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1
Ripa, Valentina. „Omaggio a Joan Vinyoli“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 5, Nr. 5 (12.06.2015): 305. http://dx.doi.org/10.7203/scripta.5.6377.
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Riassunto: In continuità con l’omaggio a Joan Vinyoli organizzato a Roma nel 2014, si propongono le traduzioni in italiano di alcuni suoi componimenti, con testo a fronte. Parole chiave: Joan Vinyoli, traduzione dal catalano all’italiano, poesia catalana del Novecento. Abstract: In continuity with the Joan Vinyoli Tribute organized in Rome in December 2014, I propose the translation from Catalan to Italian of some of his poems. Keywords: Joan Vinyoli, translation from Catalan to Italian, twentieth-century Catalan poetry.
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Gimferrer, Pere, Marguerite Feitlowitz, Renada-Laura Portet, Kathleen McNerney und Felícia Fuster. „CATALAN POETRY“. Catalan Review: Volume 3, Issue 2 3, Nr. 2 (01.01.1989): 209–51. http://dx.doi.org/10.3828/catr.3.2.12.
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Martí i Pol, Miquel, Nathaniel B. Smith, Lynette McGrath, Maria-Mercè Marçal, Kathleen McNerney, Francesc Parcerisas, Marta Pessarrodona, H. Patsy Boyer und Joan Salvat-Papasseit. „CATALAN POETRY“. Catalan Review: Volume 1, Issue 2 1, Nr. 2 (01.01.1986): 145–69. http://dx.doi.org/10.3828/catr.1.2.9.
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McNerney, Kathleen, und David H. Rosenthal. „Postwar Catalan Poetry“. Hispania 75, Nr. 5 (Dezember 1992): 1205. http://dx.doi.org/10.2307/344384.
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Mérida Jiménez, Rafael M. „«El corpus medieval de la lírica popular catalana con voz femenina»“. Revista de Literatura Medieval 30 (31.12.2018): 219–32. http://dx.doi.org/10.37536/rpm.2018.30.0.74051.
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Resumen: El presente trabajo tiene como objetivo analizar la presencia de la voz femenina en el corpus de la lírica popular catalana de la Edad Media. Con tal propósito, y tras presentar los resultados de las líneas de investigación principales en el área románica, se estudiará el Corpus d’antiga poesia popular de Josep Romeu i Figueras y serán comentadas las características temáticas y formales de este conjunto formado por veinticuatro poemas. Por último, se propone la inclusión de tres piezas adicionales, de origen diverso, que nos permitirán reflexionar sobre cuestiones relacionadas con sus tipologías textuales, culturales y lingüísticas.Palabras clave: Lírica catalana de la Edad Media, Poesía tradicional europea, La mujer en la literatura catalana medieval, Estudios de género, Josep Romeu i Figueras.Abstract: The goal of this essay is the analysis of female voices in Catalan traditional poetry from the Middle Ages. After introducing the main achievements of previous research in Romance literatures, we will study Josep Romeu i Figueras’ Corpus d’antiga poesia popular as well as the formal and thematic traits of the extant group of 24 poems. Last, the article suggests to include 3 more texts, whose presence will offer the opportunity to think about some issues related to textual, cultural and linguistic typologies.Keywords: Medieval Catalan Poetry, European Traditional Poetry, Women in Medieval Catalan Literature, Genre Studies, Josep Romeu i Figueras.
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Marrugat, Jordi. „Maragall, Carner, Riba: fundació i reformulació de la poesia catalana moderna“. Zeitschrift für Katalanistik 35 (01.07.2022): 335–75. http://dx.doi.org/10.46586/zfk.2022.335-375.
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Summary: Joan Maragall was the main reference of the two great models of Catalan poetry that followed him, Josep Carner and Carles Riba, who insisted on the expression «postmaragallian poets» to refer to modern Catalan poets. This is because Maragalltackled with full awareness for the first time in Catalan language all the issues that characterized modern Western poetry. This article systematizes these issues and shows how Maragall addressed and resolved them. It then analyzes how this promoted him themain reference of Carner and Riba in a double direction: they took up all the problems he established, but they contradicted all the solutions he proposed. As a conclusion, the answers given by Carner and Riba to the poetic questions raised by Maragall are systematized, thus showing the opposition between their poetics.Keywords: modern poetry, Catalan poetry, Joan Maragall, Josep Carner, Carles Riba.
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Sasor, Rozalia. „The historical background of Catalan separatism: The case of Occitania“. Review of Nationalities 10, Nr. 1 (01.12.2020): 153–67. http://dx.doi.org/10.2478/pn-2020-0011.
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Abstract The purpose of this study is to discuss the originality of the Catalan literature at its beginnings in relation to the poetry of the Occitan troubadours, and to explain why some Catalans today do not feel connected to the Castilian heritage. The paper presents the Occitan-Catalan political and cultural relations in the time between 993 and 1213, with particular emphasis on the 12th century when the Great Occitan War took place. The historical Occitania at that time was divided into numerous principalities affected by constant internal struggles. That unstable political situation encouraged powerful neighbours – as the rulers from the House of Barcelona – to attain their domination over the region. The successful military and diplomatic engagements of the Catalan sovereigns allowed them to create a relatively homogeneoas Occitan-Catalan community based on cultural similarity and feudal dependence.
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DE SEMPRÚN DONAHUE, MORAIMA. „THE CATALAN POETRY OF MANUEL DURÁN“. Catalan Review 5, Nr. 1 (01.07.1991): 197–219. http://dx.doi.org/10.3828/catr.5.1.12.
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Espadaler, Anton. „Petrarch in medieval catalan lyric poetry“. Quaderns d’Italià 20 (02.11.2015): 89. http://dx.doi.org/10.5565/rev/qdi.384.
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Vera, Ivan. „The Manuscript Transmission of Troubadour Poems Linked with the Catalan Nobility“. Tenso 39, Nr. 1 (2024): 65–88. http://dx.doi.org/10.1353/ten.2024.a923467.
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Abstract: This article offers an initial analysis of the manuscript tradition of a set of thirteenth-century troubadour compositions that can be linked to the Catalan nobility, specifically the noble houses of Urgell, Cabrera, and Foix. It is part of a broader project aimed at shedding light on the role of the nobility in the production and dissemination of troubadour poetry within the Crown of Aragon. The data obtained allows for a re-evaluation of certain aspects of the manuscript transmission within Catalan noble circles and lays the groundwork for future research on the diffusion of troubadour poetry connected with Catalan-Aragonese courts.
