699 research outputs found
Letter from Paul M. Roca on behalf of Carl Hayden to Ray E. Carr, Associated Civic Clubs of Southern Utah
No full textLetter from Paul M. Roca to Ray E. Carr on behalf of Carl Hayden politely declining his invitation
Il "discorso ... nel disegniare et edificare le chiese" di Domenico Tibaldi
No full textLe inedite pagine scritte da Domenico Tibaldi, fratello del più noto Pellegrino, sull'architettura sacra si inseriscono nel clima culturale del tardo Cinquecento bolognese, dominato dalla figura del cardinale Paleotti, autore di un importante trattato sulle immagini sacre. Nel saggio viene sottolineata la stretta aderenza a quanto teorizzato da Paleotti, intransigente esponente del rigorismo post-tridentino. Con i rapporti proporzionali teorizzati e l'impiego di elementi desueti quali il nartece, Tibaldi inoltre ripropone, in un nuovo contesto storico, il patrimonio di forme e valori simbolici dell'età primocristiana e medievale.The unpublished pages written by Domenico Tibaldi, brother of the famous Pilgrim, sacred architecture are part of the cultural climate of the late sixteenth century Bolognese, dominated by the figure of Cardinal Paleotti, author of an important treatise on sacred images. In the essay is emphasized strict adherence to what is theorized by Paleotti, uncompromising exponent of the post-Tridentine rigor. With the proportional relationships theorized and the use of obsolete elements such as the narthex, Tibaldi also proposes, in a new historical context, the wealth of forms and symbolic values primocristiana and medieval age
Urolabida graziae Roca-Cusachs & Paris & Mohagan & Jung 2021, sp. nov.
No full textUrolabida graziae Roca-Cusachs, sp. nov. (Figs 2, 3.2, 4) Holotype. Female. PHILIPPINES, (white locality label with its corners cut off, handwritten) dorsal side: “Cagallan / de / misamis / Mindanao”; ventral side: “leg / D. Sanchez / 1896” // (white label, printed) “ Urolabida graziae / Roca-Cusachs 2020” // (red label, printed) “ HOLOTYPE ” // (white label, printed) “ MNCN _Ent / 268497” (deposited in collection of Museo Nacional de Ciencias Naturales, Madrid). Paratype. Male. Same data and same type of label as holotype, except (red label, printed) “ PARATYPE ” // (white label, printed) “ MNCN _Ent / 268498” (deposited in the collection of the first author). Etymology: This species is named after our friend and colleague Professora Jocelia Grazia, to honour her 75th birthday and her prosperous career in this special festschrift issue. Noun in genitive case standing in apposition. Diagnosis. This species is very similar in external appearance to Urolabida bipunctata (Fig. 1). Both Philippine Urolabida species are clearly distinguished from the remaining Philippine Urostilididae by the absence of ocelli. They are well separated from the other Urolabida species by having the lateral processes of the genital capsules greatly projected caudally and the medial ventral rim produced in a bifurcate process. Urolabida graziae sp. nov. differs from U. bipunctata in the shape, angle and length of the lateral processes of the genital capsule and by the presence of a tubercle at the internal basal lateral processes of the genital capsule. Description. Species with no sexual dimorphism besides the external genitalia. General colouration yellowish green [when dry], slightly shiny, with concolorous coarse punctuation (distance between punctures exceeding puncture diameter) and rugose surface. Lateral margin of body bearing line of very short setae. Head clearly wider than long. Mandibular plates 1/3 shorter than clypeus. Eyes globular, semipedunculate, protruding out of head profile. Antennae long, concolorous with body and covered with very short setae. Rostrum short, nearly reaching procoxae. Pronotum trapezoidal, slightly sinuous at lateral centres. Costa slightly marked. Humeri rounded, very slightly protruding and bearing a darker coloured process just before humeral angle. Posterior margin of pronotum nearly straight. Scutellum simple, triangular, clearly longer than wide, acuminate at tip. Coria concolorous, margins parallel-sided. Hemelytra hyaline, shiny. Meso- and metasternum with long pilosity. Legs elongated, slightly pilose, concolorous and impunctate. Tarsi three segmented. Peritreme elongated, transversally projected laterally and spout. Abdomen, including