This thesis represents an original contribution to art historical scholarship in its investigation of the overlaps between the art of the Catalan artist Joan Miró and the writings of French philosopher Georges Bataille in the period 1930–1939. I examine three series of intimate, private works undertaken by Miró in 1930, 1935-1936, and 1938-1939 through the lens of contemporary Bataillean texts in order to identify corresponding themes, imagery, and operations. I argue that not only does Bataillean thought represent a direct source of influence on Miró’s work of this time, but also that the artist deliberately turns to this more violent, un-idealised aesthetic in order to visually confront his own professional crisis, the rise of fascism in his homeland, and the Spanish Civil War and start of the Second World War. My research has uncovered that Miró and Bataille share an interest in the anti-retinal. Miró demonstrates this interest through his ‘assassination of painting’ and attacks on bodily representation, and Bataille in his obsession with blindness—which Miró references in 1930 in his use of imagery from Bataille’s Story of the Eye and through his employment of the informe. Bataille and Miró both use parody in advancing their aesthetic and political missions. Bataille parodies the transpositional nature of Surrealist image-making, while Miró mocks his own earlier artistic output. To this end, both employ ‘parodic landscapes’ that use the image of the volcano as a metaphor for political upheaval and to celebrate ‘real,’ non-transpositional base matter. I argue that the work of both figures exhibit qualities of the carnivalesque, in their interest in parody, ‘sacred’ (liberating) laughter, and excremental imagery. A further, significant, consideration in this thesis is the transgressing of taboos in Bataillean eroticism (and the overlaps between eroticism and war), of which I have identified parallels in Miró’s work. By considering Miró’s use of Bataillean themes in tandem with the artist’s passionate Catalan nationalism, I argue that the influence of Bataille’s parody, eroticism, and violence provided Miró with the tools to personally respond to the Civil War. This thesis opens a new line of inquiry into Miró in the 1930s, and invites future considerations on Bataille’s influence on Miró’s oeuvre.

The Lonely Planet advises visitors to Granada, Spain to "turn off...into the cobbled alleys of Calderería Vieja or Nueva and in a few steps you've left Europe behind." La Calderería is known for its Arab influences and North African immigrant businesses. A tourist's ability to easily step off one continent and enter another realm demonstrates an imagined border between Europe and the Orient, especially North Africa, that is created by historical narratives, policy discourses and daily practices. The antagonism between an imagined white, Catholic and European Spain vis-à-vis its North African Muslim neighbors is fundamental to the history of the Spanish nation. This East/West divide has recently been recast as Moroccan immigration, inspired by proximity and colonial legacies, since the 1980s has made Moroccan the largest immigrant group by nationality in Spain. Supranational borders, neighborhoods and specific streets participate in an intense debate about cultural difference, based on a complicated mixture of racial, ethnic and religious categories. Concurrently, more regional autonomy within the Spanish state has led Andalusia to reclaim its Islamic heritage, especially in Granada where tourism is important economically. This has dovetailed with gentrification of the Albayzín. Both the appropriation of the Islamic period of Iberian history and the contemporary social exclusion of Moroccan immigrants are realized through Orientalism. In La Calderería, tea, souvenirs, male Moroccan vendors, Western female tourists, pavement, cultural conservation, public space ordinances and police surveillance create a site where public and private space blurs and ‘practical orientalism’ constitutes subjects performing and resisting the identities prescribed to them. / Arts, Faculty of / Geography, Department of / Graduate

The goal of this thesis is to complexly analyze the legal environment of enterpreneurship in Spain for foreigners. It is not only an informational thesis, but it also serves as a guide for anyone interested in this subject, thanks to the practical approach and advice given in it.

Stories: Spain, Lovers and Crazy Old Ladies is a collection of short stories about relationships, traumas, memories and change.

