466 research outputs found
Normativity, moral realism, and unmasking explanations
No full textMoral Projectivism must be able to specify under what conditions a certain inner response counts as a moral response. I argue, however, that moral projectivists cannot coherently do so because they must assume that there are moral properties in the world in order to fix the content of our moral judgements. To show this, I develop a number of arguments against moral dispositionalism, which is, nowadays, the most promising version of moral projectivism. In this context, I call into question both David Lewis' dispositionalist account of colour and Chistine Korsgaard's procedural realism
The Gran Teatre del Liceu in Catalan Culture: History, Representation and Myth
No full textThe copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the authorThis thesis examines the position of Barcelona’s Gran Teatre del Liceu within Barcelona’s cultural lanscapeas a means of exploring its modern-day role as one of Europe’s most important opera houses. Other studies of the Liceu have provided extensive historical narratives, but have rarely considered any kind of sociological or cultural theory when analysing the theatre’s role in the city.
Chapter 1 explores the Liceu in Spanish and Catalan literature and dramaturgy and questions its role as a representative of upper-class Barcelona culture, and the changes this role has undergone over the course of Spain’s transition to democracy.
The Liceu’s location in the adjacent Raval district is examined in Chapter 2: the area has undergone considerable physical and demographic changes over the last decades, and the opera house’s relationship to this area and the larger Barcelona context is discussed in some detail.
The third chapter contextualises the Liceu within the wider Catalan cultural panorama and examines the impact of the recession in Spain, which has greatly affected cultural spending, and consequently the theatre’s programme. This problem has been aggravated by an awkward, opaque system of management; the thesis provides examples and analysis of the difficulties the theatre experienced between 2010 and 2013.
The final chapter seeks to underline the efforts of the artistic direction to make the Liceu a referent of modern European operatic productions, with three case studies of stagings that represent modern interpretations of opera by contemporary Catalan directors. These works have been chosen as representative of the Liceu’s determined modernisation of the operatic spectacle and of its commitment to local artists.
The thesis aims to present a more critical view of Barcelona’s opera house that goes beyond chronological narrative and anecdote in depicting the modern-day situation of the institution and its place in the Barcelona context.funded by an Arts and Humanities Research Council Collaborative Doctoral Award with the Gran Teatre del Lice
Edició crítico-genètica de Poemes de l'alquimista de Josep Palau i Fabre
No full textDepartament responsable de la tesi: . Departament de Filologia Catalana.Aquesta tesi és una edició crítico-genètica del llibre Poemes de l'Alquimista de Josep Palau i Fabre. Per una banda, es donen a conèixer, a través d'un extens exercici de crítica textual, tots els manuscrits i mecanoscrits dels poemes, trobats fins a la data d'avui (abril de 2017), a l'arxiu personal de l'autor ubicat a la Fundació Palau. Els llocs crítics es descriuen en dos aparats de variants que permeten resseguir l'evolució genètica dels poemes, des dels primers estadis fins als últims localitzats. Per una altra banda, entendre la gènesi del llibre, ha permet que en aquest treball es desenvolupin tota una sèrie de teories interpretatives, que esdevenen una bona base per a un estudi en profunditat del contingut dels poemes i de l'estructura del llibre. S'hi apunten, entre d'altres, algunes dades importants com que tots els poemes de Poemes de l'Alquimista es van escriure abans de l'any 1952 i es fixen les etapes poètiques de Palau i Fabre i els anys que marquen un punt d'inflexió en la seva trajectòria com a poeta (1938, 1943 i 1947).This thesis is a critical-genetic edition of the book Poemes de l'Alquimista, by Josep Palau i Fabre. On one side, it presents, through a wide exercise of textual review, all of the handwritten and typewritten poems that have been found until today (April 22th, 2017) at the personal files of the author, which can be found at the Fundació Palau. The critical places are described in two parts of variants that allow us to trace the genetic evolution of the poems, from the first stages to the last ones that have been found. On the other side, understanding the genesis of the book allows a series of interpretative theories to be developed, and these become an excellent basis for a deeper study of the content of the poems and the book's structure. The thesis contains some relevant data, as for example the fact that all the poems of Poemes de l'Alquimista were written before 1952, the poetical stages of Palau i Fabre, and the years that marked a turning point in his career as a poet (1938, 1943 and 1947)
Josep Claret: arquitectura i societat