spiracles and trichobothria, concolorous. Male genitalia. Genital capsule with strongly developed lateral processes, projected caudally and facing somehow dorsally, rod-shaped and bearing a round, inward directed, protuberance on first basal third. Ventral process shallowly developed, bifurcated, U-shaped and with round apices. Ventral medial process very small or inconspicuous (fig. 3.2b). Paramere elongated, sinuous, bifurcated at tip (arrows in fig. 4c). and with an inward directed, spine-like sclerotized process above its medial portion (figs. 4a–c). Phallus (figs. 4d–e) compact, barrelshaped, strongly sclerotized. Process of vesica dorsoventrally with plate like, parallel-sided expansion (arrows in figs. 4d–e). Conjuntiva sclerotized, dorsoventrally expanded at apex, laterally with a dorsal orientated notch. Female external genitalia. Abdominal tergite VII laterally rounded at tip, then sinuate, medially convex and expanding caudally to cover Laterotergites IX. Laterotergites IX small, rounded, and hidden under Abdominal tergite VII central caudal expansion. Laterotergites VIII broad and spatulate, distinctly projecting caudally. Laterotergites IX slightly visible, bean shaped, narrow, touching at base but divergent at apex, covered by abdominal tergite VII (Fig. 2e). Measurements (in mm; male / female): total body length, 9.75 / 12.00; maximum abdominal width, 4.24 / 5.41; length of head, 0.89 / 1.20; maximum width of head, 1.68 / 1.77 length of rostrum, 1.72 / 1.88; interocular distance, 0,67 / 0.74; length of antennal segments I, 2.69 / 2.79; II, 3.31 / 3.72; III, 0.66 / 0.65; IV, 2.60 / 3.07; V (absent in both specimens), pronotal length at medium, 1.99 2.13; maximum pronotal width, 4.25 / 5.00; scutellar length, 2.89 / 3.37; and maximum scutellar width 2.42 / 2.90. Distribution. Only known from the type locality. Cagayan de Misamis (= Cagayan de Oro), Mindanao (North), Philippines.Published as part of Roca-Cusachs, Marcos, Paris, Mercedes, Mohagan, Alma & Jung, Sunghoon, 2021, Urolabida graziae, new urostylidid species from the Philippines with comments on the current taxonomy and systematics of the family (Hemiptera: Heteroptera Urostylididae), pp. 702-712 in Zootaxa 4958 (1) on pages 704-707, DOI: 10.11646/zootaxa.4958.1.45, http://zenodo.org/record/469291
Cuando la palabra se hace lenguaje. La poesía de Juan Manuel Roca
No full text129 p. Recurso ElectrónicoEl presente trabajo aborda un corpus de poemas del escritor colombiano Juan Manuel
Roca Vidales quien, con diecinueve libros de poesía publicados, es uno de los autores
más importantes dentro y fuera del país. El compromiso que ha ejercido en la literatura
lo ha llevado a escribir narrativa, ensayo, crítica literaria y una labor periodística que ha
alimentado la cultura nacional. Se interpretará inicialmente el lenguaje junto a temas
como la soledad, el silencio, la infancia, el sueño, el tiempo y la noche, instancias donde
el autor dialoga con los lectores en un ámbito de imágenes hechas desde la creación y
figuras poéticas. El arte, ventana por la cual Juan Manuel Roca se adentra para forjar un
lenguaje, fija la libertad de la palabra para hacerse propia, autónoma, inexorable y
compartida con autenticidad en la sucesión de cada poema. Por eso, en el viaje realizado
por su obra, se tiene en cuenta, con suma agudeza, la importancia de Roca en la historia
actual de la lírica Colombiana.This paper deals with a corpus of poems by the Colombian writer Juan Manuel Roca
Vidales who, with nineteen poetry books published, is one of the most important authors
inside and outside the country. The commitment he has made in literature has led him to
write narrative, essay, literary criticism and a journalistic work that has nurtured the
national culture. The language will be interpreted initially along with themes such as
loneliness, silence, childhood, sleep, time and night, instances where the author
dialogues with readers in an area of images made from creation and poetic figures. Art,
a window through which Juan Manuel Roca enters to forge a language, sets the freedom
of the word to become own, autonomous, inexorable and shared with authenticity in the
succession of each poem. Therefore, in the trip made by his work, the importance of Roca
in the current history of the Colombian lyric is taken into account with great acuteness.
