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The translation of Catalan poetry into Chinese began during the1990s, after the event known as Reform and Opening Up. Until 2023, two anthologies of Catalan poetry had been published in China: Antologia de la poesia catalana contemporània (1991), translated by Wang Yangle, and Semàntica i nutrició (2018), a work by Gemma Gorga translated by Jesús Sayols. This article focuses on the two versions and analyzes a series of issues related to them: the origins and causes of their publication, their aims and their characteristics in the selection of poems. It has been discovered that the translation activities of Catalan poetry into Chinese have been influenced by multiple factors, related both to literary systems and to sociohistorical and sociocultural circumstances. [ABSTRACT FROM AUTHOR]

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Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Haidé: Estudis Maragallians is the property of Biblioteca de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The goal of this paper is to show how different aspects of meter, such as syllable count, rhyme and rhythmic patterns, can be used to obtain information about linguistic variation during earlier periods. The study analyses certain formal variants in the poems of Ausiàs March (1400-1459) which serve to meet the metric requirements of the line. Regarding syllable count, we focus on the treatment of vowel sequences with decreasing sonority as hiatuses or diphthongs: despite the overwhelming majority of hiatuses, the data suggest that some modern-day constraints were already active in March's time, such as the tendency to avoid diphthongs in vowel sequences close to the main stress. Rhyme and rhythm may also indicate the correct pronunciation and spelling for some dubious words, such as the quality of mid vowels or the stress location in doublets like ésser~esser 'to be'. Finally, the analysis of rhythm reveals the need for a certain relativity in the concept of tonicity due to the behaviour of rhythmically ambiguous elements, including the relative què 'which'. In this case, though, the information also flows in the opposite direction, i.e., from the language to the meter, since the distribution of ambiguous elements, with a clear tendency to gravitate toward low-prominence positions, helps us to understand the relationships of prominence among the different parts of the verse. [ABSTRACT FROM AUTHOR]

Aquest article presenta la relació entre la mirada i la corporalitat en les obres de tres poetes en llengua catalana del segle XXI. El text se centra en els vincles amb els afectes, el paper de les xarxes socials i el món digital, l’explotació dels cossos, el desig i la creació d’identitats. Aquests elements permeten formular un marc interpretatiu pels textos i posar-los en relació amb les principals qüestions teòriques preponderants del període, així com fer una radiografia de tres noms cabdals i una reflexió sobre el moment actual i la consolidació i continuïtat d’aquestes temàtiques en la poesia catalana, que s’enriqueix cada cop més amb veus noves i amb més estils, propostes i aproximacions diverses que no deixen d’augmentar.

Este artículo examina los haikus y tankas escritos por Feliu Formosa, los textos que le han servido como punto de partida y aquellos en los que comenta estas formas de origen japonés. La conclusión es que este poeta reintrodujo el haiku en la poesía catalana a mediados de los años setenta partiendo del esquema métrico fijado por Carles Riba y de textos de Octavio Paz y Alan W. Watts, y que su cultivo de esta forma ha sido muy coherente a lo largo de toda su trayectoria. En el caso del tanka, que empezó utilizando como forma derivada del haiku, también ha conseguido llegar a una formulación muy madura y personal en L’incert encontre, su última obra publicada.

El objetivo de este trabajo es mostrar que varios aspectos de la métrica como el cómputo de sílabas, la rima y los patrones rítmicos, nos pueden ayudar a extraer información sobre la variación lingüística de otras épocas. El estudio analiza algunas variantes formales presentes en los poemas de Ausiàs March (1397-1459) que sirven para satisfacer los requerimientos métricos del verso. En cuanto al cómputo de sílabas, nos hemos centrado en el tratamiento doble, como hiatos o como diptongos, de las secuencias vocálicas decrecientes: a pesar de la abrumadora mayoría de formas con hiato, los datos dejan entrever que en aquel tiempo ya actuaban algunas de las restricciones vigentes en la actualidad, como la tendencia a inhibir la formación de diptongos en secuencias de vocales próximas al acento principal. Por otra parte, la rima y el ritmo a menudo nos orientan sobre la pronunciación y la grafía adecuada para palabras dudosas, como en la selección del timbre de las vocales medias o en la ubicación del acento en dobletes como ésser/esser ‘ser’. Finalmente, el análisis del ritmo aconseja presumir una cierta relatividad en el concepto de tonicidad, a partir del comportamiento de elementos rítmicamente ambiguos como el relativo què. En este caso, sin embargo, la información también fluye en la otra dirección, desde la lengua hasta la métrica, ya que la distribución de los elementos ambiguos, con una tendencia clara a gravitar hacia posiciones poco prominentes, nos ayuda a comprender las relaciones de prominencia que se establecen entre las diferentes partes del verso.

