First, this thesis aims to find, classify and explain the different reasons why the inhabitants of Barcelona use Catalan, Castilian or both languages according to a given situation. On the other hand, based on the results, it is intended to better understand the situation in Catalonia and the Catalans in a sociolinguistic field. The focus lies on answering the question “Is there a language that is preferably used by citizens living in Barcelona?”. With the use of a quantitative method analysis this thesis will reveal if there is a determining variable that influences when choosing Catalan or Castilian? Diferent types of resources have been used to verify and have legitimacy in the arguments presented in the thesis. The historical moments survived by the Catalan inhabitants, the identity (culture and linguistic) that they managed to preserve, and the bilingualism that exists in Barcelona, are topics that will pervade through the entire thesis. The result of the study shows that the respondents generally prefer to use Castilian rather than Catalan, for the reason of the origins (parents or grandparents) from outside Catalonia.

This study focuses on the Catalan language of Catalonia, a region located in the east of Spain. There are many immigrants living in this region who decide to learn the Catalan language in hope of finding a job or to integrate in the Catalan society. The main aim of this study was to discover the types of language attitudes the beginners of Catalan show towards this language (general, instrumental and integrative attitudes). Language attitudes are of importance because it can indicate the “health” of a minority language, such as is usually considered Catalan. The method applied was direct, where the informants had to answer a written questionnaire. The results of the study show positive attitudes towards the Catalan language and its general use in Catalonia. The main conclusions of the study were that the informants showed positive and slightly more instrumental attitudes towards Catalan, indicating that the main motive of learning the language was more of practical use than integrative motives.

Die durch die franquistische Historiografie verzerrte Darstellung der geschichtlichen Ereignisse im Spanien des 20. Jahrhunderts betrifft besonders den spanischen Bürgerkrieg und die unmittelbar darauf folgenden Jahre. Durch den „Pakt des Vergessens“ wurde die Aufarbeitung dieser Zeit mit ihren grausamen Verfolgungen Andersdenkender und der Jahre des Hungers zunächst erschwert und so drohten die geschichtlichen Ereignisse dem tatsächlichen Vergessen anheim zu fallen (vgl. Macher 2002). Der Roman „Pa Negre“ und seine gleichnamige filmische Literaturadaption leisten einen Beitrag gegen dieses Vergessen, besonders für die unter Franco unterdrückte katalanische Minderheit. Indem sowohl Emili Teixidor, der Autor des Romans, als auch Agustí Villaronga, der Regisseur der gleichnamigen Filmadaption, die Geschichte der „Verlierer“ erzählen, zeichnen sie ein Bild des ganz gewöhnlichen faschistischen Alltags der 40er Jahre des 20. Jahrhunderts, in denen in Spanien die neue, franquistische Ordnung installiert wurde. „Pa Negre“ ist die Geschichte eines 11-jährigen Jungen, dessen Unkenntnis der Umstände ihn mit unschuldigen Augen auf die Welt der Erwachsenen schauen lässt, wodurch er Korruption, Irrationalität und Heuchelei entlarvt. Aus den Widersprüchlichkeiten, in die die Menschen seiner Umgebung verstrickt sind, zieht er seine eigenen Schlüsse. Stück für Stück entfernt er sich von seiner Familie, um die Atmosphäre aus Unsicherheit und erzwungenem Schweigen hinter sich lassen zu können. So wie viele andere in seinem Land zog er sich in das innere Exil zurück (vgl. Glenn 2012). In der vorliegenden Arbeit werden der Film und seine Literaturvorlage hinsichtlich der Unterschiede und der Gemeinsamkeiten in den Ausdrucksweisen des Filmregisseurs und des Romanautors und hinsichtlich der Merkmale fingierter Mündlichkeit miteinander vergleichen. Nach einer Einleitung geht es im 2. Kapitel zunächst um die theoretischen Grundlagen für eine Analyse der Dialoge des Romans und des durch die Produzentin des Films zur Verfügung gestellten Drehbuchs hinsichtlich der in ihnen vorhandenen Merkmale von Mündlichkeit bzw. der zu erwartenden Probleme und Tendenzen bezüglich der fingierten Mündlichkeit bei der Anfertigung der deutschen Untertitel zum Film und der Übersetzung eines Kapitels des Romans. Ausgehend vom Modell des Nähe/Distanz-Kontinuums von Koch und Oesterreicher (2011) wird dabei näher auf die Aspekte der Nähesprache in der deutschen und katalanischen Sprache eingegangen. Insbesondere wird ein Überblick über die diasystematischen Varietäten des Katalanischen und eine kurze historische Darstellung der diatopischen Varietäten und ihrer Rolle im Standardisierungsprozess in Katalonien gegeben. Im 3. Kapitel werden der Film und der Roman als Gegenstand der Untersuchung vorgestellt und historisch eingeordnet. Unterschiede und Gemeinsamkeiten zwischen den Ausdrucksweisen beider Werke werden auf der Grundlage theoretischer Betrachtungen zur Filmadaption untersucht. Das 4. Kapitel ist der Analyse der in den beiden Werken zu findenden Merkmale von Mündlichkeit und den Problemen und Lösungen bei der Übersetzung dieser Merkmale gewidmet.

