Catalan Literary Non-Fiction 2020
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'Jo També Sóc Catalana' by Najat El Hachmi
Mètode Science Studies Journal ISSN: 2174-3487 [email protected] Universitat de València España Segarra, Marta MIGRANT LITERATURE. ‘JO TAMBÉ SÓC CATALANA’ BY NAJAT EL HACHMI Mètode Science Studies Journal, núm. 5, 2015, pp. 75-79 Universitat de València Valencia, España Available in: http://www.redalyc.org/articulo.oa?id=511751360011 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MONOGRAPH MÈTODE Science Studies Journal, 5 (2015): 75-79. University of Valencia. DOI: 10.7203/metode.81.3146 ISSN: 2174-3487. Article received: 19/12/2013, accepted: 27/03/2014. MIGRANT LITERATURE ‘JO TAMBÉ SÓC CATALANA’ BY NAJAT EL HACHMI MARTA SEGARRA This article discusses «migrant literature» in Catalonia, looking at the particular case of Najat El Hachmi, a Catalan writer of Moroccan origin. Here we analyse her fi rst book, the auto-biographical Jo també sóc catalana (“I Am Also Catalan”) by examining how the migratory experience is expressed from a linguistic, cultural and gender perspective. We also compare her case with that of other writers, especially those belonging to the so-called «Francophone Maghreb» literature. Keywords: migrant literature, Catalan literature, Maghreb literature, Najat El Hachmi. The migratory experience, with all its social, countries but who settled in Catalonia and chose economic and, above all, emotional and psychological to write in Catalan. They could fi t into the category complexities, has become a major literary and artistic of «migrant literature», not only attending to the theme, especially in recent decades. -
Project #3: Inspired By… - Description Critique Date - 3/29/19 (Fri)
Project #3: Inspired by… - Description Critique Date - 3/29/19 (Fri) "The world is filled to suffocating. Man has placed his token on every stone. Every word, every image, is leased and mortgaged. We know that a picture is but a space in which a variety of images, none of them original, blend and clash." – Sherrie Levine Conceptual Requirements: In this project, you will do your best to interpret the style of a particular photographer who interests you. You will research them as well as their work in order to make photographs that have a signature aesthetic or approach that is specific to them, and also contribute your ideas. Technical Requirements: 1. Start with the list on the back of this page (the Project Description sheet), and start web searches for these photographers. All the ones listed are masters in their own right and a good starting point for you to begin your search. Select one and confirm your choice with me by the due date (see the syllabus). 2. After choosing a photographer, go on the web and to the library to check out books on them, read interviews, and look at every image you can that is made by them. Learn as much as you can and take notes on your sources. 3. Type your name, date, and “Project 3: Inspired by...” at the top of a Letter sized page. Then write a 2 page research paper on your chosen photographer. Be sure to include information such as where and when they were born, where it is that they did their work, what kind of camera and film formats they used, their own personal history, etc. -
“Between Borders: Moroccan Migrations in L'últim Patriarca By
“Between Borders: Moroccan Migrations in L’últim patriarca by Najat El-Hachmi” A Lecture by Kathleen McNerney Prize-winning translator of women’s writing from Catalonia Wednesday April 24, 2019 4pm 1301 Rolfe Hall, UCLA Born in Morocco in 1979, Najat El Hachmi immigrated with her family to the Barcelona area when she was a child. She attended Catalan schools and then studied Arabic literature at the University of Barcelona. Her first book, Jo també sóc catalana (2004), is autobiographical, dealing with issues of identity and belonging in a new place. In 2008, the novel L’últim patriarca won the very prestigious Ramon Llull Prize for Catalan Literature and was soon translated into English. Mare de llet i mel is her most recent work. Kathleen McNerney is professor emerita of Spanish and Women’s Studies at West Virginia University, where she was Benedum Distinguished Scholar and Singer