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Berger, Verena. „Salvador Espriu und <i>Primera història d'Esther: improvisació per a titelles</i>“. Zeitschrift für Katalanistik 8 (01.07.1995): 104–17. http://dx.doi.org/10.46586/zfk.1995.104-117.
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Salvador Espriu is one of the main authors of the revival of Catalan theater after the civil war of 1936. In a climate of political and linguistic repression, he wrote Primera història d'Esther in a language that seemed doomed to death. He created one of the main linguistic monuments of modern Catalan literary history and a magnificent synthesis of the biblical myth of Esther and the history of Catalonia in Franco's Spain. The article aims to highlight the cultural and linguistic aspects of the work, relating it to Espriu's desire for universalism, and to approach the author's intentions. As in his poetry, Espriu relates the fate of the Jewish to that of the Catalan people. He uses the double effect of "theater within theater" and lets the action take place on two levels. The first, that of the theater: the present, Sinera, the myth of Sinera, the spectators, the people, the Catalans, Catalan culture. The second, that of theater within theater: the past, Susa, Esther’s myth, the 'observed', the puppets, the Persians and the Jews, Western culture.
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Sabaté Solà, Miquel. „Estudi i edició crítica del proemi Aquest llibre s’intitula“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, Nr. 21 (22.06.2023): 491. http://dx.doi.org/10.7203/scripta.21.26845.
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Resum: Càrcer va ser un copista del segle XVII que va escriure un proemi en vers de gran interès per a l’estudi de la transmissió i la valoració de la poesia catalana del Barroc. Aquest proemi s’estudia en el present article des de dos punts de vista. En primer lloc, s’observa la seva importància de cara a comprendre la relació entre tres manuscrits miscel·lanis que ens han arribat fins avui en dia. Això ens aporta més elements per a la consideració del context dels poemes inclosos en aquests reculls, i ens pot ajudar a escatir l’autoria d’alguns poemes que romanen dubtosos. En segon lloc, el poema també és un testimoni força singular pel que fa a la consideració d’alguns autors de l’època per part d’un personatge coetani que, per tant, està deslligat de qualsevol judici posterior. Tot plegat ve complementat per l’edició crítica del poema, que havia restat inèdit fins ara.Paraules clau: literatura catalana. poesia barroca, cançoners manuscrits, proemi, edició crítica.Abstract: Càrcer was a copyist from the 17th century that wrote a proem in verse of great interest for the study of the transmission and the valoration of catalan poetry from the Barroque period. This article studies this introductory poem from two points of view. First of all, the article points out the importance of this poem in order to understand the relationship between three miscellaneous manuscripts that have survived into our present day. This gives us more elements for the consideration of the context for some of the poems included in these volumes, and it can also help us to establish the authorship of some of the poems that would otherwise remain unclear. On the other hand, this poem is also a singular artifact when it comes to the consideration of the authors of catalan barroque poetry by a contemporary author that is therefore removed from future judgement. All of this has been complemented with the edition of this poem, which had been unedited until now, by following textual criticism.Keywords: catalan literature, barroque poetry, manuscripts, proem, textual criticism.
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Miralles, Eulàlia. „Algunes reflexions sobre la disposició textual d'un cançoner barroc (BLM, ms. 68). Per a una lectora: un llibre-ofrena i un testament literari“. Zeitschrift für Katalanistik 28 (01.07.2015): 187–230. http://dx.doi.org/10.46586/zfk.2015.187-230.
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Summary: The aim of this study is to analyse Francesc Fontanella’s lyrical collection in BLM ms. 68. This testimony contains headings and a manuscript layout by the author, which allows us to understand its poetry in a new way. Divided in several parts, the first one is devoted to drama; the second one follows a chronological layout (on the one hand, poetry made in Barcelona; on the other, poetry written in Perpignan); finally, there is a collection of verse only for Gileta. Fontanella’s manuscript layout in BLM ms. 68 should help us understand the poetic arrangement of other lyrical collections of Catalan baroque and of the Spanish Golden Age poetry. [Keywords: Francesc Fontanella; lyrical collection; manuscript layout; catalan baroque; Spanish Golden Age]
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Matas Revilla, Meritxell. „«Bleu, saignant, à point, bien cuit»: la relació entre el cos i el menjar en les poetes catalanes“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, Nr. 22 (03.12.2023): 345. http://dx.doi.org/10.7203/scripta.22.27835.
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Resum: El vincle entre la corporalitat i el camp semàntic del menjar –que inclou aliments, processos digestius, òrgans i trastorns alimentaris– és d’especial rellevància per l’estudi de les poètiques catalanes del segle XXI. Les poetes catalanes examinen aspectes tan diversos com la tensió entre el desig i la fam en la creació de l’Altre, l’erotisme i la sexualitat, els cànons de bellesa i els rols de gènere o la brutor i l’abjecció. Els estudis de Silvia Tubert, Raquel Santiso, Mari Luz Esteban, Domenico Cosenza i Naomi Wolf aporten el marc teòric sobre el qual interpretem com les autores articulen diferents expressions de les interseccions entre les coordenades corporals i el menjar. Les poetes estudiades són Noa Noguerol, Maria Sevilla, Anna Gas, Maria Isern, Mireia Calafell, Lucia Pietrelli, Irene Solà i Núria Pujolàs.Paraules clau: poesia catalana, postmodernitat, estudis de gènere, estudis de l’alimentacióAbstract: The link between corporeality and the semantic field of food –which includes foodstuff, digestive processes, organs and eating disorders– is of particular relevance for the study of 21st century Catalan poetics. Catalan poets examine aspects as diverse as the tension between desire and hunger for the creation of the Other, eroticism and sexuality, canons of beauty and gender roles and dirt and abjection. The studies of Silvia Tubert, Raquel Santiso, Mari Luz Esteban, Domenico Cosenza and Naomi Wolf provide the theoretical framework on which we interpret how these authors articulate different expressions of the intersections between body and food. The poets studied are Noa Noguerol, Maria Sevilla, Anna Gas, Maria Isern, Mireia Calafell, Lucia Pietrelli, Irene Solà and Núria Pujolàs.Keywords: catalan poetry, postmodernism, gender studies, food studies
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Ortiz García, José A. „La poètica de la mort en la poesia catalana dels segles XVII i XVIII“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (06.12.2017): 171. http://dx.doi.org/10.7203/scripta.10.11080.