No full textEl gironí Josep Claret Rubira (1908-1988), arquitecte de professió i artista-dibuixant de vocació, va obtenir el títol l'any 1933, a l'Escola d'Arquitectura de Barcelona. D'ençà d'aquella data i fins a mitjan dels anys 70, va projectar una quantitat enorme d'edificis de múltiples tipologies i nombrosos plans d'urbanització, arreu de les comarques gironines i menorquines. Amb ideologia primerenca propera a les esquerres catalanistes, es va haver d'adaptar al règim franquista, per poder continuar treballant i vivint a Catalunya. Malgrat que inicialment li deuria costar un gran esforç, el procés d'amotllament el va tenir planer (almenys aparentment), gràcies al seu parentiu -per via matrimonial- amb una família que hi estava estretament vinculada. És autor d'obres d'elevat nivell arquitectònic -amb poques que siguin conegudes i reconegudes- i un clar conformador del paisatge de les seves contrades, fet influent en la societat que hi ha estat habitant i que hi viu encara avui dia. La seva arquitectura és un magnífic exemple del que agradava a les generacions de durant cinc dècades. És també autor d'obres que, moltes vegades, no s'adiuen gens amb el que la Història de l'Arquitectura dóna per bones, però que reflecteixen el gust, les preferències i les prioritats d'una societat determinada.Josep Claret Rubira (Girona, 1908-1988), architect of profession and artist-sketcher of vocation, obtained his university degree from the School of Architecture of Barcelona in 1933. From this year to the middle seventies, he projected an enormous amount of buildings of multiple typologies and numerous plans of urbanization throughout Girona and Menorca. His early political ideology was close to left wing, so he had to adapt to the pro-Franco regime to be able to continue working and living in Catalonia. Although it had probably been hard at the beginning, the connection process was easy (at least apparently), thanks to his relationship by marriage with a family who was closely linked to it. He is the author of works of high architectural level (being a few of them known and recognised) and a clear organiser of the landscape of his territory, an influential fact in the society that has been living there since then. His architecture is a magnificent example of what people from five decades liked. He is also the author of works that do not often fit in with what is considered correct, according to the History of Architecture, but reflect the taste, the preferences and the priorities of a certain society
El primer cant de l'Infernoa les versions d'Andreu Febrer i de Josep Maria de Sagarra : una anàlisi de traducció
No full textEn aquest treball, l'autor fa una anàlisi comparativa de dues versions, en llengua catalana, del cant primer de la Commedia dantesca. Aquestes versions, molt distants en el temps, són, en primer lloc, la que Andreu Febrer va fer a principi del segle XV, i, en segon lloc, la que Josep Maria de Sagarra va començar a publicar fragmentàriament a les pàgines de La Veu de Catalunyal'any 1935, traducció que, refosa, va treure entre els anys 1950 i 1952 a l'editorial Selecta, de Barcelona. L'anàlisi, que es pretén exhaustiva, comprèn les rimes, la versificació i el lèxic emprats pels traductors. El treball s'orienta en l'àmbit de la discussió «traducció literal vs. traducció lliure» -conceptes representats pels traductors de referència- que l'autor ha desenvolupat en la seva tesi doctoral.In this study, the author makes a comparative analysis of two Catalan versions of the first canto of Dante's Divine Comedy.These two versiones, separated by a great distance in time, are, first, the translation that Andreu Febrer made at the beginning of the 15th century and, second, that which Josep Maria de Sagarra began to publish in fragments in La Veu de Catalunya (The Voice of Catalonia) in the year 1935. The latter translation, reconstituted, was brought to light between 1950 and 1952 by the publishing house Selecta of Barcelona. This analysis, which attempts to be exhaustive, ranges from treatment of rhyme and versification to language, among other considerations. The orientation of this work is within the sphere of the discussion «literal translation vs. free translation» -concepts represented by the translations under consideration- which the author has developed in depth in his doctoral thesis
El primer cant de l'Infernoa les versions d'Andreu Febrer i de Josep Maria de Sagarra : una anàlisi de traducció
No full textEn aquest treball, l'autor fa una anàlisi comparativa de dues versions, en llengua catalana, del cant primer de la Commedia dantesca. Aquestes versions, molt distants en el temps, són, en primer lloc, la que Andreu Febrer va fer a principi del segle XV, i, en segon lloc, la que Josep Maria de Sagarra va començar a publicar fragmentàriament a les pàgines de La Veu de Catalunyal'any 1935, traducció que, refosa, va treure entre els anys 1950 i 1952 a l'editorial Selecta, de Barcelona. L'anàlisi, que es pretén exhaustiva, comprèn les rimes, la versificació i el lèxic emprats pels traductors. El treball s'orienta en l'àmbit de la discussió «traducció literal vs. traducció lliure» -conceptes representats pels traductors de referència- que l'autor ha desenvolupat en la seva tesi doctoral.In this study, the author makes a comparative analysis of two Catalan versions of the first canto of Dante's Divine Comedy.These two versiones, separated by a great distance in time, are, first, the translation that Andreu Febrer made at the beginning of the 15th century and, second, that which Josep Maria de Sagarra began to publish in fragments in La Veu de Catalunya (The Voice of Catalonia) in the year 1935. The latter translation, reconstituted, was brought to light between 1950 and 1952 by the publishing house Selecta of Barcelona. This analysis, which attempts to be exhaustive, ranges from treatment of rhyme and versification to language, among other considerations. The orientation of this work is within the sphere of the discussion «literal translation vs. free translation» -concepts represented by the translations under consideration- which the author has developed in depth in his doctoral thesis
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