La literatura neogrega al Països Catalans és coneguda fonamentalment gràcies a una sèrie de traduccions que per la seva importància i per la dels torsimanys que les van fer possibles han ocupat un lloc preeminent dins de la història de la traducció catalana. El nombre d’obres traduïdes i la dilatada història en què s’han anat originant conformen un corpus prou important per a la seva divulgació. L’objectiu d’aquesta tesi, a banda de presentar cronològicament les traduccions neogregues al català des dels orígens fins avui dia, estudiar els traductors i les circumstàncies socioculturals que les han fet possibles a partir dels conceptes de reescriptura i manipulació, nocions clau per a entendre les transformacions que les traduccions poden exercir en la creació del cànon literari d’una llengua estrangera. / In Catalonian Countries, Modern Greek Literature is basically known thanks to a series of translations which, because of their importance and that of the translators who made them possible, have become preeminent within the general history of translation in the Catalan countries. Just as well, we think that the number of works that have been translated in the long span of time originating them makes up an important corpus, relevant enough for its circulation. Here we present, chronologically, all modern Greek works translated into Catalan, as well as the translators and the sociocultural backgrounds that made them possible. We also analyse this phenomenon from the conceptual framework of rewriting and manipulation, which is key for understanding the transforming power of translations and how they end up making the literary canon of a particular foreign language.

Esta tesis doctoral tiene por objetivo argumentar que en el planteamiento filosófico de Jacques Rancière existe un discurso específico sobre el estatuto actual de las imágenes. El enfoque que adopta la investigación no es el de una recepción crítica de los postulados de Rancière, sino que dice relación con la búsqueda de herramientas que permitan articular la problemática de las imágenes desde un desajuste respecto a la racionalidad de la representación, lo cual implica, necesariamente, replantearse las nociones de ‘materia’ y de ‘forma’, y el modo en que se estructura esta relación. Por tanto, es una investigación que se sitúa entre la lectura crítica del discurso de las imágenes, entendidas como apoyo semántico de un concepto y la búsqueda por ensayar formas de pensamiento que rehúyan al esquema de representación. De modo que desplaza el interés por las imágenes desde una presentación sensible jerárquica que somete las partes al todo, hacia una presentación sensible que se centrada en las operaciones que ellas construyen. De ahí que la propuesta de esta tesis doctoral sea la de comprender las imágenes como trama. Desde la racionalidad de la ficción y desde el poder de su indeterminación. / This doctoral dissertation argues that within Jacques Rancière’s theoretical work stands a specific discourse related to the current statute of images. Far from proposing a critical reception of Rancière’s tenets, this research unfolds through a search for a set of tools that can allow for an articulation of the problematic of images, disarranged from a traditional rationality of representation. This methodological path necessarily forces us to rethink the questions of ‘matter’ and ‘form’, as well as to revisit the way in which their relation is structured. In this sense, this research is located in the intersection between a critical reading of the discourse of the image –understanding the notion of ‘image’ as a semantic support to a concept–, and the quest for essaying possibilities of thought which shun the framework of representation. Therefore, this study displaces the conventional interest in images –often defined by perceiving images as hierarchical sensible presentations that submit the parts to a totality– in order to move towards a sensible presentation centered in examining the operations that images build for themselves. Attuned to this approach, this doctoral dissertation offers a contribution in viewing images as plots by privileging the rationality of their fiction together with their power of indetermination.

pendent

A les Corts de Barcelona (1412-1413), que presidiren successivament Ferran I i l’infant Alfons, s’aprovà una Constitució, intitulada «Per tal que les leys», que determinava la recopilació en llatí i en traducció catalana (tret d’algunes excepcions en sentit invers) de la major part del corpus jurídic de Catalunya, fonamentalment Constitucions i Capítols de Corts. L’ordenació de la dita recopilació seguí les rúbriques dels primers deu llibres del Codi de Justinià. El projecte, conegut com a Compilació, fou iniciat per juristes de la mida de Bonanat Pere i Jaume Callís, en una primera comissió escollida per Ferran I; i el continuaren el diputat Francesc Basset i l’oïdor de comptes Narcís de Sant Dionís, comissionats a posteriori per la Diputació del General. No obstant això, la Compilació resultà parcialment fallida. Es projectà la confecció de dos volums en pergamí, un en llatí i l’altre en català, que anirien a raure a l’Arxiu Reial, i de dues còpies, que custodiaria la Diputació del General. De tota manera, només se’n conserven en l’actualitat tres exemplars en pergamí a l’Arxiu de la Corona d’Aragó que poden ser identificats amb aquells. Un dels exemplars catalans, fins al present moment, continua perdut. El darrer dels juristes comissionats, Sant Dionís, escrigué un opuscle llatí, que ell mateix anomenà Compendium, el qual, estructurat igualment segons el codi justinianeu, serviria als especialistes com una mena d’enquiridion. També en conservem una traducció al català, probablement obra del propi Sant Dionís. El Compendium és un breu manual que ultrapassa la Compilació, perquè cita un major número de lleis en incloure simplement resums de les disposicions legals. L’edició dels tres manuscrits llatins que contenen l’obra de Sant Dionís és l’objecte principal de la present tesi. En front de l’edició llatina, s’aporta la transcripció d’un dels exemplars de la versió catalana, el manuscrit 1 de la Generalitat, a l’Arxiu de la Corona d’Aragó. La tesi s’inicia amb un estudi preliminar sobre la biografia de Sant Dionís, en què s’intenta aclarir la genealogia del personatge, i sobre la formació de la Compilació. Conclou amb taules que identifiquen les disposicions legislatives contingudes al Compendium. / During the Courts of Barcelona (1412-1413), presided successively by Ferdinand I and the Prince Alfonse, a Constitution was approved, entitled “Per tal que les leys”, that prescribed that the majority of the juridical corpus of Catalonia, basically Constitutions and “Capitula Curiae”, were collected in Latin and in its Catalan translation (besides some exceptions in reverse). The distribution of this collection followed the titles of the first ten books of the Justinian’s Code. The project, known as Compilation, was initiated by jurists such important as Bonanat Pere and Jaume Callís, i.e. the first commission elected by Ferdinand I; and it was continued by Francesc Basset and Narcís de Sant Dionís, selected a posteriori by the “Diputació del General”. However, this collection partially failed. Two volumes in parchment were designed, one in Latin and another in Catalan, to be located in the Royal Archive, and two copies, to be guarded by the “Diputació”. Nevertheless, only three copies in parchment are preserved in the present Archive of the Crown of Aragon that could be identified with those ones. One of the Catalan copies is still lost. The jurist Narcís de Sant Dionís wrote a Latin brief treatise .named Compendium by himself. that could be useful as a handbook to the specialists, structured like the Justinian’s Code. We still have a translation to Catalan, probably by the same Sant Dionís. The Compendium is a short handbook that surpasses the Compilation, because it quotes a higher number of laws since it only presents summaries of the legal dispositions. The Edition of the three Latin manuscripts that contain the work of Sant Dionís is the main object of the present thesis. In front of the Latin Edition, it is provided the transcription of one copy of the Catalan version, the manuscript 1 of the “Generalitat”, in the Archive of the Crown of Aragon. An introductory study about the biography of Sant Dionís intends to clarify his genealogy. The formation of the Compilation is also evaluated. The thesis finishes with tables that identify the legislative dispositions contained in the Compendium.