Copyright of Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El lleonisme / léonime era un fenomen de rima molt apreciat a l'edat mitjana, només parcialment dependent del concepte de leonitas / versus leonini que trobem a la poesia llatina medieval. Aquest es referia sobretot a un tipus de rima interna, mentre que el seu contrapart occità/català era entès com una rima en la qual participen almenys dues síl·labes, en paraules femenines o masculines. Aquest sembla ser també el significat predominant en la poesia francesa. Se sistematitzen els testimonis teòrics dels dits conceptes en les poesies llatina, occitanocatalana i francesa per tal de comprendre millor el concepte en la poesia catalana de tradició trobadoresca.

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Literatura Medieval is the property of Instituto Universitario de Investigacion en Estudios Medievales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The year of 1972 is a very important date in the understanding of the evolution of Catalan poetry, during the decade of the 70's. The changes in this year make up the basic framework for the future characterization of the genre. The article aims to establish a syncronized break away from the year previously mentioned to choose the objective facts that this break demonstrates and interpret them in order to show the repercussion of all. There are four basic elements: the death of Gabriel Ferrater; the publication of three fundamental poetry books by significant poets (Pere Gimferrer, Narcís Comadira and Francesc Parcerisas); the appearance of new names like Xavier Bru de Sala or Ramon Pinyol, and the formatiom of the magazine group Tarotdequinze.

Between 1970 and 1990, Catalan poetry experienced a significant increase in new authors and works, that followed in succession the already established authors like Espriu, Foix, Estellés, Vinyoli and Martí ï Pol, amongst others. Here the fundamental characteristics of these new authors and their poetry are analized. A characterization of the most remarkable poets is also studied.

El propòsit fonamental d’aquest article és estudiar de forma sistemàtica la presència, directa i indirecta, de Joan Maragall al setmanari Destino des de 1950 fins a 1960. S’analitzarà com, després de la lectura ideologitzada del poeta català durant els anys 40, la revista Destino l’erigeix en autoritat moral i literària tant pel que fa a la vida ciutadana com pel que fa a la renovació del llenguatge poètic català de la Modernitat. This article’s main aim is to study systematically the direct or indirect presence of Joan Maragall through the weekly magazine Destino from 1950 to 1960. We will analyze how, after the ideological views from the fourties, Destino deffended Maragall as a moral and literary authority, through several considerations about citizen duties but also about the renewal of Catalan poetic language during Modernism.

Resum: Jordi Pere Cerdà (Antoni Cayrol) és un dels poetes més importants de la Catalunya del Nord. Cerdà va néixer en un petit poble francès a prop de la frontera amb Espanya, en un indret on va aprendre el català a casa, per bé que era ciutadà francès. Els efectes de la frontera i els canvis històrics que van tenir lloc després de la Guerra Civil espanyola i la Segona Guerra Mundial van ser determinants per la seva carrera de poeta. Els seus primers poemes editats mostren aquesta lluita interna entre una concepció de la Cerdanya natal com a unitat geogràfica (que pertany a dos estats) i l’assumpció que aquesta comarca està partida per una frontera que nega un mode de vida tradicional i impedeix adoptar naturalment una identitat lingüística catalana. __________________________________________________________ Abstract: Jordi Pere Cerdà (Antoni Cayrol) is one of the most important poets of North Catalonia, France. Cerdà was born in a little French village near the Spanish border, in a place where he learnt Catalan at home, but was a French citizen. The effects of the border and the historical changes that took place before the Spanish Civil War and the Second World War were decisive for his poetic career. His first edited poems show this internal struggle between a conception of the native Cerdanya as a geographical unit (shared out in two states) and the assumption that this county is broken by a border that denies a traditional way of living and thus denying, physically, the acceptance of a linguistic Catalan identity.

The Catalan poet Jacint Verdaguer composed bucolic works during his youth, and described the Vic Plain according to the characteristics of the locus amoenus and the Arcadia, as described by Roman poet Virgil. In this paper we are going to study the history of his admission to the Roman Arcadia, thanks to his friend and poet Jaume Collel.

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Resum: L’objectiu principal d’aquest article és estudiar la poesia femenina catalana del període d’entreguerres aplicant dues metodologies: d’una banda, la literatura comparada, tot relacionant les escriptores catalanes amb les escriptores angleses del mateix període; i de l’altra banda, la crítica feminista, utilitzant alguns dels seus paradigmes. L’altre gran objectiu és reivindicar la qualitat d’algunes d’aquestes autores, com ara Roser Matheu, M. Teresa Vernet, Simona Gay, Maria Perpinyà i Cèlia Viñas, i també posar de manifest la importància que haurien de tenir en la història literària catalana contemporània.Paraules clau: poesia femenina, poesia catalana, poesia anglesa, període d’entreguerres, crítica literària.

