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Amelie Les Bains - Palalda Sommaire
AMELIE LES BAINS - PALALDA SOMMAIRE Rejoignez-nous P 1 Veniu amb nosaltres - Getting there Office Municipal de Tourisme et du Thermalisme Catégorie I - Qualité Tourisme Informations générales P 1 Informacions generals - General information 22, Avenue du Vallespir - 66110 Amélie-les-Bains Légende pictogrammes P 2 Tél. 04 68 39 01 98 - Fax. 04 68 39 20 20 Significat dels pictograms - Symbols index Agences immobilières P 3 à 8 www.amelie-les-bains.com Agencies immobiliaries - Estate agencies [email protected] Infos utiles P 9 à 10 Informacions útils - Useful information Locations meublées P 11 à 44 Apartaments amoblats - Furnished accommodations Horaires d’ouverture Lundi au vendredi Samedi Dimanche Gîtes de France & Chambres d’hôtes P 45 à 47 Décembre 09h00 - 12h00 01/02 au 28/02 Allotjaments de turisme rural - Rural accommodation Janvier - février 14h00 - 17h00 08h30 - 12h30 Hôtels - Restaurants P 49 à 56 1er /03 au 15 / 06 09h00 - 12h30 08h30 - 12h30 Hotels restaurants - Hotels - restaurants 16 / 09 au 30 / 11 14h00 - 18h00 Hôtels & Résidences hôtelières P 57 à 58 16 juin au 15 septembre 08h30 - 19h00 08h30 - 19h00 08h30 - 12h30 Hotels & Aparthotels - Hotels & Aparthotels Jours fériés de 08h30 - 12h30 Campings P 59 à 61 mars à novembre Campings - Camp sites Plan P 62 Mapa - Map L’Office de Tourisme d’Amélie-les-Bains Palalda appartient au réseau de la Fédération Nationale des Offices de Tourisme de France. Il est classé catégorie I et détenteur de la marque «Qualité Tourisme». A ce titre, il travaille sans cesse à l’amélioration de ses services et s’engage à vous garantir : • un accueil personnalisé • une information claire et précise • un personnel compétent et à votre écoute • un lieu confortable et accueillant • une prise en compte de votre avis et un traitement de vos réclamations • une amélioration continue des services et des prestations TOUTE UNE EQUIPE.. -
Vers Saint Jacques De Compostelle D' Arles Sur
VERS SAINT JACQUES DE COMPOSTELLE D' ARLES SUR TECH à COUSTOUGES le G.R. 11 et ALBANYA Association "Les Amis du Chemin de Saint-Jacques de Compostelle" Association Roussillonnaise - PERPIGNAN Siège social : 59 rue de la Lanterne - 66000 PERPIGNAN site internet : http://amis.compostelle.free.fr e-mail : [email protected] L'Association Roussillonnaise des Amis du Chemin de Saint-Jacques de Compostelle a prévu, dès sa création, de proposer 5 chemins catalans pour traverser le département des Pyrénées Orientales et déboucher sur la frontière avec l'Espagne. au Col de Panissars (LE PERTHUS) à LLIVIA (Cerdagne) au Col d'Arres (PRATS DE MOLLO) à COUSTOUGES (Vallespir) au Col de Banyuls (BANYULS SUR MER) Un 6ème chemin (voie littorale de CANET à CERBERE / Col des Balitres) a été proposé plus tard. Un descriptif des trois premiers chemins a été édité. Vous trouverez, dans ce fascicule, le cheminement entre ARLES SUR TECH - COUSTOUGES et ALBANYA (GR 11 espagnol). Un changement de voie est proposé : passer de ce chemlin à la voie 2 (vers le Col d'Ares). Précisons qu'après la frontière, ce sont les autorités compétentes et les associations jacquaires catalanes (sud) qui décideront du chemin. Notre descriptif du morceau espagnol n'est donc qu'une proposition qui sera validée (ou non) lorsque nos amis de Catalogne Sud auront officialisé un chemin. Guy SANTESMASES 1ère édition : nov. 2011 P. 1 SUR LE CHEMIN DE SAINT-JACQUES DE COMPOSTELLE ARLES SUR TECH → COUSTOUGES → GR 11 Distances Temps ARLES SUR TECH → Aire de pique nique 16 Km 4 H LA FORGE DEL MITG Aire de pique nique LA FORGE DEL MITG → ST LAURENT DE CERDANS 5 Km 1 H 15 ST LAURENT DE CERDANS → COUSTOUGES 9 Km 2 H 15 COUSTOUGES → LA TRILLE - GR 11 - 18 Km 4 H 30 ALBANYA TOTAUX 48 Km 12 H Temps de marche indicatif : 4 Km / H P. -
