Escritores Euskéricos Contemporáneos
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Aramaioko Hizkera*
Aramaioko hizkera* JOSE LUIS ORMAETXEA LASAGA** ATARIKOA ramaioko euskara aztertzea aspaldiko asmoa banuen ere, oraintsu arte ez Adut asmo hori burutu. Gaztetatik hasia nintzen gurasoei (batez ere ama- ri) entzuten nizkien bitxikeriak apuntatzen. Baina lexikoari zegozkion kon- tuak ziren ia erabat. Eta urrats bat gehiago eman beharra zegoen. Eta hasi nintzen, hasi, baina baita ere garbatu zitzaidan lehenago ez ekin izana. Izan ere, lan honen helburua adinekoen euskara jasotzea eta aztertzea izanda, due- la 20-25 urte egin izatera, ziur asko zerbait desberdina zatekeen. Ezaugarri na- gusietan, beharbada, ez da aldaketa handirik gertatu Aramaioko euskaran be- launaldi batean, baina bizimodu-aldaketak eta erdararen eraginak bere lana egingo zutela ez dut dudarik. Hori adinekoen artean. Zer esanik ez belaunal- di gazteagoen artean, horiengan euskara batuak ere eragin eskerga izan duke- elarik. Azterketa honetan ez da egin gaur egun Aramaioko hiztun guztiek egiten duten euskararen argazkia. Argazki partziala da: soilik adinekoen euskara az- tertu da. Beraz, desagertzear den eta neurri handi batean desagertu den bizi- modu baten lekuko izan direnen euskara. Arkeologia-lana, hein handi batean. Sarreran, Aramaiori buruzko zenbait datu eman ondoren, lana egiteko erabili den metodologia eta oinarri teorikoak erakusten dira. Ondoren dator Aramaioko hizkeraren azterketa linguistikoa, honelako la- netan bereizten diren atalak landuz: 1 Fonologia, 2 Izenaren morfologia, 3 Aditzaren morfologia, 4 Morfosintaxia. Hemen, labur-beharrez, ezaugarri na- gusiak baino ez ditugu aipatuko. Azkenik, ondorio nagusiak ematen ditut, atal hauek bereiziz: Aramaioko hizkeraren kokagunea, eta Aramaioko euskararen eta Oletakoaren arteko des- berdintasunak. * Artikulu honetan 2005eko ekainean Gasteizko Filologia Fakultatean irakurritako tesiaren labur- pena eskaintzen da. Tesiaren izenburua: Aramaioko euskara (azterketa dialektologikoa). -
Natural Beauty Spots Paradises to Be Discovered
The Active OUTDOORS Natural Beauty Spots Paradises to be discovered Walking and biking in Basque Country Surfing the waves Basque Coast Geopark Publication date: April 2012 Published by: Basquetour. Basque Tourism Agency for the Basque Department of Industry, Innovation, Commerce and Tourism Produced by: Bell Communication Photographs and texts: Various authors Printed by: MCC Graphics L.D.: VI 000-2011 The partial or total reproduction of the texts, maps and images contained in this publication without the San Sebastián express prior permission of the publisher and the Bilbao authors is strictly prohibited. Vitoria-Gasteiz All of the TOP experiences detailed in TOP in this catalogue are subject to change and EXPE RIEN may be updated. Therefore, we advise you CE to check the website for the most up to date prices before you book your trip. www.basquecountrytourism.net The 24 Active OUT- DOORS 20 28LOCAL NATURE SITES 6 Protected Nature Reserves Your gateway to Paradise 20 Basque Country birding Bird watching with over 300 species 24 Basque Coast Geopark Explore what the world way 6 34 like 60 million years ago ACTIVITIES IN THE BASQUE COUNTRY 28 Surfing Surfing the Basque Country amongst the waves and mountains 34 Walking Walking the Basque Country Cultural Landscape Legacy 42 42 Biking Enjoy the Basque Country's beautiful bike-rides 48 Unmissable experiences 51 Practical information Gorliz Plentzia Laredo Sopelana THE BASQUE Castro Urdiales Kobaron Getxo ATXURI Pobeña ITSASLUR Muskiz GREENWAY GREENWAY Portugalete ARMAÑÓN Sondika COUNTRY'S MONTES DE HIERRO Gallarta Sestao NATURAL PARK GREENWAY Ranero BILBAO La Aceña-Atxuriaga PROTECTED Traslaviña Balmaseda PARKS AND AP-68 Laudio-Llodio RESERVES Amurrio GORBEIA NATURAL PARK Almost 25% of Basque Country Orduña territory comprises of protected nature areas: VALDEREJO A Biosphere Reserve, nine AP-68 NATURAL PARK Natural Parks, the Basque Lalastra Coast Geopark, more than Angosto three hundred bird species, splendid waves for surfing and Zuñiga Antoñana numerous routes for walking or biking. -
Mikel Zarate: Cautious Creator of Unified Basque