Professor of the Humanities. She has awarded several prizes in Catalonia for her work, including the Premi Batista i Roca from the Institut de Projecció Exterior. Her work includes Latin American, Castilian, and French literatures, but focuses on Catalan women authors. She is coeditor of Double Minorities of Spain (MLA 1994) and Visions and Revisions: Women’s Narrative in Twentieth-Century Spain (Rodopi 2008). She has also edited collections of essays on Mercè Rodoreda and is translator of stories, poetry, and four novels. Her latest publication is Silent Souls and Other Stories (MLA 2018) by Caterina Albert, which has just been awarded the translation prize by the North American Catalan Society. In her talk, McNerney will focus on Najat El Hachmi’s novels. -
Joan Fontcuberta
JOAN FONTCUBERTA Barcelona, 1955 INDIVIDUAL EXHIBITIONS 2013 Àngels barcelona, Barcelona, Spain. 2012 Orogénesis, photo edition berlin, Berlin. Deletrix, Nathalie Parienté, Paris. A través del Mirall, espai d’arts rocaumbert, Granollers. 2011 FAUNA. Museo Universitario del Chopo. MX. From here on. Atelier de Mécanique, Arles, Les Rencontres D’Arles, FR (co-curator). FAUNA. Museo Universitario del Chopo. MX. Frontal Nude i altres paisatges, Galeria Palma Dotze, Vilafranca del Penedès. A través del espejo, Centro Cultural Puertas de Castilla, Murcia. A través del espejo, Casa de la Moneda, Bogotá. 2010 Through the Looking Glass, Angels Barcelona. Orgénesis, Foam Fotografie Museum, Amsterdam. Resiliència, Galería Mayoral, Barcelona. A través del espejo, Galerías Xalapa, México. De Natura, Musée des Beaux-Arts, Lille. 2009 Blow up Blow up, Galeria Àngels Barcelona. Blow Up Blow Up, Atelier de Forges, Rencontres Internationales de la Photographie, Arles. Datascapes, Djanogly Art Gallery, Nottingham. Datascapes, Usher Gallery, Lincoln. Googlegrams, Galeria Vanguardia, Bilbao. Googlegrams, Albury Regional Gallery, New South Wales, Austràlia. Googlegrams, Pinnacles Gallery, Riverway Arts Centre, Queensland, Australia. Hydropithèque, Musée-Chateau, Annecy. Landscapes without Memory, Reiss-Eingelhorn Museen, Mannheim. Santa Inocencia, Museo de Albarracín, Albarracín. 2008 De facto. Joan Fontcuberta. 1986 - 2008. Curator: Iván de la Nuez. Palau de la Virreina, Barcelona. Des monstres et des prodiges, Musée-Château, Annecy. Sputnik, Artothèque, Annecy. Sputnik, Musée Gassendi, Digne. Botánica oculta, Photomuseim, Zarautz. Googlegramas, Galerie Braunbehrens, Munich.cat. Googlegramas, Instituto Cervantes, Nápoles. Googlegramas, Instituto Cervantes, Pekín. Deconstructing Osama, Fundació Octubre, Valencia. Deconstructing Osama, Fundació La Caixa, Lleida. Tierras de nadie, Centro Cultural Miguel Castillejo, Jaén.cat. 2007 Perfida Imago, Musée d’Angers. Orogenesis, Bellas Artes Gallery, Santa Fe (Nuevo Méjico, EE.UU.). -
On the Margin of Cities. Representation of Urban Space in Contemporary Irish and British Fiction Philippe Laplace, Eric Tabuteau
Cities on the Margin; On the Margin of Cities. Representation of Urban Space in Contemporary Irish and British Fiction Philippe Laplace, Eric Tabuteau To cite this version: Philippe Laplace, Eric Tabuteau. Cities on the Margin; On the Margin of Cities. Representation of Urban Space in Contemporary Irish and British Fiction. 2003. hal-02320291 HAL Id: hal-02320291 https://hal.archives-ouvertes.fr/hal-02320291 Submitted on 14 Nov 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Cities on the Margin; On the Margin of Cities 7 TABLE OF CONTENTS Gérard BREY (University of Franche-Comté, Besançon), Foreword ..... 9 Philippe LAPLACE & Eric TABUTEAU (University of Franche- Comté, Besançon), Cities on the Margin; On the Margin of Cities ......... 11 Richard SKEATES (Open University), "Those vast new wildernesses of glass and brick:" Representing the Contemporary Urban Condition ......... 25 Peter MILES (University of Wales, Lampeter), Road Rage: Urban Trajectories and the Working Class ............................................................ 43 Tim WOODS (University of Wales, Aberystwyth), Re-Enchanting the City: Sites and Non-Sites in Urban Fiction ................................................ 63 Eric TABUTEAU (University of Franche-Comté, Besançon), Marginally Correct: Zadie Smith's White Teeth and Sam Selvon's The Lonely Londoners .................................................................................... -