Keywords: Poetry - Language - Interpretation - Silence - Intuitio
Between memory, imaginary and History: considerations about Paco Roca
No full textExplora as relações entre história, imaginário e memória presentes nas obras de Paco Roca, a partir dos conceitos de representações sociais, de Howard Becker, e de lugares de memória, de Pierre Nora. Busca-se compreender como, num conjunto de obras que tematizam as consequências do regime franquista na Espanha, o autor situa historicamente seus leitores nas narrativas. Para realizar a discussão, são acionados autores como Maurice Halbwachs, Stuart Hall, Jacques Le Goff, Barbara Postema e Umberto Eco. O método utilizado é o da pesquisa bibliográfica, e a pesquisa é de natureza exploratória, teórica e qualitativa. A conclusão aponta que Paco Roca utiliza diversos recursos, gráficos e narrativos, para repassar informações históricas a seu público, ampliando a “enciclopédia” de seus leitores (na perspectiva de Umberto Eco), operação necessária para a plena compreensão do contexto no qual elas se inserem.It explores the relationships between history, imaginary and memory present in the works of Paco Roca, based on the concepts of social representations, by Howard Becker, and places of memory, by Pierre Nora. It seeks to understand how, in a set of works that thematize the consequences of the Franco regime in Spain, the author historically situates his readers within the narratives. To carry out the discussion, authors such as Maurice Halbwachs, Stuart Hall, Jacques Le Goff, Barbara Postema, and Umberto Eco are used. The method used is bibliographic research, and the research is exploratory, theoretical, and qualitative in nature. The conclusion points out that Paco Roca uses various resources, both graphic and narrative, to convey historical information to his audience, expanding the "encyclopedia" of his readers (in the perspective of Umberto Eco), an operation necessary for the full understanding of the context in which they are inserted
Linear feedback shift registers and the minimal realization problem
No full text[EN] The Berlekamp-Massey algorithm solves the problem of finding the shortest linear feedback shift register which generates a given finite sequence of scalars. This problem is reinterpreted from the point of view of the realization theory and several extensions to sequences of matrices are analyzed. We give a generalization of the result on which the Berlekamp-Massey algorithm is based in terms of the partial Brunovsky indices of a sequence of matrices and propose an algorithm to obtain them for sequences of vectors. The results we obtain hold for arbitrary fields.The first author is partially supported by grants MINECO MTM2017-83624-P, MTM2017-90682-REDT, and UPV/EHU GIU16/42. The second author is partially supported by grants MINECO MTM2017-83624-P and MTM2017-90682-REDT.Baragana, I.; Roca Martinez, A. (2019). Linear feedback shift registers and the minimal realization problem. Linear Algebra and its Applications. 576:200-227. https://doi.org/10.1016/j.laa.2018.06.009S20022757
Estudi técnic, diagnóstic i porposta d'intervenció de l'obra Salvador Eucarístic realitzada per Emilio Calandín Calandín, copia de Joan de Joanes
No full text[ES] En el presente trabajo se han realizado un estudio técnico, el diagnóstico del estado de conservación y la propuesta de intervención de una pintura sobre tabla realizada por el artista valenciano Emilio Calandín Calandín (1870-1919). Se trata de una obra pintada al óleo sobre tabla, de temática religiosa, que copia fielmente el modelo de Salvador Eucarístico de Juan de Juanes, tanto en su técnica como en sus dimensiones. La pintura proviene de la colección privada de la familia del autor.
