcelona","authors":"Ronald Puppo","doi":"10.3828/CATR.30.5","DOIUrl":"https://doi.org/10.3828/CATR.30.5","url":null,"abstract":"This intertextual analysis juxtaposes and examines in detail the texts and contexts of Verdaguer’s “To Barcelona” (“A Barcelona,” 1883) and Maragall’s “New Ode to Barcelona” (“Oda nova a Barcelona,” 1909), with particular attention to, in the latter case, Maragall’s three seminal Setmana Tragica articles in connection with his poem, as well as Maragall’s debt to, and break with, Verdaguer; and in the former case, Verdaguer’s debt to, and break with, Rubio i Ors’ earlier poetic vision of the city (“Barcelona,” 1840). In Verdaguer’s foundational vision of Barcelona, and, by extension, Catalonia, Christian faith underpins an unmistakably patriotic faith in country, where Christendom and pagan antiquity blend in tandem to ensure the dynamic city’s, and country’s, future. In Maragall’s re-foundational palimpsest, the poet calls for the renewal of a faith that has degenerated into static or class-inscribed ritual, and for spiritual and social regeneration spotlighted by the shift in symbolic focus from Barcelon...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"30 1","pages":"87-109"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70397705","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 Brossa Collection documents the life and work of one of the twentieth century’s most influential avant-garde Catalan poets. The collection includes 2,991 letters by and to Joan Brossa (1919–1998) from the mid-1950s to the late 1990s. Brossa was a prolific letter-writing poet and established dynamic relationships with artists, poets, performers, art critics, and translators from all around the world. Among them were Joao Cabral de Melo, Jacques Dupin, Alain Arias-Misson, Adriano Spatola, Felipe Boso, Roland Penrose, Julien Blaine, Sarenco, Klaus Peter Dencker, Julie Lawson, and John London. The correspondence reveals the extent of Brossa’s network of contacts who supported his work and his life in numerous ways. With this essay we open up for the first time the treasure trove of never before published letters to Brossa. The letters are full of intellectual banter and have awe-inspiring visual materials.
{"title":"Corresponsals estrangers de Joan Brossa: col·laboracions i diàlegs sobre art i poesia experimentals des de 1950 a 1998","authors":"Glória Bordons, Carlota Caulfield","doi":"10.3828/CATR.30.9","DOIUrl":"https://doi.org/10.3828/CATR.30.9","url":null,"abstract":"The Brossa Collection documents the life and work of one of the twentieth century’s most influential avant-garde Catalan poets. The collection includes 2,991 letters by and to Joan Brossa (1919–1998) from the mid-1950s to the late 1990s. Brossa was a prolific letter-writing poet and established dynamic relationships with artists, poets, performers, art critics, and translators from all around the world. Among them were Joao Cabral de Melo, Jacques Dupin, Alain Arias-Misson, Adriano Spatola, Felipe Boso, Roland Penrose, Julien Blaine, Sarenco, Klaus Peter Dencker, Julie Lawson, and John London. The correspondence reveals the extent of Brossa’s network of contacts who supported his work and his life in numerous ways. With this essay we open up for the first time the treasure trove of never before published letters to Brossa. The letters are full of intellectual banter and have awe-inspiring visual materials.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"30 1","pages":"167-188"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70398362","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 paper analyzes thoroughly the language (rude words or rude constructions, curse words, jargon, slang, dialectal forms, loanwords from Spanish or English, etc.) used by the following musical groups: Sopa de Cabra, Els Pets, Lax’n’Busto, Sangtrait, Sau, among others. Finally, there is a reflection on the sociolinguistic impact of this issue.
本文深入分析了以下音乐团体:Sopa de Cabra, Els Pets, Lax 'n 'Busto, Sangtrait, Sau等使用的语言(粗鲁的词或粗鲁的结构，诅咒词，行话，俚语，方言形式，西班牙语或英语的外来词等)。最后，对这一问题的社会语言学影响进行了反思。
{"title":"EL MODEL DE LLENGUA DEL POP-ROCK EN CATALÀ DURANT LA SEVA ECLOSIÓ (1989–1993)","authors":"Xavier Rull","doi":"10.3828/CATR.30.13","DOIUrl":"https://doi.org/10.3828/CATR.30.13","url":null,"abstract":"This paper analyzes thoroughly the language (rude words or rude constructions, curse words, jargon, slang, dialectal forms, loanwords from Spanish or English, etc.) used by the following musical groups: Sopa de Cabra, Els Pets, Lax’n’Busto, Sangtrait, Sau, among others. Finally, there is a reflection on the sociolinguistic impact of this issue.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"30 1","pages":"257-274"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70397043","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 article brings together the first chapter of La placa del Diamant by Merce Rodoreda; the poems which deal with the mother figure in Maria-Merce Marcal’s posthumous collection Rao del cos; and a key part of Imma Monso’s novel Un home de paraula, in which the narrator’s beloved husband suddenly dies in front of her eyes. The three texts are analyzed through meaningful intertextual connections regarding the representation of the body and the problematic space for the maternal in Western culture. Moreover, they are identified as narratives of mourning in a way that problematizes the Freudian distinction between the supposedly healthy process of mourning and the allegedly pathological process of melancholia.