AVT 253: DIGITAL PHOTOGRAPHY I • T&Th 10:30 AM – 1:10 PM • ROOM L016 SYLLABUS – SPRING 2015
AVT 253: DIGITAL PHOTOGRAPHY I • T&Th 10:30 AM – 1:10 PM • ROOM L016 SYLLABUS – SPRING 2015 Professor: Jay Seawell [email protected] Office hours: By appointment either before or after class NOTE: THIS SYLLABUS IS SUBJECT TO CHANGE This class fulfills a General Education Core requirement for Arts. Core requirements help ensure that students become acquainted with the broad range of intellectual domains that contribute to a liberal education. By experiencing the subject matter and ways of knowing in a variety of fields, students will be better able to synthesize new knowledge, respond to fresh challenges, and meet the demands of a complex world. Arts goal: Courses aim to achieve a majority of the following learning outcomes: students will be able to identify and analyze the formal elements of a particular art form using vocabulary appropriate to that form; demonstrate an understanding of the relationship between artistic technique and the expression of a work’s underlying concept; analyze cultural productions using standards appropriate to the form and cultural context; analyze and interpret material or performance culture in its social, historical, and personal contexts; and engage in the artistic process, including conception, creation, and ongoing critical analysis. COURSE DESCRIPTION This class explores photography in a fine arts context. This class will introduce you to the artistic process, which involves learning technical skills, using problem solving and critical thinking while making images, and discussing and analyzing images, all of which are key components of making art. Each time an assignment is due, we will have a critique as a class so that you can receive constructive feedback from your peers and me. -
Nota Prensa FEITO FOTOGR Ing.Pdf
PRESS RELEASE “THE PHOTOGRAPHIC FACT. Photographic collection of the City Council of Vigo 1984-2000” DATES: 23rd of January- 21st of March 2004 VENUE: First floor exhibition rooms of the MARCO OPENING TIMES: Tuesday to Sunday (holidays included): from 11:00 to 21:00. CURATORS: Manuel Sendón and Xosé Luís Suárez Canal COORDINATOR: Iñaki Martínez Antelo PRODUCED BY: MARCO - Museo de Arte Contemporánea de Vigo ARTISTS EXHIBITED: 107 Xosé Abad (Galicia) Pere Formiguera (Spain) Roberto Ribao (Galicia) Xosé Luis Abalo (Galicia) Anna Fox (U.K.) Mar R. Caldas (Galicia) Michael Ackerman (USA) J. François Joly (France) Wojcieh Prazmowski Delmi Álvarez (Galicia) Xosé Gago (Galicia) (Poland) Manuel Álvarez Bravo (Mexico) Pepe Galovart (Galicia) Lalo R. Villar (Galicia) Arquivo Llanos (Galicia) Isabel García (Galicia) Pierre Radisic (Belgium) Arquivo Panateca (El Salvador) Antonio García Pereira (Galicia) Cristina Rodríguez (Galicia) Aziz+Cucher (USA) Flor Garduño (Mexico) Rubén Rguez. Torres Olivo Barbieri (Italy) Julian Germain (UK) (Galicia) Adolfo Barcia (Galicia) Mario Giacomelli (Italy) Arthur Rothstein (USA) José Ramón Bas (Spain) Claudia Gordillo (Nicaragua) America Sánchez (Spain) Gabriele Basilico (Italy) Rob Grierson (U.K.) Pablo Sánchez Corral John Benton-Harris (U.K.) Luis González Palma (Galicia) Nancy Burson (USA) (Guatemala) Schmid/Fricke (Germany) Ramón Caamaño (Galicia) Guido Guidi (Italy) Dagmar Sippel (Germany) Daniel Canogar (Spain) Amanda Harman (U.K.) Manuel Sonseca (Spain) Vari Caramés (Galicia) Iavicoli (Italy) Javier Teniente -
Introduction//012 Origins and Definitions//022 Conventions