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Resum: L’objectiu d’aquest estudi és proposar una visió sobre el tòpic de la mort en la poesia catalana pels segles XVII i XVIII. El punt central és la projecció pública de les composicions poètiques, tot apropant-nos a la literatura des d’un punt de vista cultural per presentar certs aspectes d’un tema clau en l’art barroc: el final de la vida. La primera part del text introdueix dos dels escriptors del barroc català, Francesc Fontanella i Agustí Eura. La segona secció recerca l’ús de la poesia catalana en les exèquies reials al voltant de la figura del monarca hispànic Carles II. Un cop presentades públicament les poesies en 1701, les edicions impreses són les que ens permeten una lectura contemporània. Publicacions d’altres gèneres poètics són la darrera part de l’article. Els Desenganys de l’Apocalipsi és una coneguda obra barrejant poesia i imatges amb una vessant didàctica per explicar el purgatori, l’infern, la glòria i el paradís als fidels lectors. Paraules clau: mort, poesia, barroc, exèquies Abstract: The aim of this study is a global vision about the topic of death in Catalan poetry throughout the 17th and 18th centuries. Focusing on the public use of poetical compositions, we want to approach literature from a cultural point of view in order to present some aspects about a typical subject in baroque art: the end of life. The first part of the text introduces two main Catalan baroque writers, Francesc Fontanella and Agustí Eura. Moving to the second section, the paper researches the use of poetry in royal obsequies around the figure of the Spanish monarch Charles the Second. After the public presentation of the texts in 1701, the printed publication of them is how we can still read them. The printed copies for other kind of poetry creations is the last part of this article. Desenganys de l’Apocalipsi is a well-known text mixing poetry and images with a didactical purpose: to explain the Purgatory, the Hell, the Glory and the Heaven to faithful readers. Keywords: death, poetry, baroque, obsequies
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Sanchis Mollà, Hèctor. „Estudi comparatiu i edició de l’Stabat mater d’Escorigüela“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 15 (10.06.2020): 55. http://dx.doi.org/10.7203/scripta.15.17555.
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Resum: Joan Baptista Escorigüela és la figura més interessant de la poesia catalana a la València de la fi del segle XVIII. Dos dels poemes millor valorats per la crítica són la cançó El Àngel del Apocalispi i una versió de l’Stabat Mater Dolorosa. En el present treball, portarem a terme una comparació entre la versió de l’Stabat Mater Dolorosa amb l’original. A banda de conèixer les modificacions efectuades pel poeta valencià, obtindrem uns resultats que ens permetran situar la peça estudiada dins del corrent pre-romàntic. Completarem el present treball amb una edició del text.
Paraules clau: poesia catalana, s.XVIII, Escorigüela, Stabat mater.
Abstract: Joan Baptista Escorigüela is the most interesting author of catalan poetry in Valencia at the end of the 18th century. Two of his best works are: El Àngel del Apocalispi and a version of the Stabat Mater Dolorosa. In this paper, we will carry out a comparative study between his version of Stabat Mater Dolorosa with the original. We will know the modifications made by the autor and we will get results that will allow us to set this poem in the pre-romantic style. Finally, we will end with an edition of it.
Keywords: catalan poetry, 18th century, Escorigüela, Stabat mater.
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White, Jerry. „Pasolini in/and Catalonia: Translation, Minority Languages, and Internationalism“. Comparative Literature 74, Nr. 1 (01.03.2022): 99–118. http://dx.doi.org/10.1215/00104124-9434537.
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Abstract This article posits that Pier Paolo Pasolini’s long engagement with Catalonia offers important insights into his practice as a poet, filmmaker, and thinker about language, as well as explaining the nature of his influence on other European cinemas. The first part of the article focusses on the special issue “Fiore di poeti catalani” of Quaderno romanzo alongside Pasolini’s poetry in and advocacy for the Friulan language. The second part of the article focusses on Joaquín (Joaquim) Jordà’s translation of Pasolini, published as Cine de poesía contra cine de prosa, alongside the emergence of the Barcelona school of filmmakers, of which Jordà was a part. Overall, the article argues that although there was clearly an Italian influence on Catalan cinema of the 1960s and 1970s, throughout the long course of his career there was a distinctly Catalan quality to Pasolini’s thought.
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KEOWN, DOMINIC. „David H. Rosenthal, "Postwar Catalan Poetry" (Book Review)“. Bulletin of Hispanic Studies 71, Nr. 2 (April 1994): 290. http://dx.doi.org/10.3828/bhs.71.2.290.
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BOU, ENRIC. „Gastronomic Poetry: Food and Affect in a Catalan Setting“. Bulletin of Contemporary Hispanic Studies: Volume 4, Issue 1 4, Nr. 1 (01.05.2022): 7–24. http://dx.doi.org/10.3828/bchs.2022.2.
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This article aims to delineate the connections between food and affect as shown in a representative selection of poems that convey how affect can be expressed through gastronomic poetry. Central to affect theory is a drive to recognize the constant modulations of affective states and so assemble a fuller picture of life lived moment by moment. In the chosen examples, expression through poetry and the transmission of affect converge. Carner, Estellés and Rosselló-Pòrcel in some of their poems elevate food to a symbolic category associating gastronomy, sexuality, eroticism and religion. In the confluence of Food Studies and Affect Theory, the article discusses food as a way to reflect on and define a sense of belonging through metaphor and other strategies that express affect.
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Mas i Usó, Pasqual. „La mètrica catalana en les acadèmies i certàmens valencians del barroc“. Zeitschrift für Katalanistik 8 (01.07.1995): 63–73. http://dx.doi.org/10.46586/zfk.1995.63-73.
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In the 17th century, Castilian was the dominant language in Spain; Catalan texts played a subordinate role in the field of fiction. Only a very small percentage of the poems presented at the literary acadèmies and poetry competitions in València during the Baroque period are therefore written in Catalan. This study covers the underlying metric forms, the poets, and the literary functions of their poems.