This paper argues that George Habash, founder of the Popular Front for the Liberation of Palestine (PFLP), embodied and expressed a distinctly new style of politics with the Palestinian context. I argue that Habash, unlike both his political antecedents during Mandate Palestine and his contemporaries in the Palestine Liberation Organization (PLO) practiced a style of politics that was distinctly uncompromising towards ideological opponents, hostile to traditional structures of patrician leadership in Palestine, and aggressively confrontational in most situations. The time-span of this analysis begins in Chapter One in late Ottoman Palestine, where I appropriate and modify Albert Hourani’s thesis of the “politics of the notables” as a way of framing the relationships between different hierarchically segmented actors in Palestinian society from the Ottoman era up until the end of the British Mandate and the formation of Israel in 1948. Chapter 2 analyzes Habash’s entrance into the broader Arab political arena after the Palestinian exile, focusing on his involvement in and leadership of the Arab Nationalist Movement (ANM) and his patronage relationship with Gamal Abdel Nasir. Chapter Three transitions into the post-1967 war era, where I argue that Habash’s political philosophy, influence and confrontational praxis reached its zenith with the formation of the PFLP. The Conclusion briefly addresses his posthumous influence in contemporary Palestinian politics and the ways that different observers eulogize or criticize his legacy. / text

Dominicus Gundissalinus (ca. 1115-post 1181) is one of the most prominent figures of the Toledan translation movement, as well as an original philosopher. In collaboration with the Jewish philosopher Abraham Ibn Daud and Iohannes Hispanus, he translated over twenty Arabic works into Latin. These translations are used by the Toledan philosopher as main sources for his original speculation, concretized in five philosophical treatises which show Gundissalinus' conviction of the strong coherence between Christian, Islamic and Jewish philosophical traditions. These works are the first Latin treatises to analyze the main Arabic and Hebrew philosophical doctrines that will constitute the theoretical basis for Latin speculation in the thirteenth century. After a brief examination of Gundissalinus' biography and his work as translator in Toledo, this dissertation focuses on Gundissalinus' metaphysical reflection, as it is presented in his original treatises. The method used herein is the doctrinal and genetic analysis of the writings, dealing with the three main aspects of Gundissalinus' metaphysical speculation: the being of God, the creatural being, and the cosmogonic causation. The aim of this study is to delineate the theoretical structure by which Gundissalinus' original ontology is built on his peculiar use of the Arabic and Hebrew works he translated and how this structure is explicitly interpreted by Gundissalinus as doctrinally coherent with the Latin philosophical tradition he aims to update. In this respect, this analysis is a comparative examination – both doctrinal and textual – of Gundissalinus and his Arabic-Hebrew sources: Avicenna, Ibn Gabirol, al-Ghazali and Ibn Daud, and his main Latin sources: Boethius, Calcidius, Thierry of Chartres, William of Conches and Hermann of Carinthia. 1. The Biographical and Philosophical Context of Gundissalinus' Work Gundissalinus is first attested in the capitulary archives of Segovia's cathedral in 1148, as archdeacon of the small town of Cuéllar. These documents show that Gundissalinus spent at least fourteen years in Segovia or Cuéllar, as he first appears in the Toledan chapter in 1162. It is likely that his activity as a translator began in this year, an undertaking sponsored by the Toledan archbishop John II and strongly linked to the presence of Abraham Ibn Daud – or «Avendauth» – in the Castilian capital. In the scientific and philosophical context provided by the so-called «Gundissalinus' circle», Abraham Ibn Daud, Iohannes Hispanus and Gundissalinus translated more than twenty philosophical works from Arabic into Latin, including Avicenna's Metaphysica and De anima, Ibn Gabirol's Fons vitae, and al-Ghazali's Summa theoricae philosophiae. Concurrently, Gundissalinus and Ibn Daud created an original philosophical speculation on many issues found in the texts they translated. The results of this reflection have been concretized in five philosophical treatises – De unitate et uno, De scientiis, De anima, De divisione philosophiae, and De processione mundi – written by Gundissalinus during the second half of the twelfth century. In these writings, the archdeacon of Cuéllar shows his deep syncretism towards different, and often divergent, philosophical traditions. Using mainly the the Arabic-Hebrew speculations to which he had access, Gundissalinus built an original doctrinal system where many core theoretical concepts, such as Avicenna's Active Intellect or Ibn Gabirol's universal hylomorphism, are thematized in the horizon offered by the Latin tradition, especially the Chartrean speculation, the Weltanschauung through which Gundissalinus interprets his sources. Gundissalinus’ debt toward Chartres leads our study to a preliminary acceptation of the hypothesis, proposed by many scholars, regarding his presence there before appearing in Segovia in 1148. For this reason, the Chartrean masters are examined as main sources for Gundissalinus' metaphysics in this study: only at the end of this work will it be possible to come to a definitive conclusion regarding this fascinating hypothesis. The second part of the dissertation's first chapter examines the philosophical corpus produced by Gundissalinus, which illustrates the coherence of the metaphysical program presented in the De scientiis and the De divisione philosophiae and analyzed in the De processione mundi. This comprehensive examination of Gundissalinus' philosophical production likewise offers the means of establishing the main theoretical bonds that link the De unitate et uno, the De anima and the De processione. The chapter ends with a specific analysis of the metaphysical works composed by Gundissalinus – the De unitate and the De processione – as preliminary illustrations of the main themes discussed in subsequent chapters. 