Nineteenth-century, Europeans experienced the rise of gastronomy alongside the rise of the modern nation-state. These two concepts were tied together inextricably by the intense consideration of national cuisines. Thus, the topic of food -- the judgment of food -- embedded and extended social commentary of the "other." Sensorial experience contributed to discourse, which expressed not only an awareness of aesthetics (traceable to the palate) but also a reflective characterization of those who ate the food. For England and the United States, the nineteenth-century witnessed moments of unrivaled power while the once-global power, Spain, was economically and politically anemic. Food becomes the axis point of three converging spectra: the senses which inform the individual with external environments and nationalism as discourse that creates understanding of the world; internal and external identities, meaning diet as tied to one's constitution and national cuisines reflecting culture; and the role of the historical memory in creating the political imagination. Through these concepts, the individual body and the body politic would be the material understanding of conceptual ideas. Eating is unique as the only act that employs all of the senses. Boundaries are crossed, and the individual becomes part of the collective. With these reoccurring themes, I argue that the boundaries of the past, of geography, and the body become ways a perceived knowledge and truth about Spain was created. By using a range of sources, which include material culture, cookbooks, and travelogues, and by paying particular attention to how sensorial experiences are portrayed, we can better understand the prominent connection of food and power. Spain's unique position -- of having 700 years of Islamic occupation and a failed empire from the "Spanish decadence" -- allowed the Spanish to consider who they were as a nation and for outsiders to reify the stagnate status of Spain, supported by economic and political evidence. By portraying Spain as romantic and savage, but also impotent, nineteenth-century English and American writers limited its cultural identity as inert and unprogressive; Spain's limited food supply and cuisine – good or bad –reflected a national character of stunted development that was circulated, reinterpreted and translated.

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The editors of Authors Take Sides on the Spanish War, which was published in London by the Left Review in 1937, posed two questions to a list of writers: "Are you for, or against, the legal Government and the People of Republican Spain? Are you for, or against, Franco and Fascism?" The question was distributed by mail to hundreds of writers in the United Kingdom to solicit responses for publication. The editors' appeal closes: "We wish the world to know what you, writers and poets, who are amongst the most sensitive instruments of a nation, feel." Authors Take Sides on the Spanish War consists of brief remarks from 148 contributors in a "10,000 word" pamphlet. Authors Take Sides on the Spanish War contains many influential writers' opinions on one of the most significant conflicts of the twentieth century, but the publication has since received almost no editorial attention. The pamphlet was reissued in 2001 as a photoduplication of the original--without commentary or annotation--and due to a printer's error, it is missing two leaves. This annotated edition of Authors Take Sides on the Spanish War includes an archive of related correspondence, articles, and other writings pertinent to the pamphlet and the political, social, and cultural climate of Europe around the Spanish Civil War. Of particular interest are unpublished documents related to the publication of the pamphlet from the Nancy Cunard archive at the University of Texas-Austin's Harry Ransom Center for the Humanities, as well as an examination of textual decisions and revisions within the work of Arthur Koestler and six other authors who wrote on the Spanish Civil War. It is in this way that this edition of Authors Take Sides on the Spanish War also takes on many of the qualities of a dossier in that it brings together documentary evidence of a certain kind to provide a range of perspectives on this cultural and historical moment. / 2016-11-01T00:00:00Z

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Four-and eight-year high school located in the heart of the Spanish city of Barcelona in place very easily accessible by public transport. Gymnasium is a direct result of an important transportation and cultural center of the city-Barcelona Diagonal, which turns on and binds both locally as well as conceptually and opens up to her room entrance and public inner courtyard. Expanding with new housing with the use of administrative costs in the current competition industriánímu character with a lot of production facilities and produces at a certain tension. Construction of a new high school significantly affects the position and will do so within the industrial district of the new feature. Whole quarter is undergoing rehabilitation and new construction of school it will enhance significantly. Architectural design Building footprint follows the historic buildings in the plan, "Cerda, trying to respond to the chaos inside the blocks and expanding modern world and shape it as clean and simple. Just as individual blocks form a mosaic plan Cerda and school as a whole offers a range of activities with a rich structure inside and works on similar principles. Relationship "and the whole" liberation shape and emphasis on the strength of a material without impairing the continuity of the whole city is a concept on which this project is based

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