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Cullell, Diana. „Translating Cultures and Crossing Borders: Catalan Poetry in Translation“. Cultura, Lenguaje y Representación 16, Nr. 2 (2016): 103–24. http://dx.doi.org/10.6035/clr.2016.16.6.
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Friedlein, Roger. „Metapoetizität und Textgenese - Ebenen diachronischen Bedeutungswandels bei Joan Maragall: <i>El comte Arnau</i> (1900-1911)“. Zeitschrift für Katalanistik 19 (01.07.2006): 35–50. http://dx.doi.org/10.46586/zfk.2006.35-50.
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The first part of Joan Maragall’s poetical triptych El comte Arnau (1900) has achieved its status of literary myth due to its polysemy, which added a new quality to Catalan poetry at the last turn of the century. In the continuation of the poem (1906), a metapoetical dimension is introduced into Maragall’s version of the traditional story of the Count Arnau. Most importantly, it exhibits the fact that the meaning of poetical texts is subject to historical variability. This is exemplified by a ‘poem within a poem’, the Cançó del comte l’Arnau. The end of the Escòlium, together with the last part of the triptych (1911), brings about a performative effect, thus making it evident for the reader how the meaning of the poem depends on the real time of its genesis. In this way, the diachronic change of signification becomes visible in El comte Arnau on three levels: biographical, metapoetical and performative.
Keywords: Catalan literature, poetry, Catalan Modernism, Joan Maragall, Comte Arnau, metapoeticity, self-reference, biographism, performativity.
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Navarrete, Miquel Àngel, und Josep Maria Sala-Valldaura. „La tela de Penelope: Entre la Grècia clàssica i la poesia catalana actual“. Zeitschrift für Katalanistik 1 (01.07.1988): 93–105. http://dx.doi.org/10.46586/zfk.1988.93-105.
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This essay examines the explicit references to Greek literature in Catalan poetry since 1980. For the first time, it examines how the Catalan poets include the mythology, philosophy and art of classical Hellas today – after the formative "noucentist" tradition of Carles Riba and Salvador Espriu – in their works. The diverse reception of Greek motifs is illustrated using selected examples. The subject areas are limited to a few central myths – primarily to the figure of the cunning Ulysses.
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Ardolino, Francesco. „Joan Maragall: creació, traducció i reescriptura“. Studia Romanica Posnaniensia 48, Nr. 3 (14.10.2021): 5–18. http://dx.doi.org/10.14746/strop.2021.483.001.
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What is the role of translation in Maragall’s work? If his first goal was to bestow cultural support to Catalan literature with the addition of the European authors of Modernism, the second stage of the Catalan poet’s agenda becomes more ambitious, delving into the origins of Western literature and culminating in the translation of the Homeric Hymns. My contribution analyzes how, on the one hand, the Catalan rewriting of the works of Nietzsche, Goethe, Novalis, or Dante draws a progressive and continuous line within Maragall’s ideas; and, on the other hand, what impact these versions have on his own literary creation, through the loanwords that spread across his translations, and his poetry.
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Vallbé, Joan-Josep. „Gabriel Ferrater: A Note on Science, Ideas, and Poetry“. Journal of Catalan Intellectual History 1, Nr. 11 (01.10.2017): 136–43. http://dx.doi.org/10.1515/jocih-2016-0012.
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AbstractThis paper discusses the relationship between the theory of art and the philosophy of science. In particular, it explores Catalan poet and critic Gabriel Ferrater’s theory of ideas in poetry and specifically his critique of social or realist poetry. The paper shows, on the one hand, that Ferrater’s theory is both antiexpressionist and anti-inductivist, and on the other, that his way of approaching both poetry and criticism can be integrated into the falsationist theoretical framework developed by philosopher of science Karl Popper to understand the process of scientific discovery.
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Gavagnin, Gabriella. „Da poeta a poeta, da traduttore a traduttore: il carteggio tra Umberto Saba e Tomàs Garcés“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 5, Nr. 5 (12.06.2015): 252. http://dx.doi.org/10.7203/scripta.5.6388.
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Riassunto: Il rapporto personale tra Umberto Saba e Tomàs Garcés cominciò agli inizi degli anni Trenta e si interruppe poco prima della guerra civile spagnola. Quest’articolo analizza ed edita per la prima volta tutte le lettere scritte da Saba al poeta catalano che sono state conservate presso l’archivio della famiglia Garcés. Parole chiave: poesia, traduzione, Umberto Saba, Tomàs Garcés Abstract: The personal relationship between Umberto Saba and Tomàs Garcés began in the early thirties and stopped just before the Spanish Civil War. This article analyses and edits for the first time all the letters written by Saba to the Catalan poet that have been preserved in the archives of family Garcés. Keyword: Poetry, Translation, Umberto Saba, Tomàs Garcés
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Dasca, Maria. „The spatial turn in Catalan cultural studies“. Journal of Romance Studies 23, Nr. 4 (Dezember 2023): 429–65. http://dx.doi.org/10.3828/jrs.2023.21.
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In recent years several projects have emerged that address Catalan culture from a spatial point of view. This article aims to review the theoretical framework of what is known as the spatial turn in order to evaluate its main contributions, and some potential future orientations, in Catalan cultural studies. The paper is divided into three parts. The first part provides an overview of the main approaches inside spatial studies. In the second part, a selection of studies on Catalan culture and literature is reviewed from the perspective of their connections with spatial studies. Finally, the third part presents three case studies focused on examples from Catalan poetry, film, and science fiction and interprets them from three different spatial perspectives: the first based on the phenomenological perspective, the second on the methodology of emotional and sensory geography and the concept of cognitive mapping , and the third on the spatial figurations of postmodern empire. This final section aims to broaden the applications of spatial analysis, extending it to the interpretation of an open, diverse selection of representations of contemporary Catalan culture.
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West, Adrian Nathan. „From Catalan Poetry to Fortuny Gowns: A Conversation with Pere Gimferrer“. World Literature Today 90, Nr. 2 (2016): 10–13. http://dx.doi.org/10.1353/wlt.2016.0170.
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Adrian Nathan West. „From Catalan Poetry to Fortuny Gowns: A Conversation with Pere Gimferrer“. World Literature Today 90, Nr. 2 (2016): 10. http://dx.doi.org/10.7588/worllitetoda.90.2.0010.
