El juego de los sentidos en la obra Bihotz-begietan de José María Aguirre “Xabier Lizardi”

En este artículo, por un lado, se analiza la importancia de la obra Biotz-begietan (“En el corazón y en los ojos”), de Xabier Lizardi –del cual se hace una breve semblanza bibliográfica– en el marco de la literatura vasca, y, por otro, se presenta un estudio estadístico de la presencia de los cinco sentidos en ese libro de poemas. En dicho estudio se observa que, en ocasiones, términos relacionados con los sentidos pierden su significado original y son empleados en sentido figurado. Asimismo, llama la atención la descompensación en la frecuencia de aparición de dichos términos: los vinculados a la vista (ya en el mismo título) y al oído tienen una presencia muy superior al olfato, el tacto y el gusto.This article analyses, on the one hand, the importance of the work Biotz -begietan (“In the heart and in the eyes”), written by Xabier Lizardi, within the framework of Basque literature, in which a brief bibliographical sketch is made. On the other hand, it offers a statistical study of the presence of the five senses found in this book of poems. In this study it is observed that occasionally terms related to the senses lose their original meaning and take on a figurative sense. Likewise, the irregular frequency in the use of these terms is pointed out. Reference to eyesight (mentioned in the very title), and hearing is much more frequent than reference to the senses of smell, touch and taste

Cláusulas relativas con conjunción en las lenguas románicas, eslavas y vasca.

Sin resume

Las fronteras de la lengua vasca a lo largo de la historia

Based on more or less reliable evidence, such as toponymy, the Basque language is supposed to have once been present in an area greater than its current territory, moving eastwards (until the Indo-European invasions) and westwards (until the arrival of the Romans). In the peninsular area, Basque was pushed back first by Latin and then by Spanish, and only did it regain part of its lost ground during the Reconquest of Spain, when the Basque-speaking population occupied lands in Northern Burgos and La Rioja. In the continental area, Basque has held its steady boundaries for the last 500 years. Nowadays, the situation has changed substantially: it seems there is no stopping the regression of Basque in the French zone. Whereas, the regression has stopped, or at least decreased, in the Basque Autonomous Community due to the so-called policy of linguistic normalization.Based on more or less reliable evidence, such as toponymy, the Basque language is supposed to have once been present in an area greater than its current territory, moving eastwards (until the Indo-European invasions) and westwards (until the arrival of the Romans). In the peninsular area, Basque was pushed back first by Latin and then by Spanish, and only did it regain part of its lost ground during the Reconquest of Spain, when the Basque-speaking population occupied lands in Northern Burgos and La Rioja. In the continental area, Basque has held its steady boundaries for the last 500 years. Nowadays, the situation has changed substantially: it seems there is no stopping the regression of Basque in the French zone. Whereas, the regression has stopped, or at least decreased, in the Basque Autonomous Community due to the so-called policy of linguistic normalization

Harkaitz Cano

Sin resume

Cláusulas relativas con conjunción en las lenguas románicas, eslavas y vasca.

Sin resume

El juego de los sentidos en la obra Bihotz-begietan de José María Aguirre “Xabier Lizardi”

En este artículo, por un lado, se analiza la importancia de la obra Biotz-begietan (“En el corazón y en los ojos”), de Xabier Lizardi –del cual se hace una breve semblanza bibliográfica– en el marco de la literatura vasca, y, por otro, se presenta un estudio estadístico de la presencia de los cinco sentidos en ese libro de poemas. En dicho estudio se observa que, en ocasiones, términos relacionados con los sentidos pierden su significado original y son empleados en sentido figurado. Asimismo, llama la atención la descompensación en la frecuencia de aparición de dichos términos: los vinculados a la vista (ya en el mismo título) y al oído tienen una presencia muy superior al olfato, el tacto y el gusto

Las fronteras de la lengua vasca a lo largo de la historia

Based on more or less reliable evidence, such as toponymy, the Basque language is supposed to have once been present in an area greater than its current territory, moving eastwards (until the Indo-European invasions) and westwards (until the arrival of the Romans). In the peninsular area, Basque was pushed back first by Latin and then by Spanish, and only did it regain part of its lost ground during the Reconquest of Spain, when the Basque-speaking population occupied lands in Northern Burgos and La Rioja. In the continental area, Basque has held its steady boundaries for the last 500 years. Nowadays, the situation has changed substantially: it seems there is no stopping the regression of Basque in the French zone. Whereas, the regression has stopped, or at least decreased, in the Basque Autonomous Community due to the so-called policy of linguistic normalization

Bilbao en la literatura vasca

Bilbao es el espacio que recrean en sus respectivas poéticas los seis autores, dos de lengua castellana y cuatro de lengua vasca, analizados en este artículo, que trata de ser un pequeño viaje desde la lacerante fotografía de posguerra de Blas de Otero hasta el actual ambiente underground descrito por Edorta Jiménez. Frente a estos inquietantes paisajes literarios, se va imponiendo hoy en día un nuevo espacio urbano, moderno y funcional, que despierta sentimientos encontrados entre los naturales de la muy noble villa

Egitura kausatiboak euskaran, eslaboan eta erromantzean: konparaketa tipologiko baterantz

This article follows the wake of the author's previous articles regarding framework (typology) and study languages (Slavic, Romance and Basque), although on this occasion, the subject of relative clauses gives way to one of equal fascination: causativity.The article is divided into two parts: in the first, some of the theoretical problems posed up to now are summarized (Bresnan 1982; Zubizarreta 1985; Baker 1988; Alsina 1992; Guasti 1998; López 2001). In the second part, starting from the morphological typology of causativity offered by Nedialkov and Silnitskii (1973) and collected by Moreno Cabrera (1991), the author establishes a list of similarities and differences among the languages analyzed regarding causativity. The most important similarity is that, evidently, in all languages, a valency increase occurs. We find the most important difference in the so-called 'derivational morphological opposition', non-existing in the Romance languages (which choose the syntagmatic opposite), but present in Basque and the Slavic languages. In Basque, it means a single morpheme of maximum productivity; in the Slavic languages it means three morphemes in complementary distribution, which have a very scarce productivity since they are only applicable to a reduced list of verbs.Unlike what occurs with the causative mood, the Slavic, Romance and Basque languages show a similar performance regarding the verbs of control and the permissive mood, ignoring a few peculiarities

Anjel Lertxundiren pertsonaien izenak

Euskal esaera zaharrak dioenez, izena duenak izana ere badu, eta hala uste du Anjel Lertxundik, erreparatzen baldin badiegu bere eleberrietako pertsonaien izenak hautatzerakoan erabiltzen dituen irizpideei. Gainerako literatura hautuetan bezala, Lertxundik gogoeta sakon baten ondorioz ematen die bere pertsonaiei honako edo horrako izena. Eta, txit eskuzabala denez, idazte prozesu horren berri zehatza ematen digu bere saiakera, hitzaldi eta prentsa-zutabeetan, bai eta, gure kasuan bezala, harekin aurrez aurre gaudenean ere.1 Iturri horietatik guztietatik ateratakoak dira hemen aletzen ditugun datu eta ondorioak.; A Basque proverb literally says, "he who/that which has a name also has a being". This is literally advocated by Anjel Lertxundi, if bearing in mind the criteria used by this Basque writer when it comes to naming characters. As is the case with the rest of literary choices, Lertxundi provides his characters with a specific name only after a deep reflection. As a sign of his generosity, Lertxundi gives a detailed account of this particular writing process in his essays, lectures and press columns. These are valuable sources for the data and conclusions that will be fully explained throughout the article