Jordi Pere Cerdà (Antoni Cayrol) is one of the most important poets of North Catalonia, France. Cerdà was born in a little French village near the Spanish border, in a place where he learnt Catalan at home, but was a French citizen. The effects of the border and the historical changes that took place before the Spanish Civil War and the Second World War were decisive for his poetic career. His first edited poems show this internal struggle between a conception of the native Cerdanya as a geographical unit (shared out in two states) and the assumption that this county is broken by a border that denies a traditional way of living and thus denying, physically, the acceptance of a linguistic Catalan identity. [ABSTRACT FROM AUTHOR]

Copyright of Haidé: Estudis Maragallians is the property of Biblioteca de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Quaderns: Revista de Traducció is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studies in Oral Folk Literature / Estudis de Literatura Oral Popular is the property of Universitat Rovira I Virgili and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Estudiamos las alusiones directas o indirectas al mito de Orfeo en la obra poética de algunos autores de los siglos XVI–XVII que escribieron en catalán o también en castellano. Poetas como Joan Pujol o Francesc Fontanella envuelven la referencia al mito órfico en una atmosfera elegíaca. Orfeo es comparado con el ruiseñor que llora los polluelos tomados por el labrador en un pasaje de lasGeórgicasde Virgilio que será reelaborado en la Égloga I de Garcilaso de la Vega y enQui vol oyr la gestade Pere Serafí. En este último poema, a diferencia de la obra de Garcilaso, el canto del ruiseñor es respondido por la golondrina. Aunque estas dos aves parecen aludir al mito de Filomela y Procne, la amorosa lamentación entre pajarillos de diferente especie es un tópico común en la lírica amorosa medieval. Finalmente, analizamos dos obras de Pere Jacint Morlà que comparten una escenografía alegórica similar en la que el infierno es descrito como un inhóspito edificio o viceversa. En elSomni de l’infern, como Orfeo hizo en otro tiempo, el poeta visita el infierno pero fracasa en su intento de rescatar a su amada, mientras que laPintura de la Torre de Serranosdescribe una prisión valenciana como infierno donde las víctimas son torturadas sin escrúpulos, por lo que gritan de dolor sin llegar a conmover ni a la naturaleza ni a la burocracia del centro penitenciario. Los dos poemas de Morlà constituyen una parodia desmitificadora del relato de Orfeo. [ABSTRACT FROM PUBLISHER]

Despite the current «great age of translation» (Bassnett, 2014), translating processes continue to pose countless challenges. Far from a simple linguistic transfer, translation demands a nuanced and intricate dialogue between not just languages but also cultures. Recent publications of Catalan poetry in Spanish and in English translations, and whose main aims are to present a translation that emphasises culture, identity and Catalan literary tradition, are perfect examples. Focusing on Xarnegos-Charnegos (Antología) (2010), the bilingual publications of Joan Margarit, and the collections Forked Tongues (2012) and Six Catalan Poets (2013), the article will consider the different aims of each publication and their achievements. Finally, it will explore what this means for Catalan poetry at the crossroads. [ABSTRACT FROM AUTHOR]

L’article analitza la traducció al castellà que el poeta xilè Armando Uribe Arce va fer del «Cant espiritual» de Joan Maragall dins de la celebració dels Jocs Florals de la Llengua Catalana de l’any 1962 i posa l’atenció no només en el grau de fidelitat de la traducció al pensament original sinó també en el conjunt d’estratègies que en permeten una mirada particular.

Los procedimientos intertextuales y las interacciones entre diferentes autoridades se sitúan en la primera línea del programa poético de Vicent Andrés Estellés (1924-1993) en el cual desde los aspectos gráficos a los estructurales, del paratexto a la citación reconocida como tal, pasando por las referencias y las alusiones a la iconografía, todo contribuye a crear un enfoque transgresivo de cara a la compartimentalización tradicional de los géneros literarios, las artes y la historia de la literatura.

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’article analitza traduccions del «Cant espiritual», «La vaca cega», «Haidé» i «Represa d’Haidé» posant esment no solament a la fidelitat al pensament original sinó també a la forma dels poemes: mètrica i rima. Els comentaris s’acompanyen de reflexions sobre l’art de traduir poesia i les dificultats, especialment aquelles que emergeixen de traduir a una llengua germana.

The article presents a study which examines the true or suggested aging of translations based on a comparative study of French and Spanish translations of the two major Catalan poems "Cant espiritual" and "La vaca cega" by Catalan poet, journalist, and translator Joan Maragall. The place of Maragall in Catalan 19th and 20th centuries literature is mentioned. The translations' linguistic aspect is examined. The approach to translating a verse is considered. The versions of several French and Spanish translators including Albert Camus, Víctor Alba, and J. F. Vidal Jové are compared.