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Léglu, Catherine. „Cambra: Desire and Place in Troubadour Poetry and Medieval Catalan Narrative“. Exemplaria 22, Nr. 4 (Oktober 2010): 285–304. http://dx.doi.org/10.1179/104125710x12730486676180.
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TORRALBO CABALLERO, Juan de Dios. „EL COMPLEJO ECLECTICISMO DE LAS TRADUCCIONES EN LA REVISTA CÁNTICO COMO FISURAS IDEOLÓGICAS EN LA ÉPOCA DE FRANCO“. Signa: Revista de la Asociación Española de Semiótica 29 (08.04.2020): 807. http://dx.doi.org/10.5944/signa.vol29.2020.24144.
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Resumen: Este artículo estudia las traducciones de poesía en la revistaCántico a la luz de la era franquista. Se aborda la inclusión de poetascomunistas o socialistas como W. H. Auden, André Gide, Louis Aragony Salvatore Quasimodo analizando también la presencia de escritorespróximos al fascismo como Giuseppe Ungaretti. Destaca la existencia depoesía religiosa junto a la colaboración de escritores próximos al régimende Franco como Joaquín de Entrambasaguas, lo cual se interpreta nosolamente como predilección estética sino también como mecanismos paraevitar la censura. La inclusión de poesía catalana y gallega es otro aspectoque permite corroborar la apertura que esta revista aporta al panoramaliterario español. Abstract: This paper studies the translations of poetry in the journalCántico with reference to the Francoist age. It addresses the inclusionof Communist and Socialist poets like W.H. Auden, André Gide, LouisAragon, and Salvatore Quasimodo also analysing, conversely, the presenceof writers sympathetic to fascism, such as Giuseppe Ungaretti. It pointsout the presence of religious poetry, along with contributions by writers cosy with the Franco regime, like Joaquín Entrambasaguas, these being interpreted not only as aesthetic predilections, but also maneuvers to avoid censorship. The inclusion of poetry in Catalan and Galician is another aspect evidencing how the journal proved able to foster openness on the Spanish literary scene, despite the censorship to which it was exposed.
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Zaragoza Gómez, Verònica. „Poesia, ritual i cant per a la festa: l’univers creatiu i festiu dels poemes de vesticions i professions al convent de carmelites descalces de Barcelona (segle XVII)“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 7, Nr. 7 (29.06.2016): 160. http://dx.doi.org/10.7203/scripta.7.8475.
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Resum: En aquest treball analitzem les composicions escrites per a les cerimònies de presa d’hàbit i vel i la professió solemne al convent de la Immaculada Concepció de Barcelona. Aquests poemes amb què les religioses deixaven enrere la seva vida seglar i inauguraven un nou camí com a esposa de Jesucrist, amb una nova identitat construïda en la clausura, formen part d’un dels “subgèneres” poètics més importants i amb una presència més arrelada en la tradició poètica carmelitana femenina. Per a estudiar-los, en primer lloc, oferim una caracterització general necessària dels usos i funcions de la poesia i el cant al Carmel Descalç femení, aspecte que rarament havia estat tractat des d’una perspectiva catalana. En segon lloc, presentem i emmarquem un corpus tancat de vint-i-cinc composicions inèdites sobre vesticions i professions, que foren escrites per les monges mateixes i copiades posteriorment en el manuscrit de les carmelites descalces de Barcelona, recentment exhumat. N’analitzem les formes d’expressió poètica i els temes presents, per tractar d’extreure’n una identitat femenina carmelitana en el marc d’una tradició hispànica més àmplia. Paraules clau: Teresa d’Àvila, poesia carmelitana, manuscrits, àmbit català Abstract: In this essay we address one of the most important poetic subgenres in the tradition of Carmelite women: the works composed for ceremonies of vestition and solemn profession in which the nuns left behind his mundane life and opened a new life as the wife of Jesus. First of all, we provide a general overview of the customs and functions of the poetry in the Discalced Carmelites, which has been already analysed in the context of the Hispanic literature, but rarely from the perspective of the Catalan area. Secondly, we present and contextualize a corpus of twenty-five unpublished compositions on vestitions and professions, copied in the manuscript of the Discalced Carmelites of Barcelona.Keywords: Teresa d’Àvila, Carmelite Poetry, Manuscripts, Catalan area
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Aguilar Miró, Estel, und Martine Berthelot. „Inspiració popular i creació literària: uns quants exemples nord-catalans (1883-1960)“. Zeitschrift für Katalanistik 35 (01.07.2022): 9–32. http://dx.doi.org/10.46586/zfk.2022.9-32.
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How have northern Catalan writers used references present in the oral tradition (characters, places, themes and motifs) to recreate them and enrich their creative work? We will see, first, the influence of the tales, or what was left of the half-forgotten traditional tales, in the resumption or, properly said, re-elaboration made by poets such as Caseponce, Pons, Cerdà, Brazès, which allowed them to expand their creation rehearsing another literary genre. Then, looking at poetry, we will highlight the forms in which writers such as Pepratx, Bonafont or Berga merge popular poetry with their own poetic imagination.
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Micó, José María. „Translating Medieval Catalan Poetry Today: Jordi de Sant Jordi and Ausiàs March“. Translation Review 87, Nr. 1 (02.09.2013): 18–29. http://dx.doi.org/10.1080/07374836.2013.834687.
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Pauli, Xavier Montoliu. „Una bella alma por entre los días: Marin Sorescu, en catalán“. Translationes 5, Nr. 1 (01.01.2013): 82–91. http://dx.doi.org/10.2478/tran-2014-0092.
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Abstract The present paper is the first study about Marin Sorescu’s volume of poetry translated into Catalan language and entitled Per entre els dies. Antologia poètica. The translators of the volume are Corina Oproae and the very author of this article, while the poet Frances Parcerisas signs the foreword of the book, published in bilingual edition in 2013 by the Majorcan Publishing House Lleonard Muntaner Editor.
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Bou, Enric. „Fragmentary writing in J.V. Foix’s surrealist criticism and poetry“. Journal of Romance Studies 23, Nr. 4 (Dezember 2023): 487–509. http://dx.doi.org/10.3828/jrs.2023.22.
