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Multicultural Iberia: Language, Literature, and Music

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Multicultural Iberia: Language, Literature, and Music Multicultural Iberia: Language, Literature, and Music Edited by Dru Dougherty and Milton M. Azevedo Description: Since medieval times, Catalonia has been a source of cultural expression that has ranged far beyond its present-day geographic borders. The uncommon diversity of its languages, literature in both Catalan and Spanish, and popular culture is studied in this volume by scholars from the United States and Spain who met in Berkeley in 1997 to celebrate the tenth anniversary of the Gaspar de Portola Catalonia Studies Program. The dialogue between Catalonia and the other regions of the Iberian Peninsula is both analyzed and continued in this collection of essays by outstanding specialists in linguistics, literature, musicology, digitized media, and cultural studies. RESEARCH SERIES / NUMBER 103 MULTICULTURAL IBERIA: LANGUAGE, LITERATURE, AND MUSIC Dru Dougherty and Milton M. Azevedo, Editors UNIVERSITY OF CALIFORNIA AT BERKELEY Library of Congress Cataloging-in-Publication Data Multicultural Iberia : language, literature, and music / Dru Dougherty and Milton M. Azevedo, editors. p. cm. — (Research series ; no. 103) Includes bibliographical references ISBNB 0-87725-003-0 1. Catalan philology. 2. Catalonia (Spain)—Civilization. I. Dougherty, Dru. II. Azevedo, Milton Mariano, 1942– . III. Series: Research series (University of California, Berkeley. International and Area Studies) ; no. 103. PC3802.M85 1999 449’.9—dc21 99-22188 CIP ©1999 by the Regents of the University of California CONTENTS Acknowledgments vii Introduction Dru Dougherty and Milton M. Azevedo 1 The Digital Scriptorium: A New Way to Study Medieval Iberian Manuscripts Charles B. Faulhaber 9 Masculine Beauty vs. Feminine Beauty in Medieval Iberia Francisco A. Marcos-Marín 22 An Inane Hypothesis: Torroella, Flores, Lucena, and Celestina? Antonio Cortijo Ocaña 40 The Spill De La Vida Religiosa (Barcelona 1515) and Its Luso-Hispanic Transmission August Bover i Font 57 Recovering Their Voices: Early Peninsular Women Writers Kathleen McNerney 68 A Voice of Her Own: Jerónima De Gales, a Sixteenth-Century Woman Printer María del Mar Fernández-Vega 81 Mothers, Daughters, and the Mother Tongue: Martín Gaite’s El Cuarto De Atrás and Roig’s El Temps de les Cireres Emilie L. Bergmann 93 Mental Houses in Catalan and Castilian Women Writers of the 1990s Adela Robles Sáez 109 Villena and Mesquida: Materializing the Platonic Body Juan M. Godoy 123 Theater and Life in Eduardo Mendoza’s Una Comedia Ligera Marta E. Altisent 134 The Evolution of Word-Internal Clusters in Ibero-Romance: Some Evidence from Catalan Donna M. Rogers 154 Quilombo ‘Bordello’: A Luso-Africanism in the Spanish and Catalan of Modernist Barcelona Philip D. Rasico 165 Aspects of the Spread and Boundaries of Catalan Lexicon in Andalusia Juan A. Sempere-Martínez 175 Language, Fiction, and Culture in Catalonia and Spain at the End of the Century Sebastià Serrano 198 Manuel de Falla and the Barcelona Press: Universalismo, Modernismo, and the Path to Neoclassicism Carol A. Hess 212 Community Ensemble Music as a Means of Cultural Expression in the Catalan-Speaking Autonomies of Spain Richard Scott Cohen 230 Notes on Contributors 253 ACKNOWLEDGMENTS Publication of this volume has been made possible by the coop- eration of a number of institutions and individuals. Funding was provided by the Generalitat de Catalunya through the program’s endowment and UC Berkeley’s International and Area Studies, which also contributed editorial support. Special thanks go to Dean Richard Buxbaum of IAS for his support of the project and to Gloria Oré, Administrative Assistant of the Gaspar de Portolà Catalonian Studies Program, who served as a peerless mediator between authors, computer terminals, editors, and fax machines. We also thank Bojana Ristich, whose editorial acumen helped bring the vol- ume to completion. We are pleased to thank finally the authors who contributed their essays to a project whose spirit is best expressed by their love and enthusiasm for things Catalan and by the rigor of their research. vii INTRODUCTION Dru Dougherty Milton M. Azevedo This volume includes sixteen papers presented at the symposium on Comparative Literature, Linguistics and Culture: An Iberian Dia- logue, held by the Gaspar de Portolà Catalonian Studies Program on the Berkeley campus of the University of California in April 1997. The symposium was seen as a fitting way to observe the tenth anniversary of the program, which has functioned as a research unit within the Center for Western European Studies of UC Berkeley’s International and Area Studies since 1987. What better way to celebrate that event than by bringing together scholars from Spain and the