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Gjatë zhvillimit të tij evolucionar, njerëzimi lëvizi në drejtime të ndryshme të kushtëzuara kryesisht nga faktorë natyrorë, duke krijuar ngadalë por me siguri qytetërimet e para - kulturat e Lindjes së Lashtë të cilat, përmes Kretës dhe Mikenës, do të rezultonin në kulturën Greke dhe Romake (antike) si themele të civilizimit evropian.
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Human groups during their existence constantly change. However, they preserve some fixed features that distinguish them from other human groups and that build their identity. In Catalonia, throughout the nineteenth century we can observe the process of awakening and strengthening the awareness of one’s identity that also is reflected in architecture. The collective identity is manifested in the works of Antoni Gaudí through physical, psychological and intellectual features. In his buildings we can see traces of great works of Catalan architecture and rural constructions influence. His architecture is a fertile field to apply traditional construction methods and decorative arts. It also preserve the ideals of the Renaixença movement represented with words and symbols that are an inseparable element of decoration. In addition, we can capture how Catalan way of living are reflected in the material form.
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The objective of this article is to analyze the film "Fire Will Come" by Galician director Oliver Laxe, which was awarded "Un Certain Regard" Prize during Cannes Film Festival in 2019 and conduct comparative analysis with the poetry of Uxío Novoneyra. In both cases we would like to use the perspective of melancholy seen as part of the nature in which human being is immersed. One of the most important metaphors for Laxe and Novoneyra is the metaphor of fire and the process of burning seen as ancestral and auto-destructive ritual. We also propose to incorporate the analytical approach from Julia Kristeva's book "Black sun", dedicated to metaphorization of melancholy and depression. Finally, we also include comparison of Laxe´s movie with transcendental and slow cinema, depicting the inclination to convert cinema in art impregnated in human psycho.
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According to twelfth-century annals, the first king of Portugal, Afonso I of Portugal (ca. 1109–1185) must have fought against a group of foreigners who would rule the country arm in arm with the king’s mother, Theresa of Portugal. The said foreigners are no more, no less the Portuguese noblemen, a group including also Fernão Peres de Trava (c. 1100–1155), an alleged lover of Alfons Henriques’s mother (vide Mattoso 2006: 69–71), a Middle Ages ill-reputed woman-villain, seen throughout the period as evil, haughty and adulterous. Thus, the fight against the alterity grows to become one of Portugal’s founding blocks. While Teresa’s image tends to be cleared from blame, finding a particular rehabilitation over the Iberian Union time (i.e. 1580–1640) (vide Franco 2000), count Trava’s sins rejoice scant if any absolution in the Portuguese chronicle writing. The present article aims at a diachronic recovery of the count’s image, and looks at how his image gets entangled with the image of Afonso Henriques’s mother in selected Portuguese narrative sources by the mid-seventeenth century, that is in the period which espouses most of the clearing of Teresa’s image and its political “functionalization”.
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In the novel Ultimes déchets, rural detective Amaia Ezpeldoi investigates a landfill case. This novel generates various discourses on generated on waste, which are intertwined in these three axes: waste management and environmentalism; garbage collection and the social model; the discourses that connect the imaginary of the garbage with the imaginary about the human. From that perspective, the novel deals with the otherness and / or the marginality that is generated by imaginaries about garbage and the residual. Neoliberal thinking puts some bodies out of humanity: it considers them useless, because they are not indispensable in time or space of production. Therefore, imaginaries about the residual function as expressions of the boundaries of the system, and in the social discourses the representations of people connected to the imaginary of the waste are becoming more common. Detective Amaia Ezpeldoi in this novel embodies the affection for those residues of human bodies, to question the thinking and limits of the current neo-liberal economic and political system.
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The literature of Equatorial Guinea is known especially for the work of writers in exile in Spain, where they were able to exercise the freedom of expression, away from the repression and censorship installed by Equatorial Guinean dictatorial governments soon after the country ceased to be a Spanish colony in 1968. This literary re-foundation in exile is a condition that presents significant differences in relation to post-colonial African literatures since it is not directly affiliated to the discourse of nationalism, but rather constitutes itself as a “literature of the world” and as a “minority literature”, which are also characteristics of migrant literature. In this article I intend to discuss these issues, with special emphasis on how these matters appear in the work of Juan Tomás Ávila Laurel, an Equatorial Guinean writer exiled in Barcelona. Ávila Laurel writes in Spanish and reclaims through his writing his mother tongue, the Fa D’Ambô (a Portuguese-based Creole spoken in Annobón Island), from which the writer problematizes the process of colonial and national post-colonial marginalization of linguistics minorities in African-Iberian literature.