The language contact of the inflectional Romani and Spanish, Catalan and other languages of the Iberian Peninsula began in the first half of the 15th century. A long- term and immediate contact between Romani and a language of the majority in several places of Europe resulted in emergence of so called Para-Romani varieties, mixed languages which predominantly make use of the grammar of the surrounding language, whereas the Romani-derived vocabulary is at least partly retained. In the Iberian Peninsula several Para-Romani varieties emerged. The process of their phonological, morphological and lexical evolution from the inflectional Iberian Romani is described in the first part of this thesis. The original form of the Iberian Romani of the 15th century was - according to our opinion - similar to so called early Romani of the Byzantine period that is supposed to end by the 14th century when the Romani language started to disperse throughout Europe. The influence of Spanish (and other languages of the Iberian Peninsula) is evident not only in the morphology and syntax, but also in phonology and semantics of the Iberian Para-Romani varieties. On the other hand, the Romani elements conserved in these varieties show archaic features as well as specific innovations and many of them can hardly be assigned...

Le poète Salvador Espriu (1913-1985) est l’auteur d’une œuvre méditant sur l’absence. Son long poème composite, écrit sur plusieurs décennies, donne à penser l’inscription du poème comme expression singulière dans l’horizon de l’œuvre entrevue comme itinéraire spirituel. Le poème d’Espriu est hanté par la possibilité de se saisir, par les moyens du langage, de ce qui ne s’offre pas aux sens. Afin de comprendre cette articulation du sensible (le poème, la langue, la présence) et du suprasensible (la poésie, l’œuvre, l’absence), je fais appel à la notion de désir, envisagée à la fois comme pulsion fondamentale du littéraire, et comme représentation du discours figuratif. Dans le but de dépouiller ce désir des métaphores qui correspondent à la thématique amoureuse, et pour en dégager la forme d’un élan, je passe par l’archive des représentations d’Éros dans des textes de la tradition européenne (Platon, Apulée, Dante, Llull), avant d’interroger le désir à l’œuvre dans la poétique de Salvador Espriu, ce désir qui fouille les images de la mort, les mots de la langue catalane et les inscriptions littéraires et religieuses, s’en servant comme appui pour accéder à ce qui les dépasse. / The poet Salvador Espriu (1913-1985) is the author of a body of work that meditates on absence. His long composite poem, written over several decades suggests the inscription of the poem as a singular expression in the horizon of the work seen as a spiritual itinerary. Espriu’s poem is haunted by the possibility of grasping, through language, what is not available to the senses. So as to understand this articulation of the sensible (poem, language, presence) and the suprasensible (poetry, the work, absence), I call on the notion of desire, considered both as a fundamental drive of the literary and as a representation of figurative discourse. In order to strip this desire of the metaphors that correspond to the theme of love, and to extract the shape of an impulse I pass through archive of representations of Eros in texts from the European literary tradition (Plato, Apuleius, Dante, Llull), before questioning the desire at work in Salvador Espriu’s poetics, this desire which delves in the images of death, the words of the Catalan language and literary and religious inscriptions, using them as a support to access what is beyond them.

This thesis studies the impact of the work of Elena Jordi during the first Spanish avant-garde period (1890-1920) and the relationship between the myth of Thaïs and her homonymous film released in 1918. Here I track the trajectory of her career from its beginnings to culmination, when she directed Thaïs while leading an innovative vaudeville theatre company. The first chapter discusses the activity of Jordi as a Catalan actress, and woman entrepreneur in vaudeville. It analyzes the effect of the introduction of foreign vaudevilles on the reception of her work by critics through the theorization of Herni Gidel´s on vaudeville as genre. The second chapter reviews the cinematographic work of Jordi and situates it within the context of Catalan cinema´s early development as Spain´s first woman film director. After reflecting about the possible cultural influences that informed Jordi’s Thaïs, I explore the literary origins of the Legend of the Saint, an hagiography of Greek origins, and review relevant literary, operatic, and cinematic productions that incorporated this myth during the early Spanish avant-garde period. My conclusion highlights the original and similar features of Elena Jordi and Thaïs in their respective fields and different manifestations, simultaneously placing Jordi’s Thaïs in dialogue with the myth´s resurrection and its impact on the avant-garde feminist milieu. This demonstrates the formative influence of both Jordi as a pioneering artist and the enduring cultural influence of the myth of Thais on twentieth-century cultural production.

