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Article sobre l'aportació de l'historiador Josep Massot a la musicologia catalana. Publicat al núm. 56 de la revista "Modèlics" de l'Associació d'Amics del Seminari de Mallorca, dedicat íntegrament a homenatjar el pare Massot.

What is the role of translation in Maragall’s work? If his first goal was to bestow cultural support to Catalan literature with the addition of the European authors of Modernism, the second stage of the Catalan poet’s agenda becomes more ambitious, delving into the origins of Western literature and culminating in the translation of the Homeric Hymns. My contribution analyzes how, on the one hand, the Catalan rewriting of the works of Nietzsche, Goethe, Novalis, or Dante draws a progressive and continuous line within Maragall’s ideas; and, on the other hand, what impact these versions have on his own literary creation, through the loanwords that spread across his translations, and his poetry.

An overall view of the use of personal and adverbial pronouns in a 15-c. long text in verse witten in Catalan, "Espill" by Jaume Roig. Personal and adverbial pronouns are studied by themselves as well as in combination.

Giovanni Boccaccio, Decameró, translated into Catalan by Maria Aurèlia Capmany

En aquest article presentam la relació entre Maria Antònia Salvà i Palmira Jaquetti, dues dones que des de perspectives i amb finalitats diferents, s'acostaren i s'interessaren pel món de la cançó popular. http://www.escolademallorqui.cat/wp-content/uploads/2020/01/PAPERS-DE-SA-TORRE-72.pdf

El 1938, en plena guerra civil, la musicòloga, compositora i traductora Palmira Jaquetti Isant va publicar el que seria el seu únic llibre de poemes, "L'estel dins la llar". Pau Casals i Baltasar Samper varen posar música a quatre d'aquests poemes; en el cas de Samper, ho va fer en un cicle inacabat de cançons per a veu i conjunt instrumental titulat com el llibre de Jaquetti, "L'estel dins la llar". Aquesta obra, desconeguda fins avui, i escrita aquell mateix 1938, és el darrer exemple del lied o cançó d'autor noucentista.

Aquest estudi se centra, d'una banda, en les relacions de Palau i Fabre amb la literatura, l'art i la cultura italianes; i, de l'altra, en la recepció (molt limitada) de la seva obra.

Baltasar Samper i Marquès (1888-­1966), from Majorca, was one of the most promi­nent musicians of the first third of the 20th century, forming part of the musical elite of Catalonia until the outbreak of the Spanish Civil War. A long exile, first in France and later in Mexico, from where he was never to return, pushed him into the background and made him an almost completely forgotten figure, except for his work as an ethnomusicologist within the framework of the Obra del Canconer Popular de Catalunya (Catalonia Folk Song Institution), which is quite well known today. Despite the fact that Samper was an outstanding composer, his work is now generally unknown to all except for a very few pieces. In this paper we present a review of the studies on Samper and a list of his works which are known to date. Moreover, for the first time we make public a preliminary but complete description of the musician’s valuable compilation of personal documents which has been kept for 50 years by his family in Mexico.

The CARMEN network was set up after preliminary discussions at the Leeds International Medieval Congress 2006. Participants agreed that there was a need for a European version of the Centers and Regional Associations committee (CARA) of the Medieval Academy of America. It was also agreed that such a project should be open and global, and modelled on an informal network as opposed to some formal academy or learned society. This paper assesses how successful CARMEN has been in achieving its stated or implicit goals from eight years ago, in particular: 1. generating research funding for medievalists, 2. learning from each other and sharing best practice, 3. creating a global platform for medieval centres and national associations, 4. becoming a sustainable network.

The influence of Italian culture on the creative writing of Jordi Sarsanedas seems almost anecdotal, although the author’s work is marked by an Italian phase, a three-year period that straddles the fifties and sixties. The aim of this article is to give evidence of some Italian sources and readings of the author, analyse his treatment of the setting and characters in some of his texts, and with the help of some unpublished manuscripts reveal some of his relexions on life in Italy.