Introduction//012 ORIGINS AND DEFINITIONS//022 CONVENTIONS//036 DOES DOCUMENTARY EXIST?//050 PHOTOJOURNALISM AND DOCUMENTARY: FOR, AGAINST AND BEYOND//078 ACTIVE AND PASSIVE SPECTATORS//116 THE LIMITS OF THE VISIBLE//150 DOCUMENTARY FICTIONS//178 COMMITMENT//198 BIOGRAPHICAL NOTES//228 Bibliography//230 INDEX//234 ACKNOWLEDGEMENTS//239 The immediate instruments are two: the motionless camera and the printed word. The governing instrument – which is also one of the centres of the subject – is individual, anti-authoritative human consciousness. James Agee, with Walker Evans, Let Us Now Praise Famous Men, 1941 ORIGINS AND DEFINITIONS ACTIVE AND PASSIVE SPECTATORS Walter Benjamin Thirteen Theses Against Snobs, Susan Sontag On Photography, 1977//118 1928//024 Martha Rosler in, around, and afterthoughts Elizabeth McCausland Documentary Photography, (on documentary photography), 1981//122 1939//025 Ariella Azoulay Citizenship Beyond Sovereignty: James Agee, with Walker Evans Let Us Now Praise Towards a Redefinition of Spectatorship, 2008//130 Famous Men, 1941//029 Judith Butler Torture and the Ethics of Photography, John Grierson Postwar Patterns, 1946//030 2009//135 Hito Steyerl A Language of Practice, 2008//145 CONVENTIONS Philip Jones Griffiths The Curse of Colour, 2000//038 THE LIMITS OF THE VISIBLE An-My Lê Interview with Art21, 2007//042 Georges Didi-Huberman Images in Spite of All: David Goldblatt Interview with Mark Haworth-Booth, Four Photographs from Auschwitz, 2003//152 2005//047 Harun Farocki Reality Would Have to Begin, 2004//155 Lisa F. Jackson Interview with Melissa Silverstein, DOES DOCUMENTARY EXIST? 2008//163 Carl Plantinga What a Documentary Is, After All, Lisa F. Jackson Interview with Ben Kharakh, 2008//165 2005//052 Ursula Biemann Black Sea Files, 2005//168 Jacques Rancière Naked Image, Ostensive Image, Marta Zarzycka Showing Sounds: Listening to War Metamorphic Image, 2003//063 Photographs, 2012//171 Trinh T. -
Postscripts Fall 2019
The Jacksonville State University English Department Alumni Newsletter Postscripts Fall 2019 Grand Prismatic Hot Spring in Yellowstone National Park taken by Stephen Kinney & submitted by Jennifer Foster 2-8 JSU’s Adventures Out West 9-12 Hail and Farewell: Dr. Harding Retires 12-14 The Shakespeare Project 15-18 All the World’s a Stage: Spotlight on Emily Duncan 19-20 Miscellany 20 Imagining the Holocaust 21-22 Writers Bowl 23 Writer’s Club 23 Southern Playwrights Competition 23 Sigma Tau Delta 24-31 Postscripts Bios 31 English Department Foundation 32-34 Student Sampler 1 JSU’s Adventures Out West by Jennifer Foster In December of 2017, JSU’s provost and long-time supporter of the American Democracy Project (ADP), Dr. Rebecca Turner, sent out a call for JSU faculty volunteers to attend a week- long seminar, scheduled for May 2018, on the stewardship of public lands in Yellowstone National Park (YNP). I quickly responded with a request to be considered as an attendee because while I had travelled to the park a couple of times, I had never been in the spring, and I had never been to the northern range. My initial justification for going was to experience, yet again, the beauty and diversity of ecosystems and wildlife unique to YNP. I wish I could truthfully write that I had the foresight to envision what would happen over the next year as a result of this trip, but that isn’t the case. I’m still not exactly sure how the ADP’s seminar evolved into a large JSU group returning in 2019 with the potential for subsequent groups to follow, and I have to fight myself not to overly romanticize my experiences. -
9/11 and the Visual Culture of Disaster Indiana University Press Bloomington & Indianapolis 9
9/11 and the Visual Culture of Disaster Indiana University Press Bloomington & Indianapolis 9/ and the Visual Culture of Disaster THOMAS STUBBLEFIELD This book is a publication of ∞ The paper used in this publication meets the minimum requirements of Indiana University Press the American National Standard for Office of Scholarly Publishing Information Sciences–Permanence of Herman B Wells Library 350 Paper for Printed Library Materials, 1320 East 10th Street ANSI Z39.48–1992. Bloomington, Indiana 47405 USA Manufactured in the iupress.indiana.edu United States of America Telephone 800-842-6796 Library of Congress Fax 812-855-7931 Cataloging-in-Publication Data © 2015 by Thomas Stubblefield Stubblefield, Thomas. 9/11 and the visual culture of disaster / All rights reserved Thomas Stubblefield. pages cm No part of this book may be repro- Includes bibliographical references and duced or utilized in any form or by index. any means, electronic or mechanical, ISBN 978-0-253-01549-5 (cloth : alk. including photocopying and recording, paper) – ISBN 978-0-253-01556-3 (pbk. : or by any information storage and alk. paper) – ISBN 978-0-253-01563-1 retrieval system, without permission (ebook) 1. September 11 Terrorist in writing from the publisher. The Attacks, 2001 – Influence. 2. September 11 Association of American University Terrorist Attacks, 2001, in mass media. 3. Presses’ Resolution on Permissions September 11 Terrorist Attacks, 2001, in constitutes the only exception to this art. 4. Emptiness (Philosophy) I. Title. prohibition. HV6432.7.S78 2014 973.931 – dc23 2014029044 1 2 3 4 5 20 19 18 17 16 15 For C. D. -