United States to study—and continue—the dialogue between Catalonia and the other autonomous communities and languages on the Iberian Penin- sula? The symposium commemorated a frutiful decade of cooperative activities between the University of California and the Generalitat de Catalunya, while it drew attention once more to the richness and vitality of Catalonia’s literature, language, and culture.1 Evidence of Catalonia’s prominence in Europe, both today and in the past, is offered in the papers published here, whose topics range from a sixteenth-century woman printer to a recent best-sell- ing novel by Eduardo Mendoza, from Luso-Africanisms in turn-of- the-century Barcelona to bilingualism in contemporary Catalonia, from gay writers to the place of computers in the study of Iberia’s medieval manuscripts. No single theme recurs in these essays, but there is a constant concern for the dialogic impulse within Catalo- nian culture. Thus, for example, while aspects of the Catalan lexicon continue to spread deep into Andalusia, that region’s most famous composer, Manuel de Falla, was received in Barcelona with a uniquely European sensitivity in the 1920s. It is difficult to separate agent and receptor in such negotiations. 1 2 Dougherty and Azevedo In today’s multicultural Spain, Catalonia is a crucible of cul- tural exchange, which has always constituted one of its defining traits. The uncommon variety of its literature, languages, and cul- tural expression is reflected in these pages: the juxtaposition of dis- parate elements seems to defy any notion of unity; the old and the new easily coexist side by side; Catalonia as center cannot be sepa- rated from Catalonia as periphery. The subject under discussion may be a devotional, allegorical novel published in Barcelona in 1515, but the point of reference is always today’s Catalonia, whose diversity and restlessness find a rare resonance in California, where these papers were first presented. Among the essays themselves, the first four engage topics deal- ing with medieval Iberia. Charles B. Faulhaber, in “The Digital Scrip- torium: A New Way to Study Medieval Iberian Manuscripts,” discusses the impact of electronic texts and other digitalized media on literary and linguistic analysis based on medieval manuscripts. Faulhaber analyzes in some detail ADMYTE (Archivo Digital de Manuscritos y Textos Españoles), his own Old Catalan course on the World Wide Web, and, in more detail, the ongoing joint University of California at Berkeley–Columbia University Digital Scriptorium, aimed at providing both a database of digitalized manuscripts and a means for retrieving, reworking, and adding information “to the sum of existing knowledge.” “Masculine Beauty vs. Feminine Beauty in Medieval Iberia,” by Francisco Marcos-Marín, studies a specific instance in which Iberian literature—in Castilian and Catalan—diverges from the Latin canon common to France and Italy. At issue is the depiction of beauty in men and women, a convention known as the puella bella when the latter sex is described, especially in medieval poetry. Marcos-Marín catalogues a number of traits that seem to characterize beautiful women only in Iberia: a sprightly forehead, dark eyes, thin lips, dark red gums, a long neck, and plump buttocks. The source of these features is located in medieval Arabic medical treatises, “the most serious link between the classical canon and the Arabic template for sexual preferences.” Antonio Cortijo Ocaña (“An Inane Hypothesis: Torroella, Flo- res, Lucena, and Celestina?”) traces the background of the genre of sentimental fiction to an “anonymous Catalan” work, Frondino e Bri- sona, and points out that the author of the Castilian sentimental Introduction 3 romance Triste deleytaçión was a Castilian-writing Catalan. Cortijo focuses on the influence of bilingual author Pere Torroella, whose misogynistic Maldezir de mugeres, apparently “interpreted as an at- tack against the literary and social status quo,” sparked not only adverse reaction, but also a parody, Repetición de amores, parts of which bear a resemblance to “the anonymous first act of Celestina.” By comparing some twenty manuscripts, Cortijo raises several re- lated hypotheses leading to the possibility that Luis de Lucena or a member of his group at Salamanca might be “the anonymous author(s) of the first act of the Celestina,” later used by Rojas as the basis of his Comedia and Tragicomedia. Though admittedly tentative, this hypothesis underscores the abundance of cultural contacts be- tween Catalans and Castilians in the Middle Ages, supporting Cor- tijo’s view that fifteenth-century specialists should take into account the mutual influences between Catalonia and other regions of the Iberian Peninsula. August Bover i Font writes about the anonymous Spill de la vida religiosa, a rare example of sixteenth-century
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