Cette thèse a pour objet la recension, la description et l'analyse de la poésie visuelle de Joan Brossa (1919-1998), considéré comme l'un des grands représentants de la poésie expérimentale de la deuxième moitié du XXe siècle. Combinant les techniques des arts plastiques et de la littérature, ce corpus constitue une forme d’expression spécifique, difficile à définir et à circonscrire, mais qui occupe une place centrale dans l’œuvre du poète. La poésie visuelle s’inscrit dans l'évolution de la poésie d'avant-garde, du début du XXe siècle à l'art contemporain. C’est en retraçant cette histoire que nous pourrons justifier la méthode et les critères retenus pour établir le catalogue qui comprend plus d'un millier d'œuvres. Nous serons alors en mesure de proposer une définition du poème visuel, qu’il se présente de manière isolée, ou dans les recueils pour lesquels Brossa les a conçus à l'origine.Etant dépourvu de texte, le poème visuel peut-il s’expliquer par son contexte ? Rien n’est moins sûr, car ici le contexte est un matériau prélevé directement sur le « réel sociologique », pour parler avec les Nouveaux Réalistes parisiens, dont les préoccupations sont très proches de celles du poète catalan. L’examen de son œuvre visuelle permet ainsi d’éclairer sa poétique dans son ensemble. Pour Brossa, la poésie n'est pas ou n’est plus exclusivement littéraire. Son objectif principal, tant comme écrivain que comme plasticien, est d'observer la réalité avec la réalité, de l'avoir entre les mains, et de la présenter sur le papier d'une manière non pas neutre, mais retenue, afin de donner au regardeur le loisir d'entrer en scène : la page est un cadre qui ne fournit nul cadrage. / This PhD dissertation is dedicated to the review, the description and the analysis of the visual poetry of Joan Brossa (1919-1998), who is considered one of the most representative figures of the experimental poetry movement of the second half of the 20th century. This corpus combining fine arts and literature techniques is a unique form of expression which is hard to define and circumscribe, but which is central to the work of the poet. Visual poetry is an integral part of the evolution of avant-garde poetry, from the early 20th century to contemporary art. Tracing this history allows us to justify the method and the criteria chosen to establish the catalogue of over a thousand works. This leads us to offering a definition of the visual poem, whether presented in isolation or within the collections of poems Brossa originally created them for. Deprived of a text, can the visual poem be explained through its context? Nothing is less certain because in this case the context is some material directly removed from the “sociological real”, to refer to the New Realists in Paris whose concerns were very similar to the Catalan poet’s. Examining his visual works therefore sheds light on his poetry as a whole. According to Brossa, poetry is not, or no longer is, exclusively literary. His main objective, as a writer and as an artist, is to observe reality with reality, to hold it in his hands and to present it on paper in a way that is not neutral but controlled in order to allow the beholder to enter the scene: the page is a frame with no framing.

Estudi de conjunt de la figura i l'obra de fra Agustí Eura i a l'edició crítica de la seva poesia completa. La tesi està publicada en 2 obres impreses. Les referències es localitzen a Qüern 5, refs. 1298 i 1301

Trad. de l'allemand de: Tesi doct.--Universitat de Basilea, 1985. / Bibliogr. p. 336-341.

Rational Catalan combinatorics connects various Catalan numbers to the representation theory of rational Cherednik algebras for Coxeter and complex reflection groups. Lewis, Reiner, and Stanton seek a theory of rational Catalan combinatorics for the general linear group over a finite field. The finite general linear group is a modular reflection group that behaves like a finite Coxeter group. They conjecture a Hilbert series for a space of invariants under the action of this group using (q,t)-binomial coefficients. They consider the finite general linear group acting on the quotient of a polynomial ring by iterated powers of the irrelevant ideal under the Frobenius map. Often conjectures about reflection groups are solved by considering the local case of a group fixing one hyperplane and then extending via the theory of hyperplane arrangements to the full group. The Lewis, Reiner and Stanton conjecture had not previously been formulated for groups fixing a hyperplane. We formulate and prove their conjecture in this local case.

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L'humor permet entendre i organitzar el món. És un aspecte en l'educació de la identitat cultural que comença tan aviat com la canalla pot seguir una narració oral, i que s'intensifica a mesura que la lectura esdevé un hàbit. L'humor escrit ofereix recursos expressius i camps semàntics determinats per la llengua, i continguts i referents culturals determinats pels valors socials; el seu codi inclou convencions amb el lector sobre la presentació i l'argument. Com a estratègia d'adaptació, l'humor es va modificant segons les circumstàncies socials al llarg del temps. El present treball es centra en la literatura per a infants i joves escrita en català com a idioma original i editada entre el 1904 i el 2004. / Humour helps us to understand and organise the world. It is an aspect in the formation of cultural identities which develops as soon as children can follow an oral narrative, and is further intensified as reading becomes a habit. Written humour displays expressive resources and semantic fields determined by the language, and contents and referents determined by social values; its code includes conventions with the reader regarding form and plot. Being a social strategy, humour evolves through time depending on the circumstances. This research focuses on literature for children and adolescents originally written in the Catalan language and published between 1904 and 2004.