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This article analyzes "L’àngel de la segona mort" (1997), the first novel in the Julià de Jòdar’s trilogy "L’atzar i les ombres". The novel tells the story of the Guifré i Cervantes neighbourhood, a boundary located between the cities of Badalona and Barcelona, and a destination of several migratory movements during the 20th century. Specifically, this article examines the character and narrator Gabriel Caballero from the point of view of philosophy of history: analyzes how his journey and his narrative point of view recover the memory of the vanquished. This article explains what are the elements that characterize Julià de Jòdar’s historical poetics, focused on the story of a defeated neighbourhood, and how they are very different from the conventional narrative strategies used by historicism when making minority groups invisible which have been defeated by capitalism.
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This work analyzes, in particular, the vision of the woman that Maria Aurèlia Capmany offers to us through "Quim/Quima" (1971), a work based on "Orlando" (1928) by Virginia Woolf. The otherness and/or sexual identification of the protagonist becomes a key to understanding what it means to be a man or a woman over time, especially in this latter case. It seeks to project a different situation into which women are more aware of themselves and the man empathizes with them. The last resort is leaving a better world, a world socially uprighter. Therefore, although the book is born for young people in order to make them aware of the world in which they are and the future they represent, behind it we can find a biting historical and identity work, as well as a great intertextuality; and this aspects that should not be underestimated, on the contrary. Capmany entrusts youngers with all her literary talent.
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The dichotomy of Read’s character in "Pirata" (2009) by Maria Reimóndez cuts across well-defined spaces within the categories of tangible and intangible. The character’s own body is experienced antinomically, depending on the perception Read has, at any given moment, of the projection of her own being to the outside. By changing the way she shows her own body to others, and therefore the way others see her, she changes, in a more or less conscious way, the degree of tangibility she can accept. The less conflictive the character’s relationship with her own body, depending on the different situations, the more she allows others to get close to her. By changing the perception that Read has of herself, she changes the way she shows herself to others, and this also changes the perception she herself has of others and her knowledge of the world. The other is perceived on the basis of how Read’s character feels that others see her, and depending on how she wants others to see her. If seeing implies being seen and touching implies being touched, when it is Mary who shows herself, physical space is forbidden and she does not passively accept any contact. When, instead, it is Mark who shows himself, physical contact is accepted, and he even looks for it in all its facets: camaraderie, love, and hand-to-hand combat.
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This article aims at analyzing alterity, periphery and memory in the works of four writers of Basque and German literature: "Jenisjoplin" (2017) by Uxue Alberdi, "belzuria" (2014) by Ixiar Rozas, Familie der geflügelten Tiger (2016) by Paula Fürstenberg and "Das Fell" (2017) by Maren Wurster. All four young female writers belonging to the same generation, they create new spaces for reflection on alterity, periphery and memory through the representation of sick bodies. Focusing on the field of perceptions in their works, special emphasis will be placed on the literary representation of the senses of touch and hearing, in order to compare the embodiment of the numinosum when approaching the other. In the literarization of sick bodies by Alberdi, Rozas, Fürstenberg and Wurster, skin and voice stand out as key strategies for the approach to alterity and memory. In addition, as these authors stand for the post-generation of crucial events of the 20th-century Basque and German histories, the literary relationship of these authors with the memories of previous generations will be compared. Their contribution to the communicative, social and cultural memory of Basque political and social conflicts, as well as of past wars (Alberdi, Rozas) and of East Germany or German Democratic Republic (Fürstenberg, Wurster) will be confirmed.
