Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The author applies the methodological basis of the theatre in the street to the theatrical approaches and the particular performances of Vila-Real’s group Xarxa Teatre. Particularly, he emphasises two factors: the split of the “Italian box” space and its consequences for actors, receivers and technology.

This article offers a historical summary of the relationship between the Catalan narrative and dramatic literature, and their film versions from the beginnings of the cinema in Catalonia, going through the Franco period, the proposals of the poetic avant-garde and the cultural recovery of the 1980s, to the current narrative and non-narrative genres, in which the trend is to trascend the audiovisual “version” with an autonomous film conception.

Introducció al monogràfic

On the basis of a discussion of the structural expansion of the Aragonese Crown’s feudal system over Sharq al-Andalus during the 12th and 13th centuries, which was similar to that occurred in other European countries at the time, this paper offers an assessment of the contribution of Aragonese immigrants to the repopulation of the País Valencià during the 13th century. After explaining the different quantitative weight of Aragonese colonists in the various Valencian areas, with very little presence in the north of Castelló, a review is made of Aragonese society in the 12th century, focusing on those traits having an influence on the linguistic levelling process with their contemporary Catalan colonists in Valencian areas. Emphasis is made on the linguistic duality between Aragonese and Spanish in the Aragonese kingdom in the 12th and 13th centuries and on the different demographics, with greater population density north of the river Ebro. This leads us to describe Aragonese society as a dual one, having a different numerical contribution to language contact in the creation of Valencian society of the low Middle Ages.

The paper focuses on the description of the pre-Roman component and its influence upon Aragonese. It casts light upon one of the factors proving most difficult to analyze, despite its importance for the description of Aragonese corn pare d to other neighbouring Romance varieties. The author reviews the various pre-Rom an linguistic substrata in North Aragon and the traces they left in the pronunciation, morphology and, more specifically, on lexis and toponymy.

The author analyzes the role of Ribagorzan varieties on the creation of normative Aragonese. It can be observed that most of the traits of such varieties fail to appear in the accepted rules; this seems to stem not only from linguistic criteria, but rather from attitudes of méfiance catalane. Over the past years, a number of voices have called for greater attention to Ribagorzan varieties within normative Aragonese.

This paper attempts to answer the question what is Aragonese? It offers a detailed description of the phonetic (accentuation, vowel and consonant systems), morphological and syntactic, and lexical characteristics of Aragonese, based on a great wealth of both diachronic data and materials recently gathered from living speech. The paper makes a description of the common traits defining the different linguistic varieties of Aragonese.

This paper shows, based on historical data, how in the Middle Ages, in spite of the Castilian influence which can be seen in documents, Aragonese speakers had an awareness of the difference between their language and Spanish.

This paper deals with a very specific problem: the Ribagorzan participles in -áu, -éu, -íu, which had so far been interpreted as castilianisms. It suggests that they could be genuine forms resulting from the vowelization of voiced dental consonants from Latin -D-, which has been documented in medieval Ribagorzan speech, or from the final dental consonant from Latin -T-; besides, this does not seem to be a recent solution.

This article supports the importance of the relationship between verbal and visual codes in the analysis of specific sequences in the “scenic poetry” works by Joan Brossa. Thus, it evaluates examples of particular texts that reveal the multiplicity of theatrical registers and techniques, with regard to the procedures of character- or situation- building and the breaking of the communicative conventions.