This article put the focus in a very new field of research, that of the Hispanic-Moroccan Literature and Culture, which is interpreted as a special, complex and highly interesting case for Nomadic Places of Cultures and Literatures in the frame of ‘Performative-Hybrid Diaspora’. In the first part offers the article an extensive bibliography of novels, essay and literary and cultural criticism; the second part is exposing the theory of ‘performative-hybrid Diaspora’; and in the last part focuses on some the works of El Hachmi. The article provides “foundational concepts” and introduces new concept of integration, identity and co-habitation, understood as new, ‘performative-hybrid diaspora’ and ‘performative-hybrid identities,’ based on ‘situational disposi-tive’ such as ‘situational imperatives.’ It describes and explains a practice of hospitality and belonging in which the concept ‘emotion’ is at the center of his socio-political endeavors, exemplified by a novel and an essay by the Catalan author, El Hachmi, who originates from Morocco. The analysis leads to the concept of ‘Hispano-Maghreb/Moroccan’ literature and culture, and following an introduction to the current primary research body and studies in this area, he introduces a set of criteria for the scholarly treatment of this new field of research. / Dieser Artikel legt den Fokus auf ein sehr neues Forschungsgebiet, nämlich auf die der spanisch-marokkanischen-Literatur und Kultur, die als einen speziellen, komplexen und hochinteressanten Fall für nomadische Orte von Kulturen und Literaturen im Rahmen der ‚performativ-hybriden Diaspora‘ interpretiert wird. Im ersten Teil bietet der Artikel eine umfangreiche Bibliographie von Romanen, Essays und Literatur- und Kulturkritiken; im zweiten Teil wird die Theorie der ‚performativ-hybriden Diaspora‘ dargelegt; und im letzten Teil konzentriert sich der Artikel auf einige Werke von El Hachmi. Der Beitrag liefert ‚prinzipielle Konzepte‘ und führt ein neues Konzept von Integration, Identität und Zusammenleben ein, das als neue ‚performativ-hybride Diaspora‘ und ‚performativ-hybride Identitäten‘ verstanden wird und auf ‚situativen Dispositiven‘ wie ‚situativen Imperativen‘ basiert. Es wird eine Praxis der Gastfreundschaft und Zugehörigkeit beschrieben und erläutert, in denen das Konzept ‚Emotion‘ im Mittelpunkt soziopolitischer Bemühungen steht, exemplifiziert durch einen Roman und ein Essay der aus Marokko stammenden katalanischen Autorin, El Hachmi. Die Analyse führt zum Begriff der ‚hispano-maghrebinischen/marokkanischen‘ Literatur und Kultur, und nach einer Einführung in die aktuelle Primärforschung und die Studien in diesem Bereich wird eine Reihe von Kriterien für die wissenschaftliche Behandlung dieses neuen Forschungsgebiets vorgestellt. / Este artículo pone el foco en un campo de investigación muy nuevo, aquél de la literatura y la cultura hispano-marroquí, que se interpreta como un caso especial, complejo y de gran interés para los lugares nómadas de las culturas y las literaturas en el marco de las ‘diásporas-performativas-híbridas’. En la primera parte, el artículo ofrece una amplia bibliografía de novelas, ensayos y crítica literaria y cultural; en la segunda parte se expone la teoría de las ‘diásporas-performativas-híbridas’; y en la última parte se centra en algunas de las obras de El Hachmi. El artículo proporciona ‘conceptos fundacionales’ e introduce un nuevo concepto de integración, identidad y convivencia, entendidos como una nueva ‘diáspora performativa-híbrida’ e ‘identidades performativas-híbridas’, basadas en ‘dispositivos situacionales’ como ‘imperativos situacionales’. Describe y explica una práctica de hospitalidad y pertenencia en la que el concepto ‘emoción’ está en el centro de sus esfuerzos socio-políticos, exemplificados por una novela y un ensayo de la autora catalana, El Hachmi, originaria de Marruecos. El análisis desemboca en el concepto de literatura y cultura ‘hispano-magrebí/marroquí’ y, tras una introducción al conjunto de investi-gaciones y estudios primarios actuales en este ámbito, se introduce un conjunto de criterios para el tratamiento académico de este nuevo campo de investigación.

This study investigates the perceptual effect of ceiling painting on the viewer in relation to spatiality. Three case studies have been conducted of ceiling paintings by Johan Sylvius from 1690, Karl XI's gallery at Drottningholm Palace; Karl Axel Pehrson Transfigurata from 1978, at Thielska Gallery; and by Malin Gabriella Nordin from 2021, at the restaurant Ricordi, all in Stockholm Sweden. The objects represent ceiling paintings with different mediums, pictorial expressions, and motifs. This study presents how ceiling painting's formal and aesthetic structures and mechanisms activate the viewer's perception and performative action. Together with the room, these elements shape the viewer's overall experience of the ceiling painting and the spaciousness. The perceptual influence takes place in interaction with the individual's subjective psychological make up, which filters the mentally and physically perceived information. This means that each individual's experience is characterized by subjective perceptions: the same colour, expression or form can generate different impressions in different individuals – depending on the individual's previous experience with similar elements. The aim is not to find a common experience, but to track which elements and how they activate the viewer. These elements are the ceiling painting's internal and external factors, which activate the senses and shapes the viewer's movements in the room. Sensations together with the viewer's choreography create an overall experience within the viewer. The thesis in the essay postulates that these structures and mechanisms are conditioned in the ceiling painting's particular placement in the inner ceiling of the room, its materiality and spatial relationship. The perceptual impact is the initial awareness of the art, before the intellectual, ceiling painting is not sought to be interpreted but to be experienced. Most of the research in the visual arts and especially on ceiling painting is devoted primarily to narratology, the narrative content. The purpose of the essay is therefore to highlight ceiling painting as an art form and shed light on its perceptual impact on the viewer and the spatiality, as an introductory part to the subsequent intellectual interpretations. This pre-narratological stage conveys both the sensuous potential of the ceiling painting itself, and knowledge that can contribute with extensions of the narratological content.

This thesis deals with the theory of speech acts which is based mainly on analysis of speech and its function in communication. We use speech not only to convey something but to also do something, to change the state of things around us and to accomplish specific goals. Speech acts in a literary piece are then analyzed on theoretical basis, specifically in Milan Kundera's dramatic play Majitelé klíčů.