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This article addresses a little-known episode in the surrealist movement: the adventurous (if not hindered) integration of surrealism into Iberian literature and art, particularly J.V. Foix’s intervention through critical (in La Publicitat ) and poetical writing ( Gertrudis , 1927, and KRTU , 1932), and his collaboration with Salvador Dalí and Joan Miró. Foix accomplished the dynamic process of transforming and reconfiguring the meaning and function of surrealist aesthetics in Catalonia in a complex network and context. Reading Foix not only as a philological issue, but also against an international background, and from the fragmentary writing perspective, will enrich traditional approaches and provide an insight into Catalan surrealism.
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Kuzina, N. A. „The Origin and Formation of the National Symbols of Catalonia within the Framework of the Renaixença and their Visual Representation in the 19th Century“. Concept: philosophy, religion, culture 5, Nr. 4 (22.12.2021): 114–30. http://dx.doi.org/10.24833/2541-8831-2021-4-20-114-130.
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The article presents the study of national symbols of Catalonia: their emergence and visual representation in the art of the 19th century. National symbolic system of Catalonia date back to the Renaixença movement in literature that initiated the formation of the Catalan language and literature. The scope and purpose of the article included an investigation of the works of the most prominent representatives of the Catalan national renaissance in order to identify the origins of the symbols they deploy. Consideration of symbols serves the purpose of defining the way national aspects get their visual representation. The method of historical typology was used to systematize the sources. Memoirs and publications in the press were analyzed with the textual method, and visual materials – with stylistic and iconic methods. Detailed research of the works of Renaixença has shown that Catalan cultural code initially emerged in poetry. In the second half of the 19th century, the symbols acquired visuality in fine art, namely paintings and visual design of the front pages of Catalan newspapers and magazines. The article provides a detailed account of selected examples of such visuals. At that time, Catalan intellectuals created works devoted to the history of Catalan-speaking lands, seeking to find roots that would picture the ancient nature of their motherland. They searched the archives and looked into medieval literature and folklore to prove the continuity of prosperous medieval Catalonia, part of the Kingdom of Aragon, and nineteenth-century Catalonia. Thinking over national history gave birth to national identity. At the same time history acquired a visual dimension. Churches, monasteries, memorable dates, leaders and thinkers that bore distinct national identity were visualized. Medieval plots penetrated art that tapped into heroic deeds of the past for inspiration. The spread of visual images helped bridge the gap between past and present. The newly acquired continuity of tradition strengthened the national narrative. The process enabled the national unity of the Catalan people with the central idea of an imaginary community of a nation-state.
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Fernández, José Francisco. „Forked tongues: Galician, Basque and Catalan women's poetry in translations by Irish writers“. Irish Studies Review 22, Nr. 1 (02.01.2014): 125–27. http://dx.doi.org/10.1080/09670882.2013.872377.
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Garcia i Ribes, José Antonio. „L’humor en la poesia catalana de la Guerra dels Segadors“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (06.12.2017): 148. http://dx.doi.org/10.7203/scripta.10.11079.
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Resum: En aquest estudi ens ocuparem, en una primera aproximació, de l’element humorístic en la poesia escrita sobre –i per a– la Guerra dels Segadors en el context de l’anomenada «guerra de papers». D’entre aquesta producció s’estudia la que va ser escrita en català, raó per la qual la majoria d’autors i poemes del corpus són del Principat. Al llarg de les pàgines d’aquest article també definirem què conforma l’element humorístic. Amb aquesta finalitat, es realitzarà sempre l’esforç d’aïllar i diferenciar allò que ens resulta humorístic en l’actualitat d’allò que els devia paréixer còmic als homes del Barroc. Paraules clau: Poesia en català, humor, segle XVII, Barroc, Guerra dels Segadorl Abstract: This article is a brief introduction to the study of the humorous element in the poetry written above –and for– the War of Reapers in the context of so-called War of Papers. Betwen this production we will study that written in catalan, this is the reason why most autors and poems of the corpus are of the Principat. Throughout the pages of this article we will also define what constitutes the humoruous element. For this purpose, will be always the effort to isolate and differenciate what is humorous to us today of what should seem comical to the inhabitants of the Baroque. Keywords: Poetry in Catalan, humor, 17th century, Baroque, War of the Reapers
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Balcells, José María. „Poesía Hispánica japonesista“. Estudios Humanísticos. Filología, Nr. 18 (15.12.1996): 93. http://dx.doi.org/10.18002/ehf.v0i18.4078.
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<span class="titulo">This article briefly describes the characteristics of the most typical poetry from the Classic Japanese Literature. It also gives data about the influence of this poetic modality on the Hispanic Literatures, particularly on the Spanish and Catalan ones. In the final part of this article ave try to explain some of the differences between the original Japanese model and the Japanese models produced by several authors from the two peninsular Hispanic Literatures mentioned above</span>
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Zaragoza, Verònica. „Escriure poesia al convent: entre la devoció i l’obediència. Primera aproximació a un manuscrit femení del segle XVIII“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 1, Nr. 1 (17.06.2013): 333. http://dx.doi.org/10.7203/scripta.1.2590.
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Resum: El manuscrit que ens disposem a donar a conèixer és un tresor documental interessantíssim per abordar l’estudi dels usos poètics de les dones d’època moderna als territoris de parla catalana, no només pel nombre de composicions recuperades d’una mateixa autora (un total de 53 poesies espirituals, no catalogades i desconegudes fins ara) sinó perquè es tracta d’un dels pocs autògrafs femenins accessibles per a la recerca. La inexistència de treballs dedicats exclusivament a la poesia femenina d’època moderna al panorama català, ens obliga necessàriament a iniciar el treball amb una primera part introductòria dedicada a qu?estions relatives als usos poètics de les dones dels segles XVI-XVIII, tot centrant-nos en algunes autores de l’àmbit conventual, al qual pertany el manuscrit objecte d’estudi. En la segona part del treball, ens centrem particularment en l’anàlisi i estudi del manuscrit. Així doncs, en una primera aproximació, descrivim el contingut del quadern, íntegrament en castellà, que recull composicions de caire espiritual i devot, i esbossem les dades biogràfiques de l’autora, la religiosa dominica sor Eulària Teixidor. Tot partint dels interessants estudis apareguts en els darrers anys sobre la literatura conventual femenina, intentem vincular aquest manuscrit amb la variada producció monàstica escrita per nombroses religioses de l’època sota manament del confessor.Paraules clau: Estudis de gènere; Literatura femenina conventual; Poesia religiosa; Eulària Teixidor; ManuscritAbstract: The manuscript that we are presenting is a fascinating and highly valuable document to study the catalan women poetry in the Modern Age, not only because of the number of recovered pieces from the same author (53 unknown spiritual poems not yet catalogued), but also because it is one of the few feminine manuscripts accessible for research. The lack of works exclusively dedicated to the feminine poetry in the Catalan-speaking countries in the Modern Age compels us to start the work with some general considerations concerning poetical works of women in the 16th-18th centuries, focusing on the conventual literature, which the manuscript belongs to. As a first approximation, we describe the content of the manuscript, which is entirely written in Spanish, that includes spiritual and pious compositions and we provide some biographical information of the author, the dominican Sister Eulària Teixidor, so far undiscovered. Relying on the recent interesting studies published on Women’s Monastic Literature, we try to establish connections between this manuscript and the varied monastic literature, produced by numerous nuns in this period under the order of the confessor.Key words: Gender Studies; Women’s Monastic Literature; Religious Poetry; Eulària Teixidor; Manuscript
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Maestre Brotons, Antoni. „The Suffering Body in Pepe Sales's Poetry“. Cultura, Lenguaje y Representación 29 (13.11.2022): 45–59. http://dx.doi.org/10.6035/clr.6399.