Les Itinéraires Nature
Port-la-Nouvelle Couiza Leucate INFORMATIONS TOURISTIQUES De Paris, Lyon, Marseille, Qualité Tourisme Toulouse, Montpellier, Narbonne Qualité Tourisme Accueil Occitanie Tourisme & Handicap Vélo Tuchan Sud de France J4 › ALÉNYA E4 › MOLITG-LES-BAINS - (CAT. I) Quillan Tél. +33 4 68 22 54 56 - www.alenya.fr Tél. +33 4 68 05 41 02 OPOUL-PÉRILLOS G2 › AMÉLIE-LES-BAINS - (CAT. I) www.tourisme-canigou.com 34 Tél. +33 4 68 39 01 98 C2 › MONT-LOUIS AUDE www.amelie-les-bains.com Tél. +33 4 68 04 21 97 - www.mont-louis.net VINGRAU J3 › ARGELÈS-SUR-MER - (CAT. I) I4 › PERPIGNAN Tél. +33 4 68 81 15 85 Château de Quéribus ÉTANG Site des Dosses Tél. +33 4 68 66 30 30 Gorges de Galamus www.argeles-sur-mer-tourisme.com SALSES-LE-CHÂTEAU DE SALSES www.perpignantourisme.com 30 G2 › ARLES-SUR-TECH K2 › PORT-VENDRES - (CAT. II) 31 PRUGNANES 35 Musée de la préhistoire Tél. +33 4 68 39 11 99 De Toulouse ST-PAUL Chapitre de St Paul de Fenouillet Tél. +33 4 68 82 07 54 MAURY www.tourisme-haut-vallespir.com par Quillan DE FENOUILLET TAUTAVEL www.port-vendres.com AGLY K2 › BANYULS-SUR-MER - (CAT. I) CAUDIÈS-DE E3 › PRADES - (CAT. I) FENOUILLÈDES Tél. +33 4 68 88 31 58 TOUR DEL FAR Salanque Tél. +33 4 68 05 41 02 ST-MARTIN LESQUERDE PORT BARCARÈS www.banyuls-sur-mer.com www.tourisme-canigou.com DE FENOUILLET CASES ST-HIPPOLYTE ESPIRA LE BARCARÈS C2 › BOLQUÈRE-PYRÉNÉES 2000 Fenouillèdes VERDOUBLE DE-PÈNE F1 › PRATS-DE-MOLLO-LA PRESTE FENOUILLET DE-L’AGLY Tél. -
Catalan Farmhouses and Farming Families in Catalonia Between the 16Th and Early 20Th Centuries
CATALAN HISTORICAL REVIEW, 9: 71-84 (2016) Institut d’Estudis Catalans, Barcelona DOI: 10.2436/20.1000.01.122 · ISSN: 2013-407X http://revistes.iec.cat/chr/ Catalan farmhouses and farming families in Catalonia between the 16th and early 20th centuries Assumpta Serra* Institució Catalana d’Estudis Agraris Received 20 May 2015 · Accepted 15 July 2015 Abstract The masia (translated here as the Catalan farmhouse), or the building where people reside on a farming estate, is the outcome of the landscape where it is located. It underwent major changes from its origins in the 11th century until the 16th century, when its evolu- tion peaked and a prototype was reached for Catalonia as a whole. For this reason, in the subsequent centuries the model did not change, but building elements were added to it in order to adapt the home to the times. Catalan farmhouses are a historical testimony, and their changes and enlargements always reflect the needs of their inhabitants and the technological possibilities of the period. Keywords: evolution, architectural models, farmhouses, rural economy, farming families Introduction techniques or the spread of these techniques became availa- ble to more and more people. Larger or more numerous Some years ago, historians stopped studying only the ma- rooms characterised the evolution of a structure that was jor political events or personalities to instead focus on as- originally called a hospici, domus, casa or alberg, although pects that were closer to the majority of the people, because we are not certain of the reason behind such a variety of this is where the interest lies: in learning about our ances- words. -
L'aula D'idioma Com a Mitjà D'integració I D'enriquiment