2. The Thematization of God's Being The first metaphysical aspect of Gundissalinus' reflection analyzed herein is his thematization of God's being as ontologically different from the creatural one, a viewpoint which indicates a primary doctrinal shift. In the De unitate, God is primarily characterized as the metaphysical One, the absolute and perfect Unity from which the ontological unity that constitutes creatures' being is derived. However, in the De processione, this first divine attribute has less significance, as the primary characteristic of God is found in the causal and modal ontology elaborated by Avicenna. In this perspective, God is the Necessary Existent, the self-sufficient being that causes the being of every subsequent existent. These created beings have in themselves a possible being – neutrally liable of existence as well as non-existence – that constitutes the being they are entitled to and which become a necessary being only through the causal intervention of the Necessary Existent. In this way, there is a fundamental distinction between God and these beings: God is the Necessary Existent per se, while the other beings that actually exist are necessary per aliud only, i.e. thanks to their ontogenetic cause. While the doctrine of necessary and possible being offers the main characteristics of God's being, the De processione mundi further develops His divine attributes. Apart from His necessity and metaphysical Unity, God is also characterized as pure Act. It is the Goodness in se that, through its will and its wisdom, establishes the world in an act of creation ex nihilo, that by Gundissalinus' intention, avoids any misinterpretation of God's action as a demiurgic ordination of primordial chaos. In the second part of this chapter, these aspects of Gundissalinus' thematization are analyzed through the doctrinal comparison with its sources, beginning with Avicenna. From his Metaphysica, Gundissalinus receives the aforementioned doctrine of necessary and possible being and quotes a long excerpt from this text in the De processione mundi. Nevertheless, the reception of this theory, along with a lack of reference to other Avicennian doctrines regarding the analysis of God, is crucially influenced by two writings directly related to Avicenna: al-Ghazali's Summa theoricae philosophiae and Ibn Daud's ha-Emunah ha-Ramah. These two treatises play a decisive role in Gundissalinus' hermeneutics, as they lead the Toledan philosopher to propose a clear link between the doctrine of necessary being and that of act and potency. However, many aspects of God's thematization exposed by al-Ghazali and Ibn Daud have no place in Gundissalinus' reflection, showing his lack of interest in the traditional Islamic and Hebrew doctrines concerning God's attributes. Gundissalinus’ conceptualization of God as pure and absolute Unity derives from a wider range of authors, who directly and indirectly influence his works. Textual analysis shows the main source for both the De unitate's and the De processione's treatment of this concept is Ibn Gabirol. Gabirol’s Fons vitae provides the basis of Gundissalinus’ conception of the role of God's will and wisdom in the cosmogonic dynamics, asserting the first joining of matter and form – the former derived from God's essence, the latter from his wisdom – is operated by the divine will. Nevertheless, other sources of these features can be detected in the Latin philosophical tradition, beginning with Boethius's De Trinitate and De hebdomadibus, both examined further in detail herein. In this viewpoint, the doctrinal analysis of Thierry of Chartres' speculation, especially his Commentum super Arithmeticam Boethii, sheds light on another important and peculiar aspect of Gundissalinus' metaphysics. Indeed, examination of these writings show strong similarities in the methods (the compositio/resolutio procedure) and sensibilities (in particular, the numerological and arithmological approach) between the two authors. This connection is further supported by a direct quotation from Thierry's Commentum on the De arithmetica in the De processione, as well as Gundissalinus' adherence to numerous outcomes of Thierry's numerological doctrine. William of Conches likewise plays an important role, particularly regarding the explanation of the creative role played by the Trinity. Initially, Gundissalinus’ metaphysical treatises seem reticent on this fundamental doctrine of Christian theology, but a deeper examination of the writings shows an affinity with William of Conches' treatment of Trinity, which is thematized by the Chartrean master through its specific causality on the world's creation. This rendering was sharply attacked by William of Saint- Thierry in the mid-twelfth century, and the problems arising from this position of divine Trinity as only in reference to creation seem to explain Gundissalinus' reticence on this issue. 3. The Ontological Composition of Creatural Being The third chapter of this dissertation concerns the ontological composition of creatures' being and its primary feature: the universal hylomorphism. Gundissalinus received this fundamental doctrine from Ibn Gabirol's Fons vitae, and his strong adherence to this doctrine is found throughout his works. Albeit Gundissalinus’ reception of the hylomorphic composition of spiritual substances, he shows a progressive criticism of some of the features that accompany the Gabirolian doctrine. In the De processione mundi, Gundissalinus abandons the idea of the circular functionality of matter and forms, used by Ibn Gabirol in his explanation of the various levels of reality's genesis. Gundissalinus’ rejection of this feature is related to his attempt to overcome the problem, directly implied by the circular functionality, of the functional and non-intrinsic determination of the two ontological constituents, upon which every level of reality is based on a «materialization» of form and a «formalization» of matter. This change of perspective in Gundissalinus' reflection is due to an overall problematization of his previous positions on ontology – as expressed in the De unitate and the De anima – that operates through the reading of and the adhesion to some Avicennian theories, which are extremely divergent from Ibn Gabirol's. The doctrine of necessary and possible being also plays a key role in the thematization of creatural being. Gundissalinus interprets the hylomorphic composition as directly related to the intimate and intrinsic possibility of being proper of matter and form before their mutual union and the actual necessity per aliud of the hylomorphic composition. As for the treatment of God's ontology, this peculiar hermeneutics – the core of Gundissalinus' ontology – is taken from al-Ghazali's and Ibn Daud's positions on spiritual substances. As stated in the treatises of these two authors, the being of spiritual substances is composed by something analogous, but not coincident, with matter and form, i.e., the possibility and the mediated necessity of their being. Ibn Daud’s influence appears particularly strong here, as in his philosophical treatise