La encrucijada bilingüe en la literatura. Reflexiones sociolingüísticas y literarias en torno a "L’últim home que parlava català" de Carles Casajuana

Taking the Catalan case as an example, this article analyses the impact of language choice of writers who live and write between languages and cultures. After a first part in which the linguistic dilemma is depicted by offering a general view of the frontier authors in the Catalan context, this essay focuses on the study of L’últim home que parlava català (Carles Casajuana 2009), a novel in which the construct of fiction and metafiction serves both to analyse the question of literary bilingualism –the bilingual crossroad in literature– and to highlight certain controversial aspects of Catalonia’s particular sociolinguistic map, its language policies and the underlying ideological tensions.Tomando como ejemplo el caso catalán, este artículo analiza las implicaciones de la elección de código de escritores que viven y escriben entre lenguas y culturas. Tras una primera parte en la que se presenta este dilema literario esbozando un panorama de los autores “fronterizos” en el contexto catalán, el ensayo se centra en el estudio de L’últim home que parlava català (Carles Casajuana 2009), novela en la que el entramado de la ficción y la metaficción sirven tanto para abordar la cuestión del bilingüismo literario –la encrucijada bilingüe en la literatura– como para sacar a relucir ciertos aspectos controvertidos del peculiar contexto sociolingüístico de Cataluña, sus políticas lingüísticas y las tensiones ideológicas subyacentes

Un cine con acento: Polifonía, multilingüismo y alteridad en el cine de Ventura Pons

Summary: Taking as references the polyphony, multilingualism and the ample variety of voices and sounds in the cinema of Ventura Pons, this article aims to study his work from a new perspective enabling us to establish some parallelisms with the “accented cinema” (Naficy, 2001). The aim of this essay is to show how the multiple languages, accents and musics featured in his films become a prolific narrative and aesthetic resource, often linked to the representation of otherness. The analysis of some of Pons’ most recent films, among others Barcelona (un mapa) (2007) and Forasters (2008), will allow us to elucidate the extent to which polyphony constitutes a trademark in his work. [Keywords: Ventura Pons; Accented Cinema; polyphony; multilingualism; Barcelona; Catalan

The Lives of the ‘Lost Gloves’: Stories and Spaces of Emigration During the Crisis (In a Foreign Land, Bollaín)

This essay offers an analysis of Icíar Bollaín’s 2014 documentary film En tierra extraña (In a Foreign Land), which provides a look at the crisis from the perspective of one sector it affected profoundly: the new Spanish emigrants. By focusing on the representation of spaces in the film and on the stories about the recession captured in the testimonies of various Spanish immigrants in Edinburgh, the study investigates the narrative and aesthetic devices that the filmmaker employs to narrate the repercussions of the crisis in two distinct geographic locations (Spain and Scotland)

Cuadros en movimiento: la pintura en el cine : Relaciones intermediales en La hora de los valientes (Mercero 1998) y Te doy mis ojos (Bollaín 2003)

Basándonos en un enfoque teórico intermedial, el presente artículo tiene como objeto estudiar las relaciones entre cine y pintura a partir de dos películas españolas: La hora de los valientes (Antonio Mercero 1998) y Te doy mis ojos (Icíar Bollaín 2003). Nos proponemos cotejar cómo los respectivos directores introducen la pintura para construir y enriquecer el relato cinematográfico y analizar qué función narrativa y estética cumplen los cuadros en el texto fílmico. El estudio de ambos filmes nos servirá para demostrar nuestra hipótesis inicial: la pintura se emplea no solo con fines estéticos y narrativos, sino también para convertir al espectador en testigo de un doble drama, el individual y el colectivo. El juego de miradas que atraviesa la diégesis sitúa a la pintura en un primer plano, a la vez que determina la lectura del texto fílmico.The objective of this article is to study the relationship between cinema and painting from an intermedial perspective by analysing two Spanish films: La hora de los valientes (Antonio Mercero 1998) and Te doy mis ojos (Icíar Bollaín 2003). We intend to compare how the respective directors use painting to construct and enrich the cinematographic story and to analyse what narrative and artistic role the paintings play in the filmic text. The study of the two films will serve to illustrate our initial hypothesis, that painting is used not only for artistic and narrative purposes, but also to make the spectator a witness of a twofold drama: the individual and the collective. The exchange of looks which permeates the diegesis places painting to the forefront, whilst determining the interpretation of the filmic text.Centro de Estudios de Teoría y Crítica Literari