L’AULA D’IDIOMA COM A MITJÀ D’INTEGRACIÓ I D’ENRIQUIMENT MULTICULCULTURAL José Luis Bartolomé Sánchez Curs 2004-2005 Centre de treball: IES Montsacopa (Olot, Garrotxa) Especialitat: Llengua anglesa Supervisió: Neus Serra (Servei Inspecció Delegació Territorial d’Educació de Girona) Llicència d’estudis retribuïda concedida pel Departament d’Educació de la Generalitat, Resolució del 16 de juliol de 2004 (DOGC núm. 4182 de 26.7. 2004) “The White Man Drew a Small Circle” The white man drew a small circle in the sand and told the red man, 'This is what the Indian knows,' and drawing a big circle around the small one, 'This is what the white man knows.' The Indian took the stick and swept an immense ring around both circles: 'This is where the white man and the red man know nothing.' Carl Sandburg « L'home blanc va dibuixar un cercle petit » L'home blanc va dibuixar un cerce petit a la sorra i va dir al pell roja: "Això és els que coneixeu els indis" i tot seguit va dibuixar un cercle gran al voltant del petit: "Això és el que coneixem els homes blancs." L'indi va agafar el pal i va escombrar un enorme cercle al voltant dels altres dos: "Això és on ni l'home blanc ni el pell roja no coneixen gens". 2 3 4 5 Índex Pàgina Introducció 7 Greencards for Cultural Integration 11 Readers 113 - Around the world in ten Tintin books 118 - Australia 129 - America 139 - Far and Middle East 155 - Africa 177 - Far East. China & India 217 Pop Songs 249 Movies 357 Conclusions 428 Bibliografia 433 6 INTRODUCCIÓ 7 L'experiència personal dels darrers anys com a docent d'institut en un municipi amb un augment espectacular de l'arribada de famílies i alumnes d'altres països m'ha fet veure que l'entrebanc principal de contacte amb aquestes persones -l'idioma- resulta de vegades paradoxal. -
The Politics of Bulls and Bullfights in Contemporary Spain
SOCIAL THOUGHT & COMMENTARY Torophies and Torphobes: The Politics of Bulls and Bullfights in Contemporary Spain Stanley Brandes University of California, Berkeley Abstract Although the bullfight as a public spectacle extends throughout southwestern Europe and much of Latin America, it attains greatest political, cultural, and symbolic salience in Spain. Yet within Spain today, the bullfight has come under serious attack, from at least three sources: (1) Catalan nationalists, (2) Spaniards who identify with the new Europe, and (3) increasingly vocal animal rights advocates. This article explores the current debate—cultural, political, and ethical—on bulls and bullfighting within the Spanish state, and explores the sources of recent controversy on this issue. [Keywords: Spain, bullfighting, Catalonia, animal rights, public spectacle, nationalism, European Union] 779 Torophies and Torphobes: The Politics of Bulls and Bullfights in Contemporary Spain s is well known, the bullfight as a public spectacle extends through- A out southwestern Europe (e.g., Campbell 1932, Colomb and Thorel 2005, Saumade 1994), particularly southern France, Portugal, and Spain. It is in Spain alone, however, that this custom has attained notable polit- ical, cultural, and symbolic salience. For many Spaniards, the bull is a quasi-sacred creature (Pérez Álvarez 2004), the bullfight a display of exceptional artistry. Tourists consider bullfights virtually synonymous with Spain and flock to these events as a source of exotic entertainment. My impression, in fact, is that bullfighting is even more closely associated with Spanish national identity than baseball is to that of the United States. Garry Marvin puts the matter well when he writes that the cultur- al significance of the bullfight is “suggested by its general popular image as something quintessentially Spanish, by the considerable attention paid to it within Spain, and because of its status as an elaborate and spectacu- lar ritual drama which is staged as an essential part of many important celebrations” (Marvin 1988:xv). -
Cultural Identities and National Borders
