Polysemy and Co-predication

Many word forms in natural language are polysemous, but only some of them allow for co-predication, that is, they allow for simultaneous predications selecting for two different meanings or senses of a nominal in a sentence. In this paper, we try to explain (i) why some groups of senses allow co-predication and others do not, and (ii) how we interpret co-predicative sentences. The paper focuses on those groups of senses that allow co-predication in an especially robust and stable way. We argue, using these cases, but focusing particularly on the multiply polysemous word ‘school’, that the senses involved in co-predication form especially robust activation packages, which allow hearers and readers to access all the different senses in interpretation

"Pasa la vida": Cartografías Urbanas de Madrid en la Post-Transición (1982-1994)

Este artículo explora representaciones de la cotidianidad en el espacio urbano de Madrid desde comienzos de los 80 hasta mediados de los 90. Durante la Transición, el cine español se lanza a retratar noveles formas de interacción que negocian estímulos y formaciones sociales, económicas e ideológicas recién surgidas, mostrando un compromiso innegable con la representación de la realidad social y, más específicamente, los marginados. Desde finales de los 80 hasta mediados de los 90, los realizadores españoles posan su mirada en un tejido social caracterizado por un «presentismo» que dejó de un lado un compromiso con la reciente historia de España y la capacidad de la ciudadanía para intervenir de manera decisiva en los pilares constitutivos de la realidad social. En el periodo estudiado, el cine español encuentra una realidad social en fluctuación y se acerca a la misma desde diferentes perspectivas, tornándose un mecanismo de representación que codifica las prácticas del día a día &-es decir, las recurrentes formas de interacción a través de la cuales los individuos funcionan en el interior una estructura social específica.This essay analyzes representations of the everyday in the Madrid cityscape from the beginning of the 1980s until the mid 1990s. During the Transition, Spanish cinema started to explore forms of interaction that negotiated recently born stimuli and social, economic and ideological formations, displaying as strong commitment to the representation of social reality and, more specifically, the marginalized. From the late 1980s to the mid 1990s, filmmakers tackle a social fabric characterized by a «presentism» that leaves behind a productive commitment to recent Spanish history and the capacity of the citizenry to decisively intervene within the constitutive pillars of social reality. In the studied period, Spanish cinema encounters an ever­flowing social, approaching it from different perspectives, turning into a representational mechanism that codifies the practices of the everyday –that is, the recurrent forms of interaction through which individuals function with a given social structure.Este artículo se ha realizado como parte del proyecto de investigación I+D+i «El cine y la televisión en la España de la post­Transición (1979-1992), (CSO2012-31895), Ministerio de Economía y Competitividad, Gobierno de España

Clowns, Goats, Music and the Comedic Violent: Late Francoism and the Transition to Democracy in Álex de la Iglesia's Films

This chapter was written as part of the research project ‘Cinema and Television in PostTransition Spain (1979–1992)’ funded by the Ministry of Economy and Competitiveness and the Spanish Governmen

Representations of Madrid in the (post-)transition to democracy

This essay was written in the context of the Research Project I+D+i ‘Cinema and Television in Spain during the Post-Transition’ (CSO2012-31895