ESTUDIOS VASCOS Mikel Zarate: Cautious Creator of Unified Basque Gorka Aulestia* RESUMEN El vizcaíno Mikel Zarate, nacido en Lezama, fue uno de los escritores más des- LABURPENA tacados de la segunda mitad del s. XX. En este artículo presentamos algunos de- ABSTRACT talles de su vida y un sencillo análisis de algunas de sus obras. Asimismo, mos- tramos un deseo ferviente de su corazón: la unificación de la lengua vasca y la superviviencia del dialecto vizcaíno. XX. mendeko bigarren zatian, Bizkaian jaio ziren euskal idazleen artean, one- netariko bat izan zen Lezamako Mikel Zarate. Lantxo honetan haren bizitzako zertzelada batzuk eta lan batzuen azterketa xumea aurkezten ditugu. Baita ere erakusten dugu haren bihotzeko gurari sakon bat: euskararen batasuna eta Biz- kaiko euskalkiaren iraupena. Mikel Zarate, born in Lezama (Biscay), was one of the most notable writers of the second half of the XX century. In this article we present some details of his life and an brief analysis of some of his works. Likewise, we show one of his most ardent wishes: the unification of the Basque language and the survival of the Biscayan dialect. PALABRAS CLAVE Literatura vasca, dialecto vizcaíno, vascuence unificado, País Vasco, Academia de GAKO-HITZAK la Lengua Vasca KEY WORDS Euskal Literatura, Bizkaiko euskalkia, euskara batua, Euskal Herria, Euskaltzaindia Basque literature, Bizkaian dialect, unified Basque, Basque Country, Basque Academy Fecha de recepción/Harrera data: 10-05-2012 * Aulas de Experiencia. Vitoria. (UPV) Fecha de aceptación/Onartze data: 21-06-2012 165 Sancho el Sabio, 35, 2012, 165-188 SANCHO EL SABIO All deaths are sad because they imply loss and separation, but when the departed is a young artist, it is also a loss to the culture of his coun- try. -
El Cine Y Los Vascos
PROLOGO La aventura del arte ha sido, como toda actividad creativa humana, un ejercicio apasionante de inteligencia y sensibilidad. El hombre, no sólo en su calidad de persona individual sino también, como pueblo, ha sabido plasmar a través de la trasparencia del universo artístico, su peculiar idiosincrasia. Aquello, específico, que sin separarlo de los otros pueblos del planeta, los distingue de ellos. Cada golpe de cincel, trazo de paleta, modulación de voz o gesto, encuadre pictórico o cinematográfico, lleva, dentro de sí, una carga que, sobrepasando el nivel de lectura inmediata, nos hace descubrir el alma oculta y profunda de un pueblo. Este descubrimiento del ritmo interno, palpitante, está presente desde que el hombre primitivo, retratando la sombra de su mano, dejó sus señas de identidad en la oscuridad de las cavernas y se prolonga, sin interrup- ción, hasta el más moderno y sofisticado holograma. Así, la historia de los pueblos está escrita en esos pequeños y misteriosos signos, con mayor claridad y precisión que lo sería en sesudos manuales de historia. Recorriendo el amplio espectro de las artes, depositarias privilegiadas de las vivencias populares, nos, encontramos con la más joven de ellas: El cinematógrafo. Su nacimiento coincide con el siglo y ha sabido recoger en su esencia misma, los logros más determinantes de las disciplinas que le precedieron, fuertes, todas ellas, de la experiencia práctica y analítica de muchos siglos. La pintura, desde los albores mismos de la expresión comunicativa inteligente, había descubierto las leyes básicas de la percepción, las rela- ciones de perspectiva, la acción de la luz en la modulación de colores y sombras. -
Propaganda, Appropriation, and Depoliticisation of Basque Art Music
Document generated on 09/25/2021 11:19 a.m. Circuit Musiques contemporaines Gernikaren itzalpean: Propaganda, Appropriation, and Depoliticisation of Basque Art Music Gernikaren itzalpean : propagande, appropriation et dépolitisation de la musique d’art basque José L. Besada and Ainara Zubizarreta Engagements sonores : éthique et politique Article abstract Volume 28, Number 3, 2018 The Bombing of Guernica stands as the best-known war crime during the Spanish Civil War. The town symbolically representing the Basque essences was URI: https://id.erudit.org/iderudit/1055192ar destroyed by a German-Italian air raid lasting over three hours, and almost two DOI: https://doi.org/10.7202/1055192ar