{"title":"El cos entre néixer, desnéixer i morir a Mercè Rodoreda, Maria-Mercè Marçal i Imma Monsó","authors":"M. Lunati","doi":"10.3828/CATR.30.7","DOIUrl":"https://doi.org/10.3828/CATR.30.7","url":null,"abstract":"This article brings together the first chapter of La placa del Diamant by Merce Rodoreda; the poems which deal with the mother figure in Maria-Merce Marcal’s posthumous collection Rao del cos; and a key part of Imma Monso’s novel Un home de paraula, in which the narrator’s beloved husband suddenly dies in front of her eyes. The three texts are analyzed through meaningful intertextual connections regarding the representation of the body and the problematic space for the maternal in Western culture. Moreover, they are identified as narratives of mourning in a way that problematizes the Freudian distinction between the supposedly healthy process of mourning and the allegedly pathological process of melancholia.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 16 1","pages":"131-146"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70397450","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}
In 2013 Catalan culture was present in the “Eventi Collaterali” of the Venice Biennial for the third time. The project chosen was 25%. Catalonia at Venice, curated by Jordi Ballo from an idea by Francesc Torres, with the participation of Torres himself and the filmmaker Mercedes Alvarez. It also involved eight unemployed men and women, selected from a wide social spectrum, who were asked to choose two objects: one from their own home and another from the permanent collection of the MACBA. The final exhibition included these objects as well as the photographs taken by Torres, who had shared the daily lives of the eight participants. Similarly, Alvarez filmed their visit to the MACBA and documented their opinions about the function of art and their process of selection. In this paper, we analyze this project as an example of the difficulty of any attempt to open a new space of enunciation with full capacity of decision in contemporary arts and politics. We use the discourses and images of the exhibition and...
{"title":"PARLAR SOBRE, PARLAR PER, PARLAR. LES FORMES DE L’ENUNCIACIÓ SUBALTERNA A 25%. CATALONIA AT VENICE","authors":"M. Picornell","doi":"10.3828/CATR.30.11","DOIUrl":"https://doi.org/10.3828/CATR.30.11","url":null,"abstract":"In 2013 Catalan culture was present in the “Eventi Collaterali” of the Venice Biennial for the third time. The project chosen was 25%. Catalonia at Venice, curated by Jordi Ballo from an idea by Francesc Torres, with the participation of Torres himself and the filmmaker Mercedes Alvarez. It also involved eight unemployed men and women, selected from a wide social spectrum, who were asked to choose two objects: one from their own home and another from the permanent collection of the MACBA. The final exhibition included these objects as well as the photographs taken by Torres, who had shared the daily lives of the eight participants. Similarly, Alvarez filmed their visit to the MACBA and documented their opinions about the function of art and their process of selection. In this paper, we analyze this project as an example of the difficulty of any attempt to open a new space of enunciation with full capacity of decision in contemporary arts and politics. We use the discourses and images of the exhibition and...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"30 1","pages":"211-229"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70397404","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}
El carrer de les Camelies, which largely takes place in postwar Barcelona, is concerned with the relationship of memory to community. The postwar Catalan community needs to preserve its cultural memory in order to continue to survive, yet memory can make it impossible to live in the present. Rodoreda proposes a model of memory that does not gesture towards a paralyzing past, but rather towards a collective memory created in the present through the bonds between living members of the community. To show how Rodoreda’s hermetic symbolic language leads, perhaps counterintuitively, to a concern for the cohesion of the Catalan community, I employ the work of Maurice Halbwachs together with Gilles Deleuze and Felix Guattari’s concept of the “rhizome.” Rodoreda creates a rhizomatic symbolic language that establishes on the formal level her response to the difficulty of Catalan cultural cohesion in a time when official memory was dominated by Franco’s regime and many Catalans had fled to exile. Rodoreda’s model of...
El carrer de les Camelies主要发生在战后的巴塞罗那，它关注的是记忆与社区的关系。战后的加泰罗尼亚社区需要保存其文化记忆才能继续生存，但记忆可能使其无法生活在现在。Rodoreda提出了一种记忆模型，它不是对麻痹的过去的姿态，而是通过社区成员之间的联系在现在创造的集体记忆。为了展示罗多雷达的封闭符号语言是如何引起对加泰罗尼亚社区凝聚力的关注的，也许与直觉相反，我采用了莫里斯·哈尔布瓦赫的作品，以及吉尔斯·德勒兹和菲利克斯·瓜塔里的“根茎”概念。Rodoreda创造了一种根茎状的象征性语言，在正式层面上建立了她对加泰罗尼亚文化凝聚力困难的回应，当时官方记忆被佛朗哥政权统治，许多加泰罗尼亚人流亡国外。Rodoreda的模型…
{"title":"REMEMBERING FROM THE MARGINS: THE RHIZOME AND COLLECTIVE MEMORY IN EL CARRER DE LES CAMÈLIES","authors":"S. Scala","doi":"10.3828/CATR.30.16","DOIUrl":"https://doi.org/10.3828/CATR.30.16","url":null,"abstract":"El carrer de les Camelies, which largely takes place in postwar Barcelona, is concerned with the relationship of memory to community. The postwar Catalan community needs to preserve its cultural memory in order to continue to survive, yet memory can make it impossible to live in the present. Rodoreda proposes a model of memory that does not gesture towards a paralyzing past, but rather towards a collective memory created in the present through the bonds between living members of the community. To show how Rodoreda’s hermetic symbolic language leads, perhaps counterintuitively, to a concern for the cohesion of the Catalan community, I employ the work of Maurice Halbwachs together with Gilles Deleuze and Felix Guattari’s concept of the “rhizome.” Rodoreda creates a rhizomatic symbolic language that establishes on the formal level her response to the difficulty of Catalan cultural cohesion in a time when official memory was dominated by Franco’s regime and many Catalans had fled to exile. Rodoreda’s model of...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"30 1","pages":"329-344"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.30.16","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70397654","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：