This essay involves comparing the Catalan and Spanish (not Catalan) ethnic groups, the two main groups found in Spain, in terms of linguistics. As both groups have their own language, we will be focusing on what attitude each group has in regards to the Catalan and Spanish language. In addition, we will be investigating their attitudes about the people belonging to these two ethnic groups. The purpose of this study is to affirm if these groups have a positive or negative attitude regarding each other, specifically in terms of language. As language is a part of the ethnic identity, we will also analyze which components of the ethnic identity are most important to each group. In order to achieve this, we will first and foremost study closely, and present, the concept of ethnic identity and its various components. We made use of questionnaires in order to gather information about the Catalan and Spanish (not Catalan) people and their languages, which were answered by 60 Catalans and 30 Spaniards.

Aquesta tesi doctoral documenta els actors principals i secundaris del fenomen del revisionisme històric i del negacionisme en relació a la història de la persecució política de la llengua catalana i analitza els arguments del revisionisme des de la transició democràtica espanyola fins als nostres dies, amb especial èmfasi en la relativització de la política lingüística de la dinastia borbònica en els segles XVIII i XIX, l’edulcorament de la repressió cultural de la dictadura de Miguel Primo de Rivera i la minimització de l’intent de genocidi cultural franquista. Aquesta anàlisi del discurs revisionista finalitza amb unes conclusions que expliquen el rerefons profund d’aquest fenomen en l’actualitat. / Esta tesis doctoral documenta los actores principales y secundarios del fenómeno del revisionismo histórico y del negacionismo en relación con la historia de la persecución política de la lengua catalana y analiza los argumentos del revisionismo desde la transición democrática española hasta nuestros días, con especial énfasis en la relativización de la política lingüística de la dinastía borbónica en los siglos XVIII y XIX, el edulcoramiento de la represión cultural de la dictadura de Primo de Rivera y la minimización del intento de genocidio cultural franquista. Este análisis del discurso revisionista finaliza con unas conclusiones que explican el trasfondo profundo de este fenómeno en la actualidad. / This thesis documents the leading and supporting protagonists of the historical revisionism and denial phenomenon regarding the history of political persecution of the Catalan language and analyzes the arguments for revisionism from the transition to democracy in Spain until the present day, with special emphasis on the playing down of the language policy of the Bourbon dynasty in the eighteenth and nineteenth centuries, the easing of the cultural repression of the Miguel Primo de Rivera dictatorship and the minimization of the attempted cultural genocide of the Franco regime. This revisionist discourse analysis reaches conclusions to explain the deep background of this phenomenon.

"La projecció d'un ideal estètic durant el Noucentisme. Josep Aragay i Blanchar (1889-1973)" es el primer estudi integral dedicat a aquest artista i teòric del Noucentisme. La tesi analitza amb profunditat la trajectòria d’Aragay com a dibuixant, pintor, gravador i ceramista, però també com a poeta, professor i polític; a més del paper que va exercir com a crític, polemista i teòric de l’art. La tesi posa de manifest la labor artística i intel•lectual d’aquest personatge que va assumir, defensar i projectar, fins el final de la seva vida, aquell ideal estètic de signe mediterraneista i classitzant, que sorgia a Catalunya a principis del segle XX. / "La projecció d'un ideal estètic durant el Noucentisme. Josep Aragay i Blanchar (1889-1973)" is the first comprehensive work based on this artist and theoretician of the Noucentisme’s movement. The above-mentioned doctoral thesis, studies his career not only as a draughtsman, painter, engraver and potter but also as a poet, lecturer and politician, besides his production as a brilliant polemicist and theoretician of Art. The Thesis stresses an artistic and intellectual work of Aragay who assumed, defended and projected, until the end of his days, those aesthetics ideals of a Mediterranean and Classicistic style that emerged in Catalonia on the early XX century.

La Chronique universelle de la Création jusqu'à Constantin, demeurée à ce jour inédite dans sa version occitane complète, voit probablement le jour en terre catalane au tout début du quatorzième siècle, avant d'être traduite en occitan et en italien. Copié aux confins du Languedoc et de la Provence, le manuscrit D présente une langue influencée par le catalan et teintée de français. Quant au manuscrit G, copié en Béarn et bien connu sous le nom de Récits d'Histoire Sainte en Béarnais depuis son édition par Lespy et Raymond, en plus de conserver le seul texte littéraire béarnais de cette époque, il a connu une longévité exceptionnelle puisqu'il fut en usage jusqu'au dix-huitième siècle. / The Chronique universelle de la Création jusqu’à Constantin, which has remained unpublished to this day in its complete Occitan version, probably appeared in Catalonia at the beginning of the fourteenth century, before being translated into Occitan and Italian. Copied on the borders of Languedoc and Provence, Manuscript D contains language that has been influenced by Catalan tinged with French. As for Manuscript G, which was copied in Bearn and has been well knownunder the name of Récits d’Histoire Sainte en Béarnais since it was published by Lespy and Raymond, in addition to preserving the only Bearnese literary text from this period, it is exceptional for the length of time that it was used, that is, up until the eighteenth century.