Entrevista a Josep Maria Forn, director, guionista i productor de cinema català (Barcelona, 18 de juny de 2013)

Keine Zusammenfassung vorhande

Entrevista a Judith Colell, directora de cinema i actual vicepresidenta segona de l'Academia de las Artes y las Ciencias Cinematográficas de España (Barcelona, 18 de juny de 2013)

Keine Zusammenfassung vorhande

Bilingual crossroads in literature: Sociolinguistic and literary considerations on Carles Casajuana’s "L’últim home que parlava català"

Taking the Catalan case as an example, this article analyses the impact of language choice of writers who live and write between languages and cultures. After a first part in which the linguistic dilemma is depicted by offering a general view of the frontier authors in the Catalan context, this essay focuses on the study of L’últim home que parlava català (Carles Casajuana 2009), a novel in which the construct of fiction and metafiction serves both to analyse the question of literary bilingualism –the bilingual crossroad in literature– and to highlight certain controversial aspects of Catalonia’s particular sociolinguistic map, its language policies and the underlying ideological tensions

De la invisibilidad a la subversión : la nota del traductor en «Nota al pie», de Rodolfo Walsh

Este ensayo sostiene que «Nota al pie» de Rodolfo Walsh, ejemplo precursor de la llamada «transficción», puede interpretarse como una forma de resistencia a la noción de la traducción como actividad literaria secundaria o «de segunda clase», a la vez que invita a repensar la posición marginal del traductor en favor de su papel activo como agente del proceso creativo de escritura. Mediante el uso subversivo de la nota al pie, el traductor-narrador de este cuento se apropia de la autoridad discursiva para poner en cuestionamiento la tradicional lógica jerárquica entre «texto principal» y «margen inferior». Aunque lo haga de forma póstuma, el protagonista del relato consigue su ansiada visibilidad, demostrando que la traducción es también una forma de (re)escritura, pues no en vano su nota es clave para realizar una lectura «completa», no parcial, de la ficción que el lector tiene entre sus manos, forzándole a una lectura a contrapelo del supuesto «texto principal».This essay argues that Rodolfo Walsh's "Footnote", a forerunner example of the so-called "transfiction", can be interpreted as a form of resistance to the notion of translation as a secondary or "second class" literary activity, while it invites us to rethink the translator's marginal position in favor of his active role as agent of the creative writing process. Through the subversive use of the footnote, the story's translator-narrator appropriates discursive authority to challenge the traditional hierarchical logic between the "main text" and its "inferior margin". Although he does it posthumously, the protagonist achieves his longed-for visibility, demonstrating that translation is also a form of (re)writing, since not for nothing his note is key to making a "complete", not partial, reading of the fiction, forcing the reader to read against the grain of the supposed "main text"

The IStReS database: Reflections on the configuration of the field of Iberian Studies

This paper discusses the objectives and methodologies of the IStReS (Iberian Studies Reference Site) project. IStReS (http://istres.letras.ulisboa.pt) is an online platform that provides tools for researchers in the field of Iberian Studies, which include a searchable bibliographic database, a “Who’s who” of relevant scholars in the field, and frequent news updates about happenings in the discipline. On the other hand, it presents an analysis of the 1,786 references that are currently included in the database in order to obtain a more detailed image of the status of Iberian Studies today. The results will allow to draw some conclusions on the current configuration of the field