Este trabajo tiene como objetivos estudiar al autor y la historia de la obra, además de analizar el personaje representado y el modelo joanesco. Por otra parte, realizar un estudio técnico comparándolo con el original, estudio del marco. Además se analiza el estado de conservación de la pieza, que presenta daños importantes en su soporte que están comprometiendo también la conservación de las casas pictóricas y el dorado. Por último se presenta una propuesta de intervención y medidas para la conservación de la obra.[EN] In this work we have carried out a technical study, a diagnosis of the state of
conserva on and a proposal for interven on on a panel pain ng by the
Valencian ar st Emilio Calandín Calandín (1870-1919). It is a work painted in oil
on panel, with a religious theme, which faithfully copies the model of the
Eucharis c Saviour by Juan de Juanes, both in its technique and its dimensions.
The work comes from the private collec on of the ar st s family. The aims of
this work are: to study the author and the history of the work, as well as to
analyse the character depicted, and to study the Johannine model. In addi on,
to carry out a technical study comparing it with the original, a study of the
frame, an analysis of the state of conserva on and a proposal for interven on
on the work.García Rosende, A. (2024). Estudio técnico, diagnóstico y propuesta de intervención de la obra Salvador Eucarístico realizada por Emilio Calandín Calandín, copia de Juan de Juanes. Universitat Politècnica de València. https://riunet.upv.es/handle/10251/207572TFG
L'obra poètica de Guillem Roca i Seguí (1742-1813)
No full text[cat] Aquesta tesi té per objectiu elaborar una edició crítica de l’obra poètica de
l’escriptor i advocat Guillem Roca i Seguí (Palma, 1742-1813). A més a més, es
proposa de relacionar la seva poesia amb la que s’escriu a l’època i estudiar la
transmissió i la recepció tant de l’obra com de la figura de l’autor fins a l’actualitat.
En un primer capítol revisam com es du a terme la redefinició del període
malanomenat com a Decadència i també com es deixen de banda els prejudicis que
valoraven la producció literària del segle XVIII, que s’havia considerat com un pas
necessari per arribar a l’etapa posterior, esplendorosa i renaixent. En aquest sentit, es
dóna notícia dels principals treballs que han ajudat a perioditzar la història de la
literatura catalana a partir de criteris estètics, i també, es mostra com a través de
successius estudis especialitzats, els investigadors van marcant unes pautes que
animen a descobrir els personatges i literats més emblemàtics d’aquests moments.
D’aquesta manera, a partir de les notícies que tenim dels diferents poetes de
l’època, obtingudes en manuscrits però també a través de testimonis impresos i
bibliogràfics, fem l’anàlisi de la producció poètica que es dóna entre la segona meitat
del segle XVIII i el primer quart del segle XIX; es tracta d’una poesia que a nivell
d’estètiques és molt variada ─ja que els poemes s’adscriuen des del postbarroquisme
fins al Neoclassicisme─, temàticament molt diversa, i associada a una gran varietat de
registres que no sempre faciliten la diferenciació entre aquelles peces més cultes i les
que pertanyen a la literatura popular.
Seguidament, centrats ja en el tema que ens ocupa, s’exposen totes les dades que
s’han pogut localitzar de la biografia de Guillem Roca i Seguí, que es relaciona amb la
del seu oncle Joan Baptista Roca i Mora (segle XVIII-1803) i amb la del seu fill
Guillem Roca i Reus (1793-1852). Tots tres autors són escriptors i advocats,
comparteixen el fet d’ocupar càrrecs públics a la Mallorca del seu temps, i resulten
personatges controvertits que gaudeixen d’un cercle d’amistats i d’enemistats que
condiciona la seva escriptura.
