The role of Eugeni d'Ors in relation to libraries in Catalonia has been overshadowed by the weight of the other intellectual contributions of this writer and politician. Ors's role, however, was fundamental in the creation of the Biblioteca de Catalunya; later, thanks to Prat de la Riba, who as president of the Mancomunitat commissioned him to create a library system, Ors designed and planned a library network. He also created the Escola de Bibliotecaries, the first center in Spain of higher education for library professionals. His rationale followed the guidelines of the "free libraries" in Europe and the United States, which Ors knew well and held up in contrast to the antiquated local model. We will discuss the text of the project for the establishment of public libraries to analyze Ors's vision of public libraries as an instrument of cultural regeneration.
尤金尼·达尔在加泰罗尼亚图书馆中的作用被这位作家和政治家的其他智力贡献所掩盖。然而，奥尔斯的作用是创建加泰罗尼亚图书馆的基础;后来，由于Prat de la Riba作为mancommunat的主席委托他创建一个图书馆系统，Ors设计和规划了一个图书馆网络。他还创建了Escola de Bibliotecaries，这是西班牙第一个面向图书馆专业人士的高等教育中心。他的理论依据是欧洲和美国“免费图书馆”的指导方针，这是他所熟知的，与过时的本地模式形成鲜明对比。我们将讨论公共图书馆建设项目的文本，以分析Ors将公共图书馆作为文化再生工具的愿景。
{"title":"Eugeni d'Ors i la Construcció del Projecte Bibliotecari de la Mancomunitat de Catalunya","authors":"Teresa Mañà","doi":"10.3828/CATR.28.1.39","DOIUrl":"https://doi.org/10.3828/CATR.28.1.39","url":null,"abstract":"The role of Eugeni d'Ors in relation to libraries in Catalonia has been overshadowed by the weight of the other intellectual contributions of this writer and politician. Ors's role, however, was fundamental in the creation of the Biblioteca de Catalunya; later, thanks to Prat de la Riba, who as president of the Mancomunitat commissioned him to create a library system, Ors designed and planned a library network. He also created the Escola de Bibliotecaries, the first center in Spain of higher education for library professionals. His rationale followed the guidelines of the \"free libraries\" in Europe and the United States, which Ors knew well and held up in contrast to the antiquated local model. We will discuss the text of the project for the establishment of public libraries to analyze Ors's vision of public libraries as an instrument of cultural regeneration.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"39-55"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.39","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396677","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 analyses Joan Brossa's experimentation with hypnagogic images and, at a later stage, letters (object and visual poems). In the process it attempts to put forward some general thoughts on man's relationship with language, a problem that directly involves translation and the concept of equivalence in translation. Using the work of Freud as a guide, I explore the origins of the debate on the phenomenon of hypnagogic images. I then look at Lacan's concept of the "letter" (lettre) in seeking to gain an understanding of some of Brossa's output and of the existence of a wall in translation.
{"title":"Reflexions sobre l'experimentació poètica de Joan Brossa i la traducció dels processos inconscients","authors":"Mercè Altimir Losada","doi":"10.3828/CATR.28.1.83","DOIUrl":"https://doi.org/10.3828/CATR.28.1.83","url":null,"abstract":"This paper analyses Joan Brossa's experimentation with hypnagogic images and, at a later stage, letters (object and visual poems). In the process it attempts to put forward some general thoughts on man's relationship with language, a problem that directly involves translation and the concept of equivalence in translation. Using the work of Freud as a guide, I explore the origins of the debate on the phenomenon of hypnagogic images. I then look at Lacan's concept of the \"letter\" (lettre) in seeking to gain an understanding of some of Brossa's output and of the existence of a wall in translation.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"83-106"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.83","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396879","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 following is a four-part descriptive study of sixty-one hitherto unknown-to-exist Catalan-language cultural manuscripts dating from 1500 to the 1930s extant in the Library of the Hispanic Society of America in New York. This collection contains a considerable number of eighteenth-century poems in Catalan, works dealing with social history, the history of the trades, municipal documentation as well as personal correspondence, a unique 1705 medical treatise, in addition to dozens of Sardana musical scores. After a brief Introduction, the authors focus on the salient cultural virtues of manuscript HC 380/632, a fairly unitary poetic anthology of works penned in Barcelona during the latter two decades of the eighteenth century. It provides keen insights into the festive activities of the city's religious orders, as well into the daily occurrences of its secular world. All this in Catalan, a language that was supposed to have ceased to exist as the lingua franca of everyday communication during the regime ...