the Jewish philosopher harshly attacks the very fundaments of Ibn Gabirol's ontology, pointing out six main theoretical mistakes that supposedly deprive Ibn Gabirol's outcomes of any philosophical reliability. Curiously, a response to this attack is found in Gundissalinus' De processione, another attestation of Ibn Daud's leverage towards his Toledan colleague. Thierry of Chartres also broaches the problem of spiritual substances' composition. In the Commentum to Boethius' De arithmetica, Thierry provides a peculiar solution that views composition of spiritual substances as made of identity and difference, while the corporeal substances consist of matter and form. However, it is likely that Thierry was not satisfied by this solution, since the problem is not further analyzed in his subsequent works, apart from a synthetic reference in the Glosa, where the Chartrean master proposes a composition of spiritual substances made of pseudo-matter and form, a similar position to those of al-Ghazali and Ibn Daud. The analysis of Gundissalinus' and Thierry's positions shows not only the similarity of approach, but also the Gundissalinus’ effort to solve Thierry's unsuitable solution to the composition of spiritual substances, an effort based on the de-corporeization of matter, through which a universal hylomorphism can be affirmed without entailing the corporeity of spiritual creatures. A different answer to this same question can be found in Hermann of Carinthia's De essentiis, one of Gundissalinus' major sources. While it is possible to underline many doctrinal similarities with Gundissalinus' metaphysics, Hermann remains grounded on Timaeus' cosmology, and even where a universal hylomorphism can be supposed, it is unconscious on the part of Hermann himself. Indeed, the context of his analysis of matter and form is far from Gundissalinus', exactly for his Platonic context and his astronomical interest. This becomes particularly evident through the doctrinal and textual examination of Calcidius' commentary on Timaeus, which shows how far apart Calcidius' and Gundissalinus' perspectives are. Even when a cursory presence of the Commentarius can be seen in Gundissalinus' texts, it is always mediated, mainly by Thierry, Hermann, and William of Conches. The chapter closes with a theoretical analysis of William's hylomorphism, which displays differences between Gundissalinus and the Chartrean master on creatural ontology. Indeed, William rejects all possibility of a spiritual composition of matter and form, as well as a potential state of the form before its union with matter. Nonetheless, the speculative distance established by this comparative analysis is diluted by Gundissalinus' direct quote of a passage from William's Glosae super Platonem. 4. Cosmogenesis and Progression of Beings The last chapter of this study examines the creation of the Universe and Gundissalinus' cosmogonic description of the order in which the different substances came to be. Here also, a discrepancy in Gundissalinus' treatises can be found. In the De unitate, Gundissalinus accepts and illustrates an emanative process through which different hypostasis – intelligence, rational, animal, and vegetative souls, nature – are borrowed by Ibn Gabirol and presented without any significant doctrinal alteration. By contrast, in the De processione, Gundissalinus proposes a different and original cosmogonic description, where creation is resolved on the causation of matter and form and their first composition. This first union gives birth to the first composed beings – angels, celestial spheres, and elements – that will act as secondary causes for the cosmic institution. The doctrinal analysis of Gundissalinus' systems shows, on the one hand, the different specification of cosmogonic causality (i.e., creatio, compositio primaria and secundaria, generatio), derived from the De essentiis, albeit Gundissalinus’ alternations to Hermann’s doctrine. Gundissalinus is likewise indebted to Hermann’s treatise on the subject of cosmic creation. Nevertheless, examination of the Chartrean hermeneutics of genesis, which is seemingly close to Hermann's, shows a large divide between these biblical reflections and Gundissalinus, as his interests are focused on different aspects of the cosmogenesis. There is one feature, however, that is directly linked to the Chartrean biblical hermeneutics, and which finds specific treatment in the De processione: the doctrine of primordial chaos. There, Gundissalinus quotes a large excerpt from Hugh of Saint-Victor's De sacramentiis, as an example of Timaeus' theory of God's ordination of a primordial elementary chaos. The Toledan philosopher rejects this idea, using some of William of Conches' arguments, while exceeding his source, since the solution proposed by Gundissalinus is based on the universal hylomorphism. In this sense, the refutation is an attempt to finally resolve the problem of primordial chaos, harshly debated in France at the time, due to this «new» ontological theory. Finally, a deeper analysis of the text allows us to clarify some more ambiguous aspects of Gundissalinus' speculation, chiefly his abandonment of Gabirolian cosmology. This change in Gundissalinus' perspective is referred to his acceptation of Avicennian cosmology, and it helps further illuminate obscure passages of the De processione mundi, for example, the «intelligence's mediation», that should be identified as the causal mediation acted by the first intelligence of Avicenna's cosmology. Nevertheless, as previously mentioned regarding his ontology, Gundissalinus' Avicennism is crucially influenced by al-Ghazali and Ibn Daud, especially the latter. The analysis produced at the end of this chapter shows that Ibn Daud's ha- Emunah ha-Ramah presents many fundamental aspects that directly influenced Gundissalinus' De processione mundi, in particular his description of the causality performed by the angelic creatures and the doctrinal link that individuates the secondary causation of nature with the elements. Conclusions The genetic-doctrinal analysis provided herein, along with the comparative examination of Gundissalinus' metaphysics with his main Arabic-Hebrew and Latin sources, allows for some significant conclusions. First, Gundissalinus’ indebtedness to his sources must be stressed, without, however, entailing a complete specularity, as if he were a mere epigone of his sources. The outcome of Gundissalinus' reflection on metaphysics remains an original development, and it constitutes a philosophical system that can never be resolved in any of his sources; in other words, while deeply dependent on their sources, neither the De unitate et uno nor the De processione can be qualified as «collationes». On the contrary, Gundissalinus' approach to his sources is aimed at an intense syncretism and a deep-rooted belief in an overall coherence between philosophical traditions that allows him to use authors and text derived from two main perspectives – Platonic and Aristotelian – and from three cultures and religions. In his approach, Gundissalinus is well aware of the consequences this choice potentially entails; many results proposed by the Arabic and Hebrew authors he uses are very difficult to integrate in the Latin philosophical tradition he is willing to innovate. Moreover, when compared, the doctrines Gundissalinus receives from his sources are often contradictory, exemplarily testified by the opposition between the Avicennian and the Gabirolian ontologies. Notwithstanding these theoretical oppositions and doctrinal contradictions, Gundissalinus proposes a coherent, original and mature metaphysical system as it is presented in his De processione mundi. Passing over the influences of this source, the analysis presented here corroborates the hypothesis regarding the supposed bonds between Gundissalinus and Chartres. In his treatises, the Toledan philosopher shows a deep knowledge of Chartrean philosophy and of the problems related to some of its doctrines, as well as the works by Chartrean masters that mediated by Calcidius’ and Boethius’s influences found in Gundissalinus. Furthermore, the specific community of approaches and interests between Gundissalinus and Thierry that has been detected, particularly the peculiarities of Gundissalinus’ use of Hermann's De essentiis – seems to testify in favor of the hypothesis denoting Thierry as direct master of Gundissalinus, a supposition that will inevitably require further evidence. By all means, the philosophical perspective elaborated in Chartres in the first half of the twelfth century constitutes the theoretical lens through which Gundissalinus reads and interprets the Arabic-Hebrew writings he uses to propose his own ontology and cosmology. Regarding the Arabic and Hebrew sources used by Gundissalinus, the results proposed by this dissertation are, on the one hand, support for Avicenna’s and Ibn Gabirol’s key role in metaphysics and ontology. On the other hand, Gundissalinus consistently problematizes Ibn Gabirol's ontology and cosmology, partly as a result of a deeper knowledge and acceptance of Avicennian metaphysics. The Avicennian corpus used by the Toledan philosopher is read through the peculiar hermeneutics provided by al- Ghazali's Summa and, even more, by Ibn Daud's speculation, with which Gundissalinus tries to solve some problematic aspects of Gabirolian metaphysics that strongly influenced his speculation. These remarks further shed light on the key role played by Abraham Ibn Daud, regarding both the Toledan translation movement and the same philosophical reflection of Dominicus Gundissalinus, regarding his ontology and cosmology.

Esta tesis trata de la relación entre filosofía y ciencia en el pensamiento de José Ferrater Mora. El método empleado para analizar esta relación filosofía-ciencia es de carácter internalista y tiene en cuenta el método integracionista, creado y empleado por el mismo Ferrater. La línea guía del análisis crítico llevado a cabo consiste en buscar las ideas e influencias de la ciencia diseminadas en su obra y aislar tanto como sea posible este aspecto, dándole unidad al tema de la relación filosofía-ciencia. De este modo, se pretende resaltar un aspecto de su obra que no se halla sistemáticamente explícito. Se clasifica su filosofía en tres etapas: existencialista, analítica e integracionista. A través de ellas se busca identificar y analizar la clara pero a la vez fragmentaria influencia de la ciencia en la evolución de sus ideas, para determinar cómo se relacionan y hasta qué punto la ciencia las determina. Se hace explícita la conexión entre sus resultados ontológicos y la ciencia, que convergen en el realismo científico resultando en una posición denominada monismo sui generis o materialismo emergentista, cuyas implicaciones recorren los cuatro niveles del continuo ontológico que él propuso, a saber: físico, biológico, social y cultural. Se analizan implicaciones como el antiantropocentrismo y el imperativo hipotético en ética. Para dimensionar el peso que la ciencia tuvo en su filosofía, se compara al autor con tres filósofos de la ciencia contemporáneos: Karl Popper, Mario Bunge y Ulises Moulines, buscando la razón de sus diferencias o similitudes. Se determina que el modo de Ferrater de concebir la ciencia tuvo tal importancia en su pensamiento, que en el análisis se acaba por encontrar motivos para proponer un replanteamiento del concepto de razón basado en el pensamiento de Ferrater Mora acerca de la conexión filosofía-ciencia. / This thesis deals with the relation between Philosophy and Science in the work of José Ferrater Mora. The method implemented to analyze this philosophy-science relation has an internalist character, and it takes into account the integrationist philosophical method, both created and implemented by Ferrater himself. The common thread of the critical analysis carried out consists in searching for the ideas and influences of science which are spread all over his work, and isolating this aspect as much as possible, giving thus unity to the topic of the philosophy-science relation. This way, it is intended to highlight an aspect of his work which is not systematically explicit. His philosophy is classified in three stages: existentialist, analytical and integrationist. Through them it is intended to identify and analyze the clear but yet fragmentary influence of science on the evolution of his ideas, so as to determine how they are related and to what extent science determines them. The connection between his ontological results and science becomes explicit, they converge in scientific realism resulting in a position called sui generis monism or emergentist materialism, and its implications go through the four levels of the ontological continuum he proposed, namely: physical, biological, social and cultural. Implications such as the anti-anthropocentrism and the hypothetical imperative are analyzed. In order to have a dimension of the importance science had in his philosophy, the author is compared to three contemporary philosophers of science: Karl Popper, Mario Bunge y Ulises Moulines, to look for the cause of their differences or similarities. It is determined that the way Ferrater conceived science had such an importance in his thinking, that the analysis finally suggests there are grounds to propose the rethinking the concept of reason based on the work of Ferrater Mora about the philosophy-science connection.