(in English): The aim of this diploma thesis is to analyze the representation of the co-official language and Castilian in the language expression in the autonomous televisions of Catalonia (TV3), Galicia (TVG) and the Basque Country (ETB1, ETB2). Before performing this analysis, the fundamental concepts related to our topic will be defined, followed by introducing basic information about individual autonomous areas and their televisions. Subsequently, we will provide an overview of the theoretical level of the concept of language policies of individual televisions. After that, an analysis will be carried out, during which we will focus not only on the ratio of Castilian and the co-official language in individual channels, but also on the dubbing and the subtitles of Castilian and the co-official language.

No description available.

Diffuse idiopathic skeletal hyperostosis (DISH) is a spondyloarthropathy traditionally defined as having spinal and extra-spinal manifestations. However its diagnostic criteria only allow the identification of advanced DISH and there is little consensus regarding the extra-spinal enthesopathies. In this project, individuals with DISH from the WM Bass Donated Skeletal Collection were analysed to investigate the pathogenesis of DISH and archaeological English and Catalan samples (3rd–18th century AD) were studied to investigate how diet might have influenced the development of DISH. From the individuals from the Bass Collection, isolated vertical lesions representing the early stages of DISH (‘early DISH’) were identified. Both sample sets showed that the presence of extra-spinal manifestations varies significantly between individuals and that discarthrosis and DISH can co-exist in the same individual. In all archaeological samples, the prevalence of DISH was significantly higher in males and older individuals showed a higher prevalence of DISH. In both regions, the prevalence of DISH was the lowest in the Roman samples, the highest in the early medieval ones and intermediate in the late medieval samples. While when using documentary resources and archaeological data, it was hypothesised that the prevalence of DISH in the English and Catalan samples might have been different, the results show no significant differences even if English samples tend to show higher prevalence of DISH than the Catalan samples. This possibly suggests that the development of DISH depends on a combination of dietary habits and, possibly, genetic predisposition might influence the development of DISH. The individuals from the Bass Collection showed high prevalence of metabolic and cardiovascular conditions. In contrast, no association was found between DISH and rich-diet associated conditions (e.g. carious lesions and gout) or deficiency-related conditions (e.g. scurvy, healed rickets). / Institute of Life Sciences Research from the University of Bradford

This dissertation is a study of artistic projects that, in response to Spain’s transition into a neoliberal economy, renew the disruptive gesture of the avant-garde, from the country’s 1986 entry into the European Union, to the post-15M uprisings. To do so, I argue that Iberian artists revived strategies of sabotage typical of the 19th-century worker’s struggle, including power cuts, political infiltration, misappropriation of funds, and the destruction of property, to wield the art world’s contradictions against itself. Institutions sponsored these interventions precisely because in attempting to sabotage the art system, museums were able to marshal the idea of the artist’s freedom as a stand-in for Spain’s democratic identity, while also promoting art that fit the regime of spectacle driving the art market. Combining archival research and interviews with visual and cultural analyses of primarily conceptual art projects, each chapter focuses on a sociopolitical concern with Spain’s neoliberalization with which these artworks wrestle. The first chapter centers on imaginaries of technology given the country’s EU-imposed deindustrialization. One of the cases I examine is Catalan sound artist TRES Blackout (2000-16) concerts where he disconnected buildings from the grid, aestheticizing a pre- and post-industrial experience. The second chapter considers how the promotion of contemporary art was crucial for the State’s shift toward financialization, helping tourism and real estate markets’ development. These conditions, I argue, led to a new wave of institutional critique, questioning the museum’s social role. Among the works I analyze is Andalusian-Catalan visual artist Luz Broto’s architectural piece, Abrir un agujero permanente (2015), in which she bored a hole in the façade of the Museum of Contemporary Art of Barcelona and ran a workshop to change the museum’s bylaws for the hole to remain, without authorization, rendering institution making an artistic process in the vein of institutional critique. The third chapter addresses how artists found ways to counter the institution’s capture of cultural labor, such as Núria Güell’s manual, Cómo expropiar a los bancos (2013) —alongside others—on how to obtain bank loans and default on them. Through the lens of sabotage, we can see how artists pry open, in both symbolic and concrete ways, the increasingly nebulous relationship between labor and capital.