Geology of the Caloris Basin, Mercury: Ysis and Spectral Ratios Were Used to Highlight the Most Important Trends in the Data (17)
SPECIALSECTION photometrically corrected to normalized re- REPORT flectance at a standard geometry (30° incidence angle, 0° emission angle) and map-projected. From the 11-color data, principal component anal- Geology of the Caloris Basin, Mercury: ysis and spectral ratios were used to highlight the most important trends in the data (17). The first A View from MESSENGER principal component dominantly represents bright- ness variations, whereas the second principal com- Scott L. Murchie,1 Thomas R. Watters,2 Mark S. Robinson,3 James W. Head,4 Robert G. Strom,5 ponent (PC2) isolates the dominant color variation: Clark R. Chapman,6 Sean C. Solomon,7 William E. McClintock,8 Louise M. Prockter,1 the slope of the spectral continuum. Several higher Deborah L. Domingue,1 David T. Blewett1 components isolate fresh craters; a simple color ratio combines these and highlights all fresh The Caloris basin, the youngest known large impact basin on Mercury, is revealed in MESSENGER craters. PC2 and a 480-nm/1000-nm color ratio images to be modified by volcanism and deformation in a manner distinct from that of lunar thus represent the major observed spectral var- impact basins. The morphology and spatial distribution of basin materials themselves closely match iations (Fig. 1B). lunar counterparts. Evidence for a volcanic origin of the basin's interior plains includes embayed The images show that basin exterior materials, craters on the basin floor and diffuse deposits surrounding rimless depressions interpreted to be including the Caloris Montes, Nervo, and von of pyroclastic origin. Unlike lunar maria, the volcanic plains in Caloris are higher in albedo than Eyck Formations, all share similar color proper- surrounding basin materials and lack spectral evidence for ferrous iron-bearing silicates. -
La Atmósfera.Pdf
La atmósfera. De lo pictórico al arte multidisciplinar. Tesis doctoral realizada por: Marta Díaz Villoslada dirigida por: Ignacio Barcia Rodríguez Departamento de Escultura Facultade de Belas Artes de Pontevedra Universidade de Vigo Septiembre 2013 A mi padre “Hé aquí La Atmósfera, el aire luminoso, la primera divinidad amada y temida sobre la tierra; el Dyauss del Sanscrito, el Zeus de los griegos de Atenas, el Dies y el Deus de los latinos; el padre de los mismos dioses, el Zeus-pater! El AIRE, en fin, en que todo vive y todo respira. La Atmósfera rodea á nuestro planeta de un fluido vivificador.(…) El globo que acabamos de considerar circundando en el espacio en alas de la gravitación universal, está cubierto de una capa gaseosa que se adhiere á toda su superficie esférica. Esta capa fluida se encuentra uniformemente repartida alrededor del globo que la circunda por todas partes.” Camille Flammarion, La Atmósfera (págs. XV y 10) La atmósfera. De lo pictórico al arte multidisciplinar. 9 INTRODUCCIÓN 23 I. ESPACIO · VUELO LOS FONDOS DORADOS · LUZ COMO SIMBOLOGÍA DE LO ESPIRITUAL ESCULPIR LA LUZ UN ARTE INVISIBLE DISTANCIA 105 II. INFINITO · LÍMITE REPRESENTACIÓN PLÁSTICA DEL INFINITO LO SUBLIME EL AIRE ES LO QUE SE INTERPONE 133 III. TIEMPO Y ÉTER CAMINO HACIA LA ABSTRACCIÓN 169 IV. LO OCULTO · LO VELADO FOTOGRAFÍA Y HALO LO PICTÓRICO EN EL CINE 201 V. NUEVAS PERSPECTIVAS DEL TIEMPO Y EL ESPACIO · LA ERA DIGITAL VIDEOARTE. PERCEPCIONES ATMOSFÉRICAS NUEVOS REGISTROS DE LO PICTÓRICO ALGUNAS MANIFESTACIONES DEL AIRE 243 CONCLUSIONES 255 BIBLIOGRAFÍA 9 INTRODUCCIÓN La existencia de lo que se podría denominar lo atmosférico en la obra de arte, es decir, la preocupación por la presencia del aire que todo lo envuelve y circunda, o que provoca un ambiente determinado en una obra, es el punto de partida de este trabajo.