hundred people were killed. Unfortunately, this abominable event remains contentious among disparate political factions, sometimes upholding its memory See table of contents by means of tailor-made interpretations. As music often performs a political role within conflicts, particularly those involving violence, it is not surprising that the Bombing of Guernica has inspired several compositions of art music. Among them, we study three works by Basque Publisher(s) composers, namely Pablo Sorozábal, Francisco Escudero, and Ramon Lazkano. Circuit, musiques contemporaines Each case study respectively stands, politically speaking, as a propagandistic event, a musical appropriation, and a collateral depoliticization of the vivid ISSN memories around the war crime. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Besada, J. L. & Zubizarreta, A. (2018). Gernikaren itzalpean: Propaganda, Appropriation, and Depoliticisation of Basque Art Music. Circuit, 28(3), 25–38. https://doi.org/10.7202/1055192ar Tous droits réservés © Circuit, musiques contemporaines, 2018 This document is protected by copyright law. -
Before Babel: a History of Basque Literatures
Before Babel: A History of Basque Literatures Joseba Gabilondo BαRβaπoaK © 2016 Barbaroak. All rights reserved Printed in the United States of America on acid-free paper. Design: Joseba Gabilondo. Photographs: Wikimedia commons. ISBN: 978-1530868322 Library of Congress Cataloging Data: PH5281 .G33 2014 Barbaroak, LLC. www.barbaroak.com Only Basques preserve, to our days, their vulgar and barbarian language, which does not show any elegance, and is very different from the rest of languages and the most ancient of Spain, […] it is said that the whole Spain made use of the Basque language before the Romans entered these provinces and, with their arms, spread their language. It is also said that, because these Basque people were vulgar, ferocious, and wild […] and the mountains they inhabited were inaccessible, they never fell completely under the yoke of the foreign empire, or they shook it swiftly. Juan de Mariana, General History of Spain, (1601). What are we waiting for while congregated in the forum? The barbarians are expected to arrive today. Why is there such lack of action in the senate? Why are the senators sitting still and do not legislate? Because the barbarians will arrive today. … Why are the streets and public squares becoming empty? And everybody is going home with skeptical thoughts? Because night has fallen and the barbarians did not arrive. Some people came from the border And reported that the barbarians do not exist anymore. Now what are we going to do without barbarians? These people were after all a kind of solution. Constantine P. Cavafy. “Waiting for the Barbarians.” (1904; translation by Konstantinos Karpozilos). -
03 MUSIKA KLASIKOA CLASSICAL MUSIC Karlos Sánchez Ekiza
MUSIKA KLASIKOA 03 CLASSICAL MUSIC Karlos Sánchez Ekiza MUSIKA KLASIKOA 03 CLASSICAL MUSIC Karlos Sánchez Ekiza 2 Etxepare Euskal Institutuak sortutako bilduma 01 MUSIKA KLASIKOA Euskara honek hamabi kultura-adierazpide bildu CLASSICAL MUSIC The Basque Language ditu. Guztiak kate bakarraren katebegiak dira, hizkuntza berak, lurralde komunak 02 eta denbora-mugarri berberek zeharkatzen Karlos Sánchez Ekiza Literatura Literature dituztelako. Kulturaren eskutik, euskararen lurraldean tradizioa eta abangoardia nola 03 uztartu diren jasoko duzu. Kulturaren leihotik, Musika klasikoa bertakoaren eta kanpokoaren topalekua Classical Music erakutsiko dizugu. Kulturaren taupadatik, 04 nondik gatozen, non gauden eta nora goazen Euskal kantagintza: pop, rock, folk jakiteko aukera izango duzu. Liburu sorta hau Basque Songwriting: pop, rock, folk abiapuntu bat da, zugan jakin-mina eragin eta 08 Sarrera Introduction euskal kultura sakonago ezagutzeko gogoa 05 Artea piztea du helburu. Art This collection created by the Etxepare 10 Sortzaileak Composers 06 Basque Institute brings together twelve Zinema cultural disciplines, all of them intertwined as Cinema they share language, land and history. Hand in 24 Interpretatzaileak The Artists 07 hand with our culture, we invite you to witness Arkitektura eta diseinua the fusion of tradition and innovation, the Architecture and Design melding of local and foreign. In short, we invite 46 Azpiegitura The Infraestructure 08 you to learn where we come from, where we Euskal dantza are now and where we’re heading. This set of Basque Dance books is a launchpad intended to spark your curiosity. 