{"title":"Textos Manuscrits Culturals de L'època Moderna en Llengua Catalana Existents en la Col·lecció de la Hispanic Society of America (1)","authors":"Kenneth Brown, Juan Manuel Martínez Alonso","doi":"10.3828/CATR.28.1.135","DOIUrl":"https://doi.org/10.3828/CATR.28.1.135","url":null,"abstract":"The following is a four-part descriptive study of sixty-one hitherto unknown-to-exist Catalan-language cultural manuscripts dating from 1500 to the 1930s extant in the Library of the Hispanic Society of America in New York. This collection contains a considerable number of eighteenth-century poems in Catalan, works dealing with social history, the history of the trades, municipal documentation as well as personal correspondence, a unique 1705 medical treatise, in addition to dozens of Sardana musical scores. After a brief Introduction, the authors focus on the salient cultural virtues of manuscript HC 380/632, a fairly unitary poetic anthology of works penned in Barcelona during the latter two decades of the eighteenth century. It provides keen insights into the festive activities of the city's religious orders, as well into the daily occurrences of its secular world. All this in Catalan, a language that was supposed to have ceased to exist as the lingua franca of everyday communication during the regime ...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"135-160"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.135","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396307","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 purpose of this article is to demonstrate that the Catalan literature of the 1860s, specifically in the theater, which was then beginning to be cultivated, reflected the profound social changes that were occurring in Catalan society, and more importantly in Barcelona, as a result of industrialization and the introduction of modern state structures. This paper examines the first dramatic works of Eduard Vidal i Valenciano, a writer belonging to the popular group of Frederic Soler and Josep Anselm Clave, but also connected with the organizers of the Floral Games of Barcelona. This examination provides insight into the social impact of the new Catalan literature, and more specifically of the new theater and Clave's work; the emergence of a new social class —the working class— with its specific problems; ideologies such as Republicanism, with its iconography and its own symbolic universe; and, more modestly, it records the concern for hygiene and for alternative medicine such as homeopathy. All of these p...
{"title":"The Earliest Theater of Eduard Vidal i Valenciano: Literature of a New Society","authors":"Magí Sunyer Molné","doi":"10.3828/CATR.28.1.171","DOIUrl":"https://doi.org/10.3828/CATR.28.1.171","url":null,"abstract":"The purpose of this article is to demonstrate that the Catalan literature of the 1860s, specifically in the theater, which was then beginning to be cultivated, reflected the profound social changes that were occurring in Catalan society, and more importantly in Barcelona, as a result of industrialization and the introduction of modern state structures. This paper examines the first dramatic works of Eduard Vidal i Valenciano, a writer belonging to the popular group of Frederic Soler and Josep Anselm Clave, but also connected with the organizers of the Floral Games of Barcelona. This examination provides insight into the social impact of the new Catalan literature, and more specifically of the new theater and Clave's work; the emergence of a new social class —the working class— with its specific problems; ideologies such as Republicanism, with its iconography and its own symbolic universe; and, more modestly, it records the concern for hygiene and for alternative medicine such as homeopathy. All of these p...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"171-188"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.171","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396354","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 central concern of this essay is not to simply delineate the myriad resemblances between Sala and Catala's fiction, though there are many. Instead, I first postulate that Sala's Rodalies, by re-presenting Catala's Solitud from a twenty-first century perspective, produces a double time that demonstrates the breach between the archetypal and historical reality of a key symbol of the Catalan literary and political imaginary: the mountain. Secondly, I put forth that Rodalies artfully portrays how the disorder and fragmentation of a runaway, globalized world implodes what the sociologist Joan Nogue calls a differentiated geography of les emocions. The putative homogenization of a flattened out globalized world is shown in Rodalies to actually be a chaotic mosaic of sights and sounds without the clear demarcations of place featured in Nogue's geographical concept. Borrowing from the Romanticist merging of the aesthetic and the newer terrain of eco-criticism, I will put forth that the hybridization of sensor...