CULTURAL IDENTITIES AND NATIONAL BORDERS Edited by Mats Andrén Thomas Lindqvist Ingmar Söhrman Katharina Vajta 1 CULTURAL IDENTITIES AND NATIONAL BORDERS Proceedings from the CERGU conference held at the Faculty of Arts. Göteborg University 7-8 June 2007 Eds. Mats Andrén Thomas Linqvist Ingmar Söhrman Katharina Vajta 2 CONTENTS Contributers Opening Addresses Introduction 1. Where, when and what is a language? Ingmar Söhrman 2. Identity as a Cognitive Code: the Northern Irish Paradigm Ailbhe O’Corrain 3. Language and Identity in Modern Spain: Square Pegs in Round Holes? Miquel Strubell 4. Struggling over Luxembourgish Identity Fernand Fehlen 5. Language Landscapes and Static Geographies in the Baltic Sea Area Thomas Lundén 6. The Idea of Europa will be Fullfilled by Muslim Turkey Klas Grinell 7. National identity and the ethnographic museum The Musée du Quai Branly Project: a French answer to multiculturalism? Maud Guichard-Marneuor 8. Främlingsidentitet och mytbildning av den utländske författaren [English summary: Mythmaking of the Foreign Author and a Reflection on the Identity as a Stranger: The Case of the Swedish Author Stig Dagerman in France and Italy] Karin Dahl 9. Den glokale kommissarien: Kurt Wallander på film och TV [English summary: Kurt Wallander on film and TV] Daniel Brodén 10. Staden, staten och medborgarskapet [English summary: Studying “undocumented immigrants” in the city with Lefebvre’s spatial triad as a point of departure] Helena Holgersson 3 11. Digging for Legitimacy: Archeology, Identity and National Projects in Great Britain, Germany and Sweden Per Cornell, Ulf Borelius & Anders Ekelund 12. Recasting Swedish Historical Identity Erik Örjan Emilsson 4 Contributers Mats Andrén is professor in The History of Ideas and Science at Göteborg University from 2005. -
El Rocío: a Case Study of Music and Ritual in Andalucía
ABSTRACT Title of Document: EL ROCÍO: A CASE STUDY OF MUSIC AND RITUAL IN ANDALUCÍA W. Gerard Poole, Ph.D., 2007 Dissertation directed by: Dr. Carolina Robertson, Department of Ethnomusicology Music is central to the processional pilgrimage of El Rocío, which attracts hundreds of thousands of pilgrims to Andalusia, Spain, late each spring. The pilgrimage affords a unique view, in microcosm, of the relationships between music and ritual from both ritual-studies and ethnomusicological perspectives. Based on extensive fieldwork and other research, this dissertation explores the nexus of the Catholic ritual system in Andalusia, flamenco, and the specific music of El Rocío: the Sevillanas Rocieras. That nexus becomes clear through exploration of three particular features of the pilgrimage: (1) the devotional processions that generate a single, focused, collective emotion; (2) the Andalusian musical form called the palo; and (3) the informal musical gatherings called juergas, which take place nightly along the route. Analysis of structural and morphological relationships between ritual, music, and emotion yields surprising realizations about how these three elements come together as embodied aesthetics within a communitas to generate popular culture. Another important finding of this work is the necessity of placing, at the center of the inquiry, the religious experience—including the curious Andalusian phenomenon of the “chaotic” emotional procession and its role within the overall pilgrimage and ritual system. The dissertation concludes with two theoretical positions. The first addresses the process of “emotional structuring” and its role within the musical rituals of El Rocío and, by extension, Andalusia. The second advances a theory of ritual relations with potential application to ritual systems beyond Andalusia. -
Towards an Ethnomusicology of Contemporary Flamenco Guitar
Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Catalunya éS Mãºsica