09 52 Bibliografia Bibliography Bertsolaritza Bertsolaritza 10 Tradizioak Traditions 11 Sukaldaritza Cuisine 12 Antzerkia Theatre BASQUECULTURE.EUS THE GateWAY TO BasQUE CReatiVITY AND CultuRE Nola lortu du Mendebaleko Europako berezko How has the only indigenous language of Western hizkuntzen artean indoeuroparra ez den bakarrak Europe that is not of Indo-European origin achieved its bere lekua hartzea XXI. -
Estibaliz Amorrortu Gomez
ACTAS / PROCEEDINGS II SIMPOSIO INTERNACIONAL BILINGÜISMO LANGUAGE PLANNING AND LINGUISTIC ATTITUDES IN THE BASQUE CASE Estibaliz Amorrortu Gómez1 University of Deusto, Bilbao 1. Introduction2 The Basque case is often mentioned as a successful language-planning story. Popular and governmental efforts to reverse its minority status lead to a situation where use of Basque is more visible: it is now used in print, mass media, and education, and it is present in linguistic landscape. Although the sociolinguistic situation is still clearly diglossic, Basque is present in many institutional settings. However, scholars are still concerned about minority language use (Larrañaga, 1998). Even though the number of bilingual speakers increases, actual use of Basque, especially in informal interactions, does not seem to increase as well3. In this paper, I examine linguistic attitudes in the Basque case in two dimensions, status and solidarity, and relate them to language planning and possible future use of Basque. Linguistic attitudes represent attitudes hold towards speakers of the given varieties. Speakers holding high socio-economic status are the ones believed to speak “good language”, whereas the dialects of stigmatized groups are perceived as “ugly”, “imperfect”, “lazy”, or just “bad X”. Prestige in the context of a variety is often associated to the status dimension of language: prestigious varieties are those used by professional or high-class groups, and those varieties promoted in institutional settings such as education, religious services, -
Dealing with Dialectal Variation in the Construction of the Basque
Dealing with dialectal variation in the construction of the Basque historical corpus Ainara Estarrona1, Izaskun Etxeberria1, Ricardo Etxepare2, Manuel Padilla-Moyano2, Ander Soraluze1 1HiTZ Center - Ixa, University of the Basque Country (UPV/EHU) 2CNRS - IKER (UMR 5478) [email protected] [email protected] Abstract This paper analyses the challenge of working with dialectal variation when semi-automatically normalising and analysing historical Basque texts. This work is part of a more general ongoing project for the construction of a morphosyntactically annotated historical corpus of Basque called Basque in the Making (BIM): A Historical Look at a European Language Isolate, whose main objective is the systematic and diachronic study of a number of grammatical features. This will be not only the first tagged corpus of historical Basque, but also a means to improve language processing tools by analysing historical Basque varieties more or less distant from present-day standard Basque. 1 Introduction In many languages other than Basque, different historical corpora exist which are annotated morpholog- ically and syntactically, and allow lexical, morphological or syntactic searches in historical texts, e.g. the Penn Parsed Corpora of Historical English (Kroch and Taylor, 2000; Kroch et al., 2004; Kroch et al., 2016), the Tycho Brahe Corpus [historical corpus of Portuguese] (Galves et al., 2017), the Icelandic Parsed Historical Corpus (Wallenberg et al., 2011) or the Parsed Old and Middle Irish Corpus (Lash, 2014). However, no appropriate instruments of this type have ever been developed for Basque. In this paper we present the work we are carrying out in the construction of a historical corpus of Basque considering the dialectal variation of historical texts. -
CASE of BASQUE: Past, Present and Future Maria-Jose Azurmendi and Iñaki Martínez De Luna (Eds.)