A continuació, s’ha revisat la transmissió i la recepció de la figura i de la poesia
de Guillem Roca i Seguí. Les seves obres es conserven disperses sobretot en
manuscrits de diferents biblioteques de Mallorca i del Principat de Catalunya. També
les publicacions periòdiques del segle XIX recullen algun poema o fragment de
Guillem Roca i Seguí; així mateix, el 1852 es publica el plec solt Romances per plorar
rient o per riure plorant format per dos poemes de Guillem Roca i Seguí. Més
endavant, l’erudit Joaquim Maria Bover incorpora la biografia del poeta a les seves
obres, juntament amb algun fragment de les composicions més conegudes; aquests
textos seran àmpliament reproduïts per altres estudiosos i motivaran la curiositat sobre
l’autor.
Pel que fa al coneixement de la seva obra, en aquesta tesi es relacionen tot un
seguit d’estudis que ens demostren que a la primera meitat del segle XX, amb diferent
grau de rigor, Guillem Roca i Seguí encara és present en la història de Mallorca.
Posteriorment, a partir de la dècada dels seixanta del segle XX, com a conseqüència de
la revalorització científica de l’època en què visqué l’autor, han aparegut nombrosos
treballs que pertanyen a diferents ciències que remarquen tangencialment la
importància de la seva figura. Aquests últims anys, així mateix, Roca ha estat esmentat
en diversos estudis en què els investigadors valoren la seva personalitat i vàlua com a escriptor, i alhora evidencien la urgència d’una edició de la poesia completa, ja que la
seva obra en altres gèneres, la narrativa i el teatre, es troba editada i a l’abast del
lector.
Quant a l’obra poètica, l’any 1971 l’investigador Jaume Vidal Alcover, a la seva
tesi de llicenciatura inèdita, va començar la tasca de recopilació dels poemes de Roca,
tot realitzant la transcripció de les composicions conservades a les miscel·lànies
Vilafranca i Bover. Encara que no es tractava d’una edició crítica, Vidal demostra la
importància de la poesia de Roca per a la llengua catalana i transcriu setanta-nou
poemes. Ara, després d’una exhaustiva recerca, hom presenta un corpus de vuitantatres
composicions poètiques d’extensió, estil i qualitat desiguals, que permeten valorar
el poeta en la seva diversitat de matisos, i que són la principal aportació d’aquesta tesi
a l’estudi de la poesia a la Mallorca de l’època.
Els poemes ací editats pertanyen, com hem indicat, a registres molt diversos que
van des de la reelaboració literària dels autors barrocs i neoclàssics castellans, o els
clàssics grecollatins, fins a la poesia de circumstàncies. A part d’això, s’hi observa la
diversitat d’estètiques que abraça des del postbarroquisme fins a l’il·luminisme, i dins
aquest s’hi registren poemes vinculats al Neoclassicisme i a l’Experimentalisme
lingüístic. Aquesta varietat en l’obra d’un sol autor és pròpia dels escriptors amb qui
Guillem Roca i Seguí comparteix moment històric.
Per fer front a aquesta diversitat, els poemes han estat classificats en tres blocs:
s’agrupen en un primer apartat les faules, algunes d’estil neoclàssic, escrites a partir de
les de Félix M. Samaniego; en segon lloc, s’editen dues composicions llargues que es
relacionen amb la poesia que fa paròdia del Barroc. Finalment, s’inclouen les
composicions de circumstàncies, poblades de personatges i anècdotes de l’entorn de
l’autor, algunes de les quals es poden relacionar amb l’estètica rococó. En conjunt, una
obra complexa i variada, pròpia d’un escriptor de l’últim quart del segle XVIII i
començaments del segle XIX.
La tesi culmina, a manera d’apèndix, amb l’edició de la biblioteca de Guillem
Roca i Seguí, una autèntica joia documental. Gràcies a aquest document tenim accés a
les lectures de temàtica molt diversa de l’autor en qüestió, que constitueixen una
mostra clara dels coneixements que podia adquirir un advocat de la seva mateixa
condició i de