{"title":"Sense, Landscape, Stimmung: Eco-Epistemology in the Work of Toni Sala and Víctor Català","authors":"William R. Viestenz","doi":"10.3828/CATR.28.1.19","DOIUrl":"https://doi.org/10.3828/CATR.28.1.19","url":null,"abstract":"The central concern of this essay is not to simply delineate the myriad resemblances between Sala and Catala's fiction, though there are many. Instead, I first postulate that Sala's Rodalies, by re-presenting Catala's Solitud from a twenty-first century perspective, produces a double time that demonstrates the breach between the archetypal and historical reality of a key symbol of the Catalan literary and political imaginary: the mountain. Secondly, I put forth that Rodalies artfully portrays how the disorder and fragmentation of a runaway, globalized world implodes what the sociologist Joan Nogue calls a differentiated geography of les emocions. The putative homogenization of a flattened out globalized world is shown in Rodalies to actually be a chaotic mosaic of sights and sounds without the clear demarcations of place featured in Nogue's geographical concept. Borrowing from the Romanticist merging of the aesthetic and the newer terrain of eco-criticism, I will put forth that the hybridization of sensor...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"19-38"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.19","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396430","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 elegy IX of Carles Riba's Elegies de Bierville, written in occupied France in 1941, contains an apparent contradiction about the role of war in the construction of democracy. On the one hand, Riba writes that, in order to found democracy, the Greeks did not have to win the war against Persia; all they needed was to recognize and accommodate the longing for freedom of a particular group of Athenians. On the other hand, however, the poem suggests in the end that war is also part of democracy, as those who are not free, the universal "vanquished," can only regain their souls by acting as soldiers who fight for freedom. My paper undertakes a historical reading of Riba's political elegy and relates its contradiction to the emergence of separatism in contemporary Catalonia. My question is whether we must understand separatism as a longing for democracy or as a war to obtain state power. To formulate this question, I juxtapose Michael Hardt and Antonio Negri's notion of "constituent power," which theorizes t...
卡里斯·里巴(Carles Riba)的《比耶维尔挽歌》(Elegies de Bierville)的第九首挽歌写于1941年被占领的法国，其中包含了关于战争在民主建设中的作用的明显矛盾。一方面，里巴写道，为了建立民主，希腊人不必赢得对波斯的战争;他们所需要的只是承认并满足雅典某一特定群体对自由的渴望。然而，另一方面，这首诗最终表明，战争也是民主的一部分，因为那些不自由的人，普遍的“被征服者”，只有扮演为自由而战的士兵才能重获灵魂。我的论文对里巴的政治挽歌进行了历史解读，并将其矛盾与当代加泰罗尼亚分离主义的出现联系起来。我的问题是，我们是否必须把分离主义理解为对民主的渴望，还是一场夺取国家权力的战争。为了阐明这个问题，我将迈克尔·哈特和安东尼奥·内格里的“组成权力”概念并列在一起，该概念将……
{"title":"From Elegies de Bierville to Separatism: Constituent Power or Global War?","authors":"E. Illas","doi":"10.3828/CATR.28.1.3","DOIUrl":"https://doi.org/10.3828/CATR.28.1.3","url":null,"abstract":"The elegy IX of Carles Riba's Elegies de Bierville, written in occupied France in 1941, contains an apparent contradiction about the role of war in the construction of democracy. On the one hand, Riba writes that, in order to found democracy, the Greeks did not have to win the war against Persia; all they needed was to recognize and accommodate the longing for freedom of a particular group of Athenians. On the other hand, however, the poem suggests in the end that war is also part of democracy, as those who are not free, the universal \"vanquished,\" can only regain their souls by acting as soldiers who fight for freedom. My paper undertakes a historical reading of Riba's political elegy and relates its contradiction to the emergence of separatism in contemporary Catalonia. My question is whether we must understand separatism as a longing for democracy or as a war to obtain state power. To formulate this question, I juxtapose Michael Hardt and Antonio Negri's notion of \"constituent power,\" which theorizes t...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"3-17"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.3","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396614","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}
A few years ago the works of Aurora Bertrana (1892-1974) were rescued from oblivion. The direct expression of the author was revalued, as well as her point of view, which was innovative and unashamed in the twenties and thirties and remains undeniable today. Ocean Paradises (1930) was the travel book that gave her fame as a writer and traveler. She said it was a book written from the innocence of a novice writer, and the critics have spoken of a text soaked in a Rousseaunian conception of Polynesian reality. This paper studies Bertrana's work from the innovative perspective of the anthropology of tourism, and discusses whether it is appropriate to consider Aurora Bertrana's travel prose as the point of view of an "alternative tourist," in the terminology used by Mowforth and Munt. In Bertrana's prose, otherness and authenticity are united in a desire to ensure the preservation of culture and ethnicity of the other.