La presente investigación doctoral es una propuesta de lectura de la novela testimonial Una sola muerte numerosa (1996), de la escritora argentina —y superviviente del centro clandestino de detención, torturas y exterminio “Club Atlético”— Nora Strejilevich. Para ello, se parte de una de las cuestiones que han permanecido silenciadas a lo largo de la tradición del pensamiento, la relativa a la pregunta sobre el sentido (al por qué) que plantea la víctima del dolor y del sufrimiento infligido por otro ser. Si bien la filosofía ha abordado la temática del mal y de la violencia desde la perspectiva de quién lo perpetra (el agente), o bien, ha estudiado la procedencia desde el discurso del mito, la teodicea y la teología, la figura de quién padece el mal cometido ha quedado relegada hasta el advenimiento de la Shoah, que da lugar a la emergencia de la ‘era del testigo’, en palabras de Annette Wieviorka, momento en que despierta el interés por el testimonio. En Latinoamérica, esta escritura se conceptualiza como un nuevo género literario por la crítica de los años sesenta a los ochenta. Así, en el primer capítulo, se atiende al esfuerzo crítico por hallar una definición para el género, estudiar las diversas genealogías y taxonomías que se proponen y, a su vez, también se analizan los debates que proliferan en torno a esta modalidad discursiva. Asimismo, se aborda el testimonio como acto aporético desde la filosofía y como vínculo entre la historia y la memoria desde las aproximaciones críticas más recientes de los Estudios de la memoria. Todo ello con el propósito de crear un marco teórico apropiado para el estudio de la escritura testimonial de Nora Strejilevich, conformada por la novela citada y por varios relatos que ha publicado desde el año 2000 en diversas antologías y revistas. En el segundo capítulo, se analiza el contexto histórico de la última dictadura militar en Argentina (1976-1983), considerada por algunos historiadores y sociólogos como un genocidio social reorganizador. Así, es pertinente atender aquí a la filosofía de la Shoah por las conexiones y los puntos en común que mantiene con el poder totalitario y con la tecnología del poder desaparecedor implementados en el país latinoamericano. El objetivo es analizar el papel de la tortura y las reflexiones que se derivan en torno al dolor y al sufrimiento de las víctimas, convertidas en testigos y supervivientes de los también denominados ‘campos de concentración’. Una vez realizado el estudio sobre la teoría del dolor y la tortura, la investigación se adentra, ya en el tercer capítulo, en la po/ética de la escucha propuesta en la novela testimonial de Strejilevich. Con esta expresión se quiere poner de manifiesto el desplazamiento que se da en el ámbito de la filosofía hacia la ética, el arte y la narración —la est/ética—, ya que se considera un terreno apropiado para la elaboración de la experiencia, que debe fundamentar el pensamiento contemporáneo. Es decir, desde la filosofía (Adorno, Arendt, Cavarero, Butler) se conmina a escuchar la demanda ética que se formula desde la escritura testimonial. Así, se propone un nuevo mapa comprensivo que no sólo está centrado en la representación (imbricada a la esfera conceptual de la visión) sino en lo auditivo (acogiendo al grito como máxima expresión de un horror que si no puede verse por inmirable, sí puede oírse). Esta es la hipótesis principal de este trabajo. Por último, se realiza una lectura intertextual de la obra de Nora Strejilevich y de otros testimonios como el de Jean Améry y Jacobo Timerman, para dar cuenta de la diversidad que abarca la escritura testimonial, que puede considerarse una escritura de muerte, pero también de vida, en cuanto acto que da comienzo no sólo a algo: un escrito que se convierte en una morada habitable y permanente; sino de alguien: un/a superviviente que trata de dar cuenta de la derrota política y de la resistencia al olvido. / The present doctoral research is a reading proposal of Una sola muerte numerosa (1996), a testimonial novel written by the Argentinean author —and survivor of the concentration, torture, and extermination camp “Club Atlético”— Nora Strejilevich. To do so, it parts from one of the silenced matters throughout the tradition of thought; this is the question relative to the sense (to the question of why) that the victim’s pain and suffering poses when another being inflicts it. While Philosophy has addressed the subject matter of evil and violence from the perspective of the perpetrator (the agent), or, has studied the provenance from the myth perspective of both theodicy and theology, the figure of the one that suffered the wrongdoing was neglected until the advent of the Shoah, which led to the emergence of the “Witness Era”, a term by Annette Wieviorka, that marks the moment when testimonial writing awakes interest. In Latin America, this kind of writings have been conceptualised as a new literary genre by the critic community in the 1980s. This is why, in the first chapter, the critical effort to construct a definition for this new genre is revised, as well as the different genealogies and the taxonomies that were proposed at the time. The debates that proliferate around this discursive modality are also revised. In this same chapter, testimony is presented as aporetical from a philosophical point of view, and it works as the link between History and memory from the most recent critical approaches to the subject that have been carried out in Memory Studies. All of this is done with the purpose of building an appropriate theoretical frame for the study of Nora Strejilevich’s testimonial writing, comprised by the cited novel and numerous short stories that have been published in magazines and anthologies since the year 2000. The second chapter analyses the historical context of the last Argentinean military dictatorship (1976-1983), considered to be, by some historians and sociologists, a reorganizing social genocide. This is the reason why it is pertinent to revise Shoah’s philosophy, because of the connections and the common ground that it maintains with totalitarian power and the disappearing power technologies implemented in the Latin American country. The main goal is to analyse the role of torture and the reflections that surface around the victims’ pain and suffering, victims that become witnesses and survivors of these also called “concentration camps”. Once the study about pain and torture is conducted, the research focuses, now on the third chapter, in the po/ethics of the act of listening that is proposed in Strejilevich’s testimonial novel. With this term it is intended to manifest the movement that is carried through from the discipline of Philosophy to that of Ethics, Art, and narrative —the Est/Ethics—, because it is considered to be an appropriate ground for experience construction, which has to provide a basis to contemporary thought. In other words, parting from Philosophy (Adorno, Arendt, Cavarero, Butler), one is urged to listen to the ethical claim that is formulated in testimonial writing. Thus, a new comprehensive map is presented, one that is not only focused on representation (embedded to vision’s conceptual sphere), but in the auditory (receiving the scream as the maximum horror expression that cannot be seen because of its fiendishness, but it can be heard). This is the main hypothesis of this investigation. Finally, an intertextual reading is carried out between the work of Nora Strejilevich and other testimonies, such as the ones written by Jean Améry and Jacobo Timerman, to give account of the diversity that testimonial writing ensues, and that it can be considered to be related to death, but also to life, as it is an act that is not only the beginning of something: a testimony becomes an habitable and permanent dwelling place; but most importantly, a testimony is the beginning of someone: a survivor that tries to give account of the political defeat and the resistance to be forgotten.