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This article aims at analyzing alterity, periphery and memory in the works of four writers of Basque and German literature: "Jenisjoplin" (2017) by Uxue Alberdi, "belzuria" (2014) by Ixiar Rozas, Familie der geflügelten Tiger (2016) by Paula Fürstenberg and "Das Fell" (2017) by Maren Wurster. All four young female writers belonging to the same generation, they create new spaces for reflection on alterity, periphery and memory through the representation of sick bodies. Focusing on the field of perceptions in their works, special emphasis will be placed on the literary representation of the senses of touch and hearing, in order to compare the embodiment of the numinosum when approaching the other. In the literarization of sick bodies by Alberdi, Rozas, Fürstenberg and Wurster, skin and voice stand out as key strategies for the approach to alterity and memory. In addition, as these authors stand for the post-generation of crucial events of the 20th-century Basque and German histories, the literary relationship of these authors with the memories of previous generations will be compared. Their contribution to the communicative, social and cultural memory of Basque political and social conflicts, as well as of past wars (Alberdi, Rozas) and of East Germany or German Democratic Republic (Fürstenberg, Wurster) will be confirmed.
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Uxue Alberdi’s novel "Aulki jokoa" (2009) / "El juego de las sillas" [Musical chairs] (2012) is composed of the discourse of three women narrators who construct their lives through their bodies and voices. This article will examine the novel’s most symbolic and narratological elements to determine how these three protagonists’ identities are constructed. The significance of this novel is found in two aspects of its contribution to Basque literature about the Spanish Civil War: on one hand, it is the first novel for adults that gives voice to women narrators; and on the other, bodies are overtly foregrounded in the context of the war. With childhood and old age as the main axes of their stories, these female characters narrate the most important passages of their lives through their bodies: the innocence and happiness of infancy becomes broken by the arrival of the Civil War, and from then on they become what has been called embodied bodies. The conflict intervenes in each character’s life, and each of the protagonists opts to respond according to their personal circumstances: going into their inner world and enriching it (Eulalia), becoming dead to the world for three years (Martiña) or joining the anti-Franco struggle (Teresa).
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In Fernando Aramburu’s novel "Patria", pain is presented as twofold: an individual as well as a social emotion. As the former, it is shown in its intruding physicality, breaking individual boundaries and thus making them more palpable. But as a social emotion, the novel shows how pain enforces or breaks social relationships, how it “others” persons. The author also politicizes pain through the characterization of figures and the use of textual strategies: the pain caused during the Basque conflict becomes a question of power of narratives. At the same time, pain is a gendered phenomenon in the novel, focusing strongly on the pain of women and its use as a catalyst, submitting the pain of men to stereotypical limitations of their gender and its social expectations. That way, the novel becomes a political statement in itself – portraying the still experienced pains of a nation.
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The article ponders the functionality of the concept of Central and Eastern Europe in the wake of the changes taking place in post-communist areas after 1989. The fundamental problem here is the difference in approach to legal issues in the West and in countries currently gaining political sovereignty, in particular the interpretation of the category of ‘the rule of law’.
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After the disintegration of the Eastern Bloc and the collapse of the Soviet Union, the debate on Central and Eastern Europe did not end, despite numerous voices questioning the existence of the topic itself. The multilingual library on the region is constantly growing, covering the increasing number of works published in Western Europe and the United States. The article is an attempt to answer the question about how the image of Central and Eastern Europe is constructed in the Western literature on the subject published after 1989. The reading of selected works from this period reveals that the scope of interest in writing on this matter essentially has not changed and that considerations about Central and Eastern Europe as a historical, political and cultural phenomenon still dominate. There was, however, a noticeable shift in emphasis. New statements about the region which were created in the wake of successive crises such as the Balkan War and political and social perturbations in the countries of the region, bring about a clear correction of the belief that the changes in Central and Eastern Europe are unidirectional after the fall of the Iron Curtain and of understanding this breakthrough as a simple transition from one political and cultural order to another. In the texts that have been contributing to the next instalment of the above-mentioned debate over the last three decades, the ‘transitional stage’ appears as a specific disposition of the region, a model for its existence in history, and even a distinctive feature of Central and Eastern European identity. In order to examine such a recognised trend in shaping the image of Central and Eastern Europe, the author turns to the category of liminality introduced into the vocabulary of the humanities and social sciences by Arnold van Gennep and developed by Victor Turner. This category allows for capturing the similarities and common points in various approaches proposed in the discussed texts.
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