{"title":"Els Paradisos oceànics d'Aurora Bertrana: de l'espai mític al turisme depredador de la Polinèsia","authors":"I. Piquer","doi":"10.3828/CATR.28.1.189","DOIUrl":"https://doi.org/10.3828/CATR.28.1.189","url":null,"abstract":"A few years ago the works of Aurora Bertrana (1892-1974) were rescued from oblivion. The direct expression of the author was revalued, as well as her point of view, which was innovative and unashamed in the twenties and thirties and remains undeniable today. Ocean Paradises (1930) was the travel book that gave her fame as a writer and traveler. She said it was a book written from the innocence of a novice writer, and the critics have spoken of a text soaked in a Rousseaunian conception of Polynesian reality. This paper studies Bertrana's work from the innovative perspective of the anthropology of tourism, and discusses whether it is appropriate to consider Aurora Bertrana's travel prose as the point of view of an \"alternative tourist,\" in the terminology used by Mowforth and Munt. In Bertrana's prose, otherness and authenticity are united in a desire to ensure the preservation of culture and ethnicity of the other.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"189-205"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.189","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396410","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}
Joan Oliver's versions of Chekhov's plays stem from Oliver's interest in the Russian playwright. However, what promoted their continuity and performance was the Agrupacio Dramatica de Barcelona (ADB) and independent theater groups such as Teatre Experimental Catala (TEC) or Teatre de la Gavina. Thanks to them, Chekhov's theater would undergo a gradual integration into Catalan theater and literature that would become wide and definitive from the 1980s. For Oliver, his versions of Chekov were a way of contributing to the renovation and consolidation of Catalonia's theater at the extraordinarily difficult moment that Catalan culture experienced during the Spanish post-war period. This article looks at the circumstances surrounding the performance of Oliver's versions from the early 1950s to the late 1960s and their reception by the theater critics of the Barcelona press. The latter, pressed to write short articles to tight deadlines, often failed to give Oliver's text the attention it deserved, and although ...
琼·奥利弗对契诃夫戏剧的版本源于奥利弗对这位俄罗斯剧作家的兴趣。然而，促进他们的连续性和性能的是Agrupacio Dramatica de Barcelona (ADB)和独立的戏剧团体，如Catala实验剧院(TEC)或tere de la Gavina。多亏了他们，契诃夫的戏剧将逐渐融入加泰罗尼亚戏剧和文学，并从20世纪80年代开始变得广泛而明确。对奥利弗来说，他的《契诃夫》版本是在西班牙战后加泰罗尼亚文化经历的极其困难的时刻，为加泰罗尼亚剧院的改造和巩固做出贡献的一种方式。这篇文章着眼于从1950年代初到1960年代末围绕奥利弗的版本的表演的环境，以及它们在巴塞罗那新闻界的戏剧评论家的接受。后者迫于压力，要在紧迫的截止日期前写短篇文章，常常不给奥利弗的文章应有的重视，尽管……
{"title":"Joan Oliver i el Teatre de Txèkhov","authors":"Miquel M. Gibert","doi":"10.3828/CATR.28.1.207","DOIUrl":"https://doi.org/10.3828/CATR.28.1.207","url":null,"abstract":"Joan Oliver's versions of Chekhov's plays stem from Oliver's interest in the Russian playwright. However, what promoted their continuity and performance was the Agrupacio Dramatica de Barcelona (ADB) and independent theater groups such as Teatre Experimental Catala (TEC) or Teatre de la Gavina. Thanks to them, Chekhov's theater would undergo a gradual integration into Catalan theater and literature that would become wide and definitive from the 1980s. For Oliver, his versions of Chekov were a way of contributing to the renovation and consolidation of Catalonia's theater at the extraordinarily difficult moment that Catalan culture experienced during the Spanish post-war period. This article looks at the circumstances surrounding the performance of Oliver's versions from the early 1950s to the late 1960s and their reception by the theater critics of the Barcelona press. The latter, pressed to write short articles to tight deadlines, often failed to give Oliver's text the attention it deserved, and although ...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"207-232"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.207","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396569","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 seeks to trace the foundations of a democratic Barcelona during Franco's dictatorship as registered by the photographic lens of Joan Colom (1921-), who between 1958 and 1961 took as part of his subject matter the interior margins of the Raval. There, his photography conceives a city whose material base depends precisely on its multiplicity, on the difference that the construction of a socially and culturally homogeneous Barcelona was designed to eliminate. With his wanderings through everyday life in the Raval, he heralds the possibility of a new urban order and the notion of a democratic public space, which breaks with the rectilinear design that the regime sought to impose through the fragmentation of the city. Echoing the urban formulations of Henry Lefebvre, Michel de Certeau, and Manuel Delgado, Colom's conception of Barcelona's organization emphasizes a mobile city, a Barcelona constructed not through its materiality, but from the movements and relationships of its inhabitants. Through ...
