Literatura: historia y crítica

Maria de Bell-lloc, pseudònim de Maria Pilar Maspons i Labrós (Barcelona 1841-1907), és una escriptora que va tenir una activitat literària especialment entre el 1865 i el 1882, lligada a un romanticisme medievalitzant, tradicionalista i moderat, d’àmbit rural. En aquest volum, que conté una selecció de poesies i llegendes, Joan Armangué vol reivindicar-ne, els aspectes que la relacionen amb el moviment folklorista més que no pas amb l’activisme literari estrictament de creació.

Primer volum de recull de treballs en honor del professor Joseph Gulsoy, estudiós de la llengua catalana i gran col·laborador de Joan Coromines.



Se refiere a la puesta en escena de obras teatrales en países culturalmente ajenos y mediante traducciones: Shakespeare en la Alemania nazi, La vida es sueño como recreación de Edipo rey, Tartufo en Egipto, Chéjov en Japón, Beckett en Haifa, etc. Los quince autories que reflexionan sobre esta interesante faceta del arte dramático actual son eminentes teatristas de Europa, Estados Unidos e Israel.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Como reza el título de este volumen, La mirada de Paris (Premio Internacional de Ensayo Siglo XXI-Universidad de Sinaloa-Colegio de Sinaloa) se ocupa de la lírica del siglo xx y de sus asedios críticos, desde el punto de vista de la teoría de la literatura y la literatura comparada. De forma divulgativa, y sin embargo rigurosa, Jordi Juliá nos ofrece ya desde la introducción un escrutinio de la disciplina de la crítica literaria, a través de una metáfora que cohesiona y da título al libro: el personaje mitológico de Paris se contempla como el primer crítico, puesto que a él le fue encomendado discernir cuál de las tres diosas era la más bella, a cuál debía entregar la manzana de la discordia.