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The poems of Pepe Sales (Barcelona, 1954-1994) are marked by his experience as a homosexual, drug addict and AIDS sufferer. He was a key member of the Barcelona counterculture, along with Pau Riba, Pau Malvido and Genís Cano, and has gone down in history as one of the poètes maudits of contemporary Catalan literature. The aim of this article is to analyse the representation of pain and distress in his poems and songs, with some additional references to his paintings. To this end, I draw on the critical work of Susan Sontag, Sara Ahmed, David Le Breton and Joanna Bourke, who conceive pain in general, not as a private and personal experience, but as a cultural and historical event that creates identity and community bonds. The main strategies used by Sales to convey his pain are the scream, animalisation, weapons and wounds and, especially, religious martyrdom. The basic finding is that the poet’s pain is not simply a testimony to the suffering of a lost generation of junkies and misfits that the official account of the transition from Francoism to democracy has stigmatised. On the contrary, it reminds us of an unfair medical, political and financial system that inflicted great suffering on them.
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Cocozzella, Peter. „A Catalan <i>Cobla Sparsa</i> of the Fifteenth Century: An Icon of Ambivalence in the Misogynistic Background of Celestina, Act I“. Zeitschrift für Katalanistik 27 (01.07.2014): 157–87. http://dx.doi.org/10.46586/zfk.2014.157-187.
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Summary: A short one-stanza poem, identified by the rubric «Cobla sparsa de lahor he deslaor,» is emblematic of the ambivalence that informs the «Maldezir de mugeres,» signature piece of Pere Torroella, renowned Catalan writer of the fifteenth century. The present essay is an attempt to demonstrate how the alternation of laor (‘praise’) and deslaor (‘unpraise’) plays a paramount role within the wide context of the debate about women in both Castilian and Catalan literature of the 1400s. For a background of that debate, I adduce evidence in the poetry of the troubadours and in the cants of the nonpareil Valencian bard, Ausiàs March. Ultimately, the paradoxical laor/deslaor conflation reflects a two-pronged phenomenology: 1) the tradition of dysfunctional rhetoric that comes to a head in the fractious dialogue illustrated in Act I of the Tragicomedia de Calisto y Melibea, better known as Celestina; 2) the definition of Torroella’s self-fashioning in terms of the process of coming to grips with the authenticity of a lover’s experience. [Keywords: «Gender debate»; irony; maldit; misogyny; repetitio; «textual community»]
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Valsalobre, Pep. „Sobre la transmissió manuscrita de l'obra poètica de Francesc Fontanella: els cançoners principals i l'ordenació dels textos“. Zeitschrift für Katalanistik 28 (01.07.2015): 167–86. http://dx.doi.org/10.46586/zfk.2015.167-186.
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Summary: The poetic oeuvre of the baroque poet Francesc Fontanella (1622–1682/83) was widely known. We still keep thirty-seven witnesses of his work: thirty-one are manuscripts and six are printed copies. Despite the fact that his poems have been generally regarded as following a disordered arrangement, this paper proposes two nuances to this perception: on the one hand, the analysis of Fontanella’s poetry transmission allows us to define a micro organization through well defined cycles in accordance with subject, addressees, writing circumstances, etc.; on the other hand, we can classify a large number of Fontanella’s poetry through the comparison of the disposition of the poems both in his books and in the miscellaneous collections which contain a critical number of his poems. The outcome are three large sets of manuscripts. The resulting data has been supported by the comparative analysis of its rubrics. Both factors offer a guideline to understand the poetic works of the Barcelona poet and playwright and collaborate with the ecdotic analysis to build a critical edition of his poetic oeuvre. [Keywords: Francesc Fontanella; baroque poetry; modern Catalan literature; textual criticism; codicology]
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Nogueras Valdivieso, Enrique J., und Lourdes Sánchez Rodrigo. „Els poetes com a traductors: Kavafis en català, Kavafis en castellà“. Zeitschrift für Katalanistik 7 (01.07.1994): 117–29. http://dx.doi.org/10.46586/zfk.1994.117-129.
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This essay examines the translations made by poets of the poetry of the modern Greek writer Konstantinos Kavafis. The authors decide between technical and lyrical translations; Greek culture played a crucial role in the development of the latter. The differences between the two types of translation are methodological and aesthetic. The "poet-translator" always remains a poet and must therefore be careful not to change the original text too far. The most important Kavafis translations by the poets J. M. Álvarez (into Spanish) and Carles Riba (into Catalan) are compared; they are based on various criteria such as literalness or faithful reproduction.
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Pujol i Coll, Josep. „Ressonàncies musicals en l’obra de Fontanella“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, Nr. 11 (11.06.2018): 170. http://dx.doi.org/10.7203/scripta.11.12591.
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Resum: En referència a la poesia de Francesc Fontanella, l’article assenyala primerament la presència del compositor Joan Cererols com a poeta en català al seu Vexamen, una dada que ha passat inadvertida en els cercles musicològics. Seguidament fa un recompte de les poesies de Fontanella amb vincles musicals, sobretot amb els vilancets. Per últim, recupera algunes melodies que, com a contrafacta, encaixen amb les seves lletres per a cantar.