本文试图追溯在佛朗哥独裁统治时期，由琼·科罗姆(1921-)的摄影镜头记录下的民主巴塞罗那的基础，科罗姆在1958年至1961年间将拉瓦尔河的内部边缘作为他的主题的一部分。在那里，他的摄影构思了一个城市，它的物质基础恰恰取决于它的多样性，取决于一个社会和文化同质的巴塞罗那的建设旨在消除的差异。通过他在拉瓦尔的日常生活中漫游，他预示着一种新的城市秩序和民主公共空间的概念的可能性，它打破了政权试图通过城市碎片强加的直线设计。与Henry Lefebvre、Michel de Certeau和Manuel Delgado的城市规划相呼应，Colom对巴塞罗那组织的概念强调了一个流动的城市，巴塞罗那不是通过其物质，而是通过其居民的运动和关系来构建的。通过……
{"title":"Urban Projections: The Search for the Democratic City in the Photography of Joan Colom","authors":"Olga Sendra Ferrer","doi":"10.3828/CATR.28.1.57","DOIUrl":"https://doi.org/10.3828/CATR.28.1.57","url":null,"abstract":"This article seeks to trace the foundations of a democratic Barcelona during Franco's dictatorship as registered by the photographic lens of Joan Colom (1921-), who between 1958 and 1961 took as part of his subject matter the interior margins of the Raval. There, his photography conceives a city whose material base depends precisely on its multiplicity, on the difference that the construction of a socially and culturally homogeneous Barcelona was designed to eliminate. With his wanderings through everyday life in the Raval, he heralds the possibility of a new urban order and the notion of a democratic public space, which breaks with the rectilinear design that the regime sought to impose through the fragmentation of the city. Echoing the urban formulations of Henry Lefebvre, Michel de Certeau, and Manuel Delgado, Colom's conception of Barcelona's organization emphasizes a mobile city, a Barcelona constructed not through its materiality, but from the movements and relationships of its inhabitants. Through ...","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"28 1","pages":"57-81"},"PeriodicalIF":0.0,"publicationDate":"2014-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/CATR.28.1.57","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70396811","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 analyzes the figure of the vampire as it emerges in both Catalan literature and cinema. More specifically, I consider the use of this dark figure in the works of one of the most important contemporary Catalan writers, the Barcelonan poet Pere Gimferrer. The first part of the essay underlines the relationships that Pere Gimferrer established with other writers, most notably Joan Perucho, and I show that a specific atmosphere is created to evoke the uncanny shadow of the dark count. In the second part, which considers the work of select Catalan filmmakers, I argue that auteurs like Pere Portabella and Albert Serra re-invent and deconstruct the myth of the vampire, inspired, as suggested by Gimferrer, not only by literature but even more so by horror movies.
{"title":"Dracula, the Vampire in Catalonia: Between Literature and Cinema through Pere Gimferrer","authors":"Lídia Carol-Geronès","doi":"10.3828/catr.28.1.107","DOIUrl":"https://doi.org/10.3828/catr.28.1.107","url":null,"abstract":"This article analyzes the figure of the vampire as it emerges in both Catalan literature and cinema. More specifically, I consider the use of this dark figure in the works of one of the most important contemporary Catalan writers, the Barcelonan poet Pere Gimferrer. The first part of the essay underlines the relationships that Pere Gimferrer established with other writers, most notably Joan Perucho, and I show that a specific atmosphere is created to evoke the uncanny shadow of the dark count. In the second part, which considers the work of select Catalan filmmakers, I argue that auteurs like Pere Portabella and Albert Serra re-invent and deconstruct the myth of the vampire, inspired, as suggested by Gimferrer, not only by literature but even more so by horror movies.","PeriodicalId":37617,"journal":{"name":"Catalan Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/catr.28.1.107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70395962","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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