Maria-Jose Azurmendi and Iñaki Martinez de Luna (eds.) 5 THE CASE OF BASQUE: Past, Present and Future Maria-Jose Azurmendi and Iñaki Martínez de Luna (eds.) CONTENTS The Contributors ................................................................................................. 7 Introduction ...................................................................................................... 13 Maria-Jose Azurmendi and Iñaki Martínez de Luna 1. History of the Basque Language: From the Discours of its Death to its Maintenance .............................................. 19 Xabier Erize 2. Basque Language Corpus Planning .................................................................. 43 Koro Urkizu 3. The Social Movement in Favour of the Normalization of the Basque Language ............................................................ 53 Xabier Mendiguren and Joxe I. Iñigo 4. Use of the Basque Language, Key to Language Normalization ............................... 67 Iñaki Martínez de Luna, Xabier Isasi and Olatz Altuna 5. Economic Development and the Basque Language: A sign of hope ......................... 89 Jose M. Zendoia 6. Theoretical, Social and Political Discourses on the Basque Language .................... 103 Jone M. Hernández, Olatz Olaso and Iñaki Martínez de Luna 7. The Future of Basque in RLS Perspective ......................................................... 117 Mikel Zalbide, Nicholas Gardner, Xabier Erize and Maria-Jose Azurmendi 8. Language Policies of the European Union with Reference to Regional or Minority -
A Morphological Processor Based on Foma for Biscayan (A Basque Dialect)
A morphological processor based on foma for Biscayan (a Basque dialect) Iñaki Alegria1, Garbiñe Aranbarri2, Klara Ceberio3, Gorka Labaka1, Bittor Laskurain 2, Ruben Urizar1 1 IXA research group. University of the Basque Country. 649 PK 20080 Donostia 2 Eleka S.L. Zelai Haundi kalea, 3 - Osinalde industrialdea - 20170 Usurbil 3 Elhuyar Foundation. Zelai Haundi kalea, 3 - Osinalde industrialdea - 20170 Usurbil E-mail: [email protected] Abstract We present a new morphological processor for Biscayan, a dialect of Basque, developed on the description of the morphology of standard Basque. The database for the standard morphology has been extended for dialects and an open- source tool for morphological description named foma is used for building the processor. XuxenB, a spelling checker/corrector for this dialect, is the first application of this work. 1. Basque and Biscayan morphology foma is licensed/certified under the GNU license: in Basque is an agglutinative language with rich keeping with traditions of free software, the distribution morphology. Standard Basque morphology was that includes the source code comes with a user manual described by Alegria et al. (1995; 2002) using finite-state and a library of examples. The compiler and library are morphology. implemented in C and an API is available (foma. The Biscayan dialect of Basque (Arejita et al., 2002, sourceforge.net). 2005), also called Western Basque (Zuazo, 2008), is a Standard Basque morphology was migrated to open- dialect of the Basque language spoken in the western source finite-state technology using hunspell (Nemeth et part of the Basque speaking area, mainly in the province al., 2004) first and then to foma (Alegria et al., 2009). -
Variation in the Grammar of Endangered Languages: the Case of Two Basque Dialects
Agurtzane Elordui Variation in the Grammar of Endangered Languages: The Case of Two Basque Dialects Abstract Resea¡ches addressing variation in language loss suggest that the factors underlining variation in endangered languages differ from the factors that account for variation in healthy languages. The results of this study focused on the patterns of variation across the language use ofdifferent speakers oftwo dying dialects ofBasque, also show that differences related with the social status of the speakers do not explain the morpho- syntactic variation found in these dialects. The data indicate that the pattems of variation found in these terminal communities can be better accounted for in terms of differentiation in the degree of language use frequency of the speakers and in the diversity of their acquisitional backgrounds. These results come to confirm King's proposal according to which variation arises in dying languages as a result of a language death process whereby simplified variants gradually replace more complex variants, especially in the speech of semi-speakers (King 1989: 139). Likewise, the analysis of the overgeneralized o¡ new variants used particularly by semi-speakers reveals that linguistic considerations such as scale ofmorphological complexity ofthe variant, markedness and semantic and morphological transparency have a relevant importance in order to explain the linguistic nature ofthis variation. 1. Introduction One of the most widespread linguistic characteristics of endangered languages is the great amount of linguistic variation that appears within the speech of a single speaker and particularly, across the language use of different speakers of the same speech community. Researches addressing variation in language loss suggest that the factors underlining this variation differ from the factors that account for variation in healtþ languages.