Paraules clau: Francesc Fontanella, segle XVII, música, cançoners, contrafacta.
Abstract: Referring to the Francesc Fontanella’s poetry, the article first notes the presence of the composer Joan Cererols as a poet in Catalan at his Vexamen, a fact that has gone unnoticed in musicological circles. Then it links the poetry of Fontanella with musical genres, especially with the villancicos. Finally, it retrieves some melodies that, as contrafacta, fit with his lyrics to sing them.
Keywords: Francesc Fontanella, 17th century, music, songbooks, contrafacta.
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Puppo, Ronald. „Making room for small-language imports: Jacint Verdaguer“. Babel. Revue internationale de la traduction / International Journal of Translation 56, Nr. 3 (28.10.2010): 259–81. http://dx.doi.org/10.1075/babel.56.3.04pup.
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This essay discusses translation and translator choices in the context of importing a small-language poet into English-language circulation. Small-language imports play a modest but supporting role in counteracting the sort of cultural daltonism that screens any number of cultures and literatures from general global view. Taking the first English-language anthology of poetry by nineteenth-century Catalan-language poet Jacint Verdaguer (<i>Selected Poems of Jacint Verdaguer: A Bilingual Edition</i>, University of Chicago, 2007) as a case in point, the author/translator argues that if the native-culture value of poetic production is to be preserved in the new cultural and literary currency, contextual essentials (historical, social, literary) must be brought to light. Where the texts themselves are concerned, the translator of poetry must seek to re-create the form-content synthesis of the original, even as new intratextual and intertextual meanings and correspondences emerge in translation.
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Kurek, Marcin. „“Poema por contacto” como corriente oculta de la poesía moderna“. Estudios Hispánicos 27 (29.01.2020): 211–20. http://dx.doi.org/10.19195/2084-2546.27.18.
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“Contact poem” as a hidden current of modern poetryThe aim of this text is to indicate possible senses of development of some of the ideas exposed previously in my studies on the literary poetry of the Catalan artist and writer Joan Brossa. In particular, I refer to the concept of “contact poemˮ interpreted in terms of a semiological analogy of photography that we consider as a modern technique and art par excellence, being probably the most radical and influential invention for culture of the last two centuries. In this sense, it is interesting to see if the consequences of the predominance of visual codes for the development of modern poetry can rather be perceived as a norm beyond the Brossian experiments of an avant-garde nature. Following a theoretical approach based on the ideas of V. Flusser and A. Rouillé, some of Brossaʼs texts are analysed from the perspective of visualisation techniques and linked to another literary example, the novel Pale Fire by V. Nabokov.
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Cortés Jornet, Marina. „Manuela Agnés Rausell i Soriano i el trencament de la tradició narrativa“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, Nr. 22 (03.12.2023): 128. http://dx.doi.org/10.7203/scripta.22.27822.
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Resum: Manuela Agnés Rausell i Soriano (València, 1839-1918) fou una de les escriptores més rellevants de la Renaixença al País Valencià, que va contribuir al moviment cultural com a mecenes i amb una obra vasta i diversa: poesia, assaig, teatre i narrativa, en valencià i en castellà. És en l’àmbit de la narrativa catalana que es considera una figura trencadora, tenint en compte el panorama narratiu valencià del segle XIX, amb pocs testimonis i de poca ambició literària. Rausell, per la seua banda, aposta per la narrativa històrica i tenim constància de tres llegendes seues: La llegenda del Puig (inèdita), La mort d’en Ramon Boïl (1883) i Centelles i Solers o un amor entre dos odis (1884). Aquestes llegendes es caracteritzen per una sèrie de trets pertanyents al romanticisme històric i mostren els recursos, els temes i el model de llengua culta promoguts pels Jocs Florals. Rausell es proposa produir narrativa seguint les premisses de la poesia culta, en un intent d’innovació del gènere respecte de la narrativa coetània que s’escrivia a Catalunya i en altres llengües europees.Paraules clau: Renaixença valenciana, romanticisme, narrativa històrica, Manuela Agnés Rausell i Soriano, segle XIXAbstract: Manuela Agnés Rausell i Soriano (València, 1839-1918) was one of the most relevant female writers of the Valencian Renaixença, who contributed to this cultural movement as a sponsor and with a vast and diverse work: poetry, essays, drama and prose in Catalan and Spanish. She is considered an innovative figure in Catalan fiction, bearing in mind the outlook of Valencian prose during the 19th century, marked by testimonies of little literary ambition. Rausell wrote historical fiction, and three legends are known to be written by her: La llegenda del Puig (unpublished), La mort d’en Ramon Boïl (1883) and Centelles i Solers o un amor entre dos odis (1884). These legends boast several characteristics typical of historical romanticism and show the resources, themes and model of cultured language promoted by the Jocs Florals contest. Rausell intended to write prose following the premise for learned poetry and this allows to consider her contribution as an attempt to innovate the genre with respect to the contemporary prose written in Catalonia and in other European languages.Keywords: Valencian Renaixença, romanticism, historical fiction, Manuela Agnés Rausell i Soriano, 19th century
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Reynolds, Dwight F. „Music, Poetry, and Lingua Franca in Medieval Iberia“. Philological Encounters 2, Nr. 1-2 (09.01.2017): 76–94. http://dx.doi.org/10.1163/24519197-00000016.
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This essay examines three different points of cultural contact between Muslims and Christians in medieval Iberia as documented in three different bodies of texts. In each example, the use of a lingua franca results in the exchange of cultural ideas and the re-presentation of one group in the language of another. The first point of contact is in the court of Córdoba in the early 9th century as recorded in an Arabic biography of a musician, which has survived only as excerpted in a later encyclopedia compiled across the Mediterranean in Syria in the 14th century. The second point of contact takes place only a few decades later, also in Córdoba, and is documented in a Latin epistle composed by a Christian during a period of increasing tension between Muslims and Christians. The third point of contact occurs in Aragon and Catalonia in the late 14th and early 15th century, where ‘Moorish’ and Jewish musicians and dancers were regularly hired to perform at the courts of the royal family and other nobles, the evidence for which is found in financial records composed in Old Catalan. Each of these examples provides evidence of cultural contact that could significantly change our understanding of the relationship between cultural and linguistic groups in this period.