catalonia is music «Music, this wonderful universal language, should be a source of communication between all of mankind» Pau Casals © Generalitat de Catalunya Departament d’Innovació, Universitats i Empresa Gran Teatre del Liceu. Barcelona. In Catalonia, music and passion have always gone together. Their alliance began with the troubadours, evolved in the mediaeval monasteries, crossed the desert after the defeat of the secessionist uprising (La Guerra dels Segadors or Reaper’s War), recovered with the coming of classical and contemporary music during the time of the 19th century Catalan cultural movement known as the Renaixença, flourished on a popular level with habaneras and sardanas, went into exile with Pau Casals after the Civil War, established ties later on during the dictatorship with European folk and re-emerged with the Nova Cançó (the New Song), expanded during democracy with Catalan rock and pop, and is now expressed in the electronic rhythms of the Sonar festival. Welcome to the sounds of Catalonia! Sephardic troubadours and romancers were already singing about the day-to-day life and sentiments of the Catalans when the County of Barcelona was established. Then came the mediaeval monasteries, the Escolania de Montserrat choir, plainchant with its sacred and profane polyphony during the Renaissance, and later, during the Renaixença, Catalan art and language made a recovery and classical music flowered in Catalonia with Albéniz, Mompou and Montsalvatge. These were followed by the cellist Pau Casals and the habanera and the sardana, with their substrate of popular dance and song; a legacy which has been given new life by mixing rhythms and fusing styles.. -
Paul Gauguin
Paul Gauguin Painter, Sculptor 1848 – 1903 • Born on June 7, 1848 in Paris, france • Mother was peruvian, family lived Peru for 4 years • Family returns to France when he is 7 • Serves in the Merchant Marine, then the French Navy • Returns to Paris and becomes a Stockbroker • Marries a danish woman and they have 5 children • They live in Copenhagen where he is a stockbroker • Paints in his free time – buys art in galleries and makes friends with artists Portrait of Madame Gauguin • Decides he wants to (1880) paint full time – leaves his family in Copenhagen and goes back to Paris • His early work is in the impressionist style which is very popular at that time • He is not very successful at his art, he is poor • Leaves France to find a simpler life on a tropical island Aline Gauguin Brothers (1883) Visits his friend Vincent vanGogh in Arles, France where they both paint They quarrel, with van Gogh famously cutting off part of his ! own ear Gauguin leaves france and never sees van Gogh again Night Café at Arles (1888) Decides he doesn’t like impressionism, prefers native art of africa and asia because it has more meaning (symbolism) He paints flat areas of color and bold outlines He lives in Tahiti and The Siesta (1892) paints images of Polynesian life Tahitian women on the beach (1891) • His art is in the Primitivist style- exaggerated body proportions, animal symbolism, geometric designs and bold contrasting colors • Gauguin is the first artist of his time to become successful with this style (so different from the popular impressionism) • His work influences other painters, especially Pablo Picasso When do you get married? (1892) Gauguin spent the remainder of his life painting and living ! in the Marquesas Islands, a very remote, jungle-like ! place in French Polynesia (close to Tahiti) Gauguin’s house, Atuona, ! Marquesas Islands Gauguin lived ! alone in the ! jungle, where ! one day his houseboy arrived to find him dead, with a smile on his face.