Aquesta tesi presenta l’estudi de la música mariana a Catalunya a finals del segle xvii, concretament, les quatre antífones marianes majors (Alma Redemptoris mater, Ave Regina caelorum, Regina caeli laetare i Salve Regina). Els documents musicals manuscrits de les catorze antífones estudiades i analitzades es troben dins el volum M 1168 del “Fons Verdú” de la Biblioteca de Catalunya. Les antífones triades són composicions d’una dotzena d’autors de la segona meitat del segle esmentat, uns compositors tots ells actius a l’àrea mediterrània peninsular. La tesi s’estructura en tres parts ben diferenciades. En la primera part s’hi reflecteix la contextualització social, política, religiosa i litúrgica del moment esmentat, a la vegada que l’estudi de la vida i obra dels diversos autors, així com també l’evolució històrica tant del text com de la música de les antífones marianes majors. En la segona part s’hi troba una exhaustiva anàlisi de cadascuna de les catorze antífones i la comparació diacrònica i sincrònica d’antífones d’altres autors europeus (francesos, anglesos, alemanys, italians i portuguesos) anteriors, coetanis i posteriors a les obres originals estudiades. I una tercera part on es presenta l’edició en partitura del repertori musical seleccionat amb els criteris de transcripció ben definits i detallats; i a la vegada, es presenten també les partitures antífones dels compositors europeus comparats. Les aportacions fonamentals que fa aquesta tesi són: -L’estudi, l’anàlisi i la transcripció d’un nombre destacable de composicions musicals litúrgiques, totes elles conservades en documents musicals autògrafs i que amplien en bona mesura el corpus de la música litúrgica del barroc hispànic; unes obres de compositors prou destacats en el seu moment, finals de segle xvii a la península. -L’estudi de la música litúrgica mariana i la seva evolució des de documents anteriors al Concili de Trento (mitjans de segle xvi) fins a inicis del segle xx. -L’ús de la música policoral dins de la música litúrgica hispànica a la segona meitat del segle xvii i la seva evolució i transformació segons la particular formació de les capelles musicals. -La manera com els compositors assimilaven els antics textos litúrgics i que com a autèntics artistes creadors (artesans) escrivien les seves obres musicals, unes veritables manifestacions artístiques. -L’estudi de les capelles musicals dels diversos centres religiosos de l’àmbit hispànic i, més concretament, del centre on foren conservats i copiats els manuscrits estudiats (en aquest cas, la població lleidatana de Verdú). -La recuperació i edició en partitura d’aquests materials musicals que en faciliti, a la vegada, la divulgació d’aquests materials musicals per a ús dels músics professionals i aficionats. / This thesis presents the study of Marian music in Catalonia in the late seventeenth century, specifically the four major Marian antiphons (Alma Redemptoris mater, Ave Regina caelorum, Regina caeli laetare and Salve Regina). The musical manuscripts of the fourteen antiphons are studied and analyzed in the M 1168 volume “Fons Verdú” in the Biblioteca de Catalunya. The antiphons are compositions chosen from a dozen composers of the second half of this century, with some of the composers being specifically active in the Mediterranean peninsula. The thesis is divided into three distinct parts. The first part explains the social, political, religious and liturgical context of the Marian music including the study of the life and work of the various composers, as well as the history and evolution of the texts and music of the largest Marian antiphons. In the second part there is a detailed analysis of each of the fourteen antiphons, a diachronic and synchronic comparison of these antiphons to other European authors (French, English, German, Italian and Portuguese) and to those from earlier and later periods. Finally, the third part presents the musical score of the chosen repertoire including a detailed transcription. There are also scores from the European composers that were used in the comparison above. The main contributions to ​​this thesis are: -The study, analysis and transcription of a number of notable liturgical compositions. All the preserved documents include the original signature of the composer. These documents greatly help the conservation of corpus liturgical music of the Hispanic Baroque period and safeguard the works of the prominent composers of the late seventeenth century from the peninsula. -The study of Marian liturgical music and its evolution using documents from the Council of Trent (mid-sixteenth century) until the early twentieth century. -The usage of polychoral music within Hispanic liturgical music in the second half of the seventeenth century and its evolution and transformation of the chapels that were forming. -The way the composers assimilated ancient liturgical texts and were seen as real creative artists (craftsmen) and how they wrote their music to create a true artistic expression. -The study of the chapels within various religious centres, of the Hispanic world and more specifically, the centre where the manuscripts were kept and preserved (in this case, Verdú, in the Lleida region of Catalonia). -The preservation of these scores allows musicians, music professionals and fans to obtain them and use them for their own musical purposes.

El presente trabajo de investigación aúna el estudio de los aspectos económicos y sociales del comercio marítimo barcelonés, así como los aspectos paleográficos y codicológicos, con la finalidad de conseguir una mejor comprensión de la actividad comercial marítima y de los propios libros de cuentas como entidad y totalidad indisociable. Para ello se ha seguido una secuencia ordenada de lo general a lo particular: de los mercaderes y el comercio en el área de influencia catalano-aragonesa en la primera mitad del siglo XIV, la coyuntura en esta zona, el análisis de los libros de cuentas de los mercaderes mediterráneos y los de los mercaderes catalanes, el análisis de los libros de los Tarascó, las características de sus negocios y finalmente el estudio de los aspectos internos y externos de los libros como materialización de la memoria personal de estos mercaderes, intentando ahondar en la realidad de la práctica comercial que es el origen de los propios libros. El trabajo enfocado desde la doble perspectiva de historia del comercio marítimo y de los métodos comerciales y desde la del estudio de estos testimonios gráficos y soportes físico-materiales -los libros- permite entender con mayor profundidad la actuación y el papel de los mercaderes dentro de la sociedad urbana, no sólo desde el punto de vista económico sino también cultural. El primer aspecto que permiten constatar los libros de los mercaderes Tarascó es el avance de la alfabetización entre los grupos sociales urbanos, la ampliación del círculo de personas alfabetizadas a los artesanos de diferentes actividades y por tanto el recurso a la extensión autógrafa de un importante número de escrituras. Este hecho permite afirmar que los mercaderes y grupos artesanales urbanos conferían gran valor a los actos escritos, bien fuese recurriendo a los notarios como profesionales de la escritura, o bien extendiendo ellos mismos las escrituras que daban cuenta de sus actividades. El valor otorgado al acto escrito, como acto de permanencia, de seguridad de la memoria escrita, del carácter durable del documento, de la fijación sobre un soporte material de cualquier tipo de actividad, queda constatado en la redacción de los libros contables y en la existencia de los mismos como elementos físico-materiales. El otro elemento a destacar es el de la finalidad de estas memorias personales y contables que son los manuscritos contables, la finalidad es estrictamente personal y familiar. Esta finalidad es la que condiciona la forma y factura de los propios libros como soportes físicos. Su análisis formal y de contenido refleja una sociedad urbana en la que se acusan los múltiples cambios que afectan a todos los campos de la vida: el aumento de la alfabetización, la evolución de una mentalidad eclesiástica hacia una más laica y una racionalización de los negocios, conseguida a través de un método de control administrativo y financiero: la contabilidad, combinado con el uso del útil intelectual por excelencia: la escritura. La objetivación por medio de la escritura permite a estos mercaderes desarrollar un tratamiento completo de la información acumulada, pudiendo así conocer las fluctuaciones financieras de los diversos negocios y de los distintos mercados en los que los efectúan. El estudio de estas fuentes permite conocer las formas escriturarias empleadas y la capacidad de escritura de un grupo socio-profesional urbano: el de los mercaderes barceloneses medianos de la primera mitad del siglo XIV. Las formas escriturarías empleadas, como realizaciones concretas y la capacidad de escritura son la consecuencia directa de la cada vez más amplia difusión social de la alfabetización con fines prácticos. Los testimonios gráficos de los tres libros son un ejemplo claro de imitación de los modelos dominantes adaptándolos a las necesidades de rapidez y al sistema braquigráfico propio del mundo mercantil. El estudio del contenido ha permitido establecer una hipótesis, bastante plausible, de la génesis documental de estos manuscritos, a partir de los documentos justificativos de las operaciones efectuadas, en una fase posterior a la realización de las mismas o incluso la ausencia o inconclusión de otras. La redacción definitiva se podía llevar a cabo a la vuelta de los viajes, que dan origen a las diversas operaciones o bien en un tiempo bastante posterior y alejado de ellas, hecho que justificaría la pérdida, desorden, olvidos que se detectan en los asentamientos de las operaciones de los tres manuscritos. Estas características de la génesis documental justifican las dificultades y problemas que suscita -mucho más que el sistema de contabilidad empleado- el análisis y balance económico-financiero de los libros. Este sistema de extensión de los libros contables hace que los mercaderes, al proceder a registrar las operaciones a partir de las actas y documentos justificativos de que disponía y asentarlas en las secciones correspondientes, se veían obligados a dejar folios en blanco o añadir cuadernos suplementarios para acabar de asentar nuevas operaciones, hecho que demuestra que seguramente iban ordenando y estructurando, a la vez, las distintas partes y secciones en que se dividían los libros. El estudio de los tres libros como soporte material ha permitido el análisis de las formas escriturarias y su clasificación dentro de las escrituras cursivas de tipo comercial o mercantil, propias de personas alfabetizadas en el mundo del comercio, de la producción artesanal y de las finanzas, que imitan los modelos góticos dominantes en el ámbito catalano-aragonés. La escritura de los tres libros corresponde a las realizaciones personales de los dos mercaderes -Bernat y Jaume- con un nivel de ejecución situado entre el elemental de base y el de las escrituras usuales. Aunque el referente gótico es común para los tres libros, éste presenta una dualidad escrituraria entre una escritura de trazos débiles e inseguros -la del libro de Bernat Tarascó- y otra de trazos más fuertes -la de los dos libros de Jaume Tarascó-. La primera se sitúa en un nivel de ejecución más próximo al usual, bien alejado del nivel de ejecución de los profesionales de la pluma, y aunque utiliza más o menos correctamente el sistema braquigráfico, en muchos momentos resulta difícil comprender el contenido por la inadecuada separación de palabras y la incorrecta utilización de algunas abreviaturas. La intervención gráfica de Jaume Tarascó -plasmada en sus dos Manuales- tiene un grado de ejecución usual, y un mayor grado de cognición y un nivel de uso de la escritura más próximo a la de los profesionales de esta práctica intelectual. La memoria administrativa y de mercado que los libros supones los convierte en registros contables. Dentro de la tipología de estas fuentes, se han clasificado como Libro Mayor el de Bernat Tarascó y como Manuales o Memoriales los dos de Jaume. En la evolución de la metodología contable, los tres libros se pueden situar en la fase de cuentas bilaterales no relacionadas, es decir, los tres responden a una contabilidad en partidas simples. / The aim this thesis is to merge the economic and social aspects of maritime trade in Barcelona with paleographic and codicological ones which allow us to understand, not only the maritime commercial activity but the books themselves as an inseparable entity and totality. A methodical sequence has been used to achieve this purpose from general aspects to particular ones: the study of merchants and trade within an area under the influence of Catalonia and Aragon in the first half of the fourteenth century, the socioeconomic background in the area, the analysis of the account books of the Mediterranean merchants and the Catalan ones, the analysis of the account books of the Tarascó, the peculiarities of their business and finally the study of the internal and external aspects of the these books as the bear fruit of the personal memory of these merchants, trying to look at the reality of the commercial range, which is the source of books, into greater detail. This work, which has being focused, on the one hand, on the history of maritime trade and commercial methods, and on the other hand the study of books which provides us its documentary evidence, its physical and material support, allows us to know the way the merchants work, the role they have in urban society. A formal, internal analysis gives us a view of en urban society, affected by the very many changes which are taking place in every range of life: an increase in teaching of basic literacy, an evolution from the ecclesiastical way of thinking into a more secular one and a rationalization in business, achieved through a controlled method in administration and finances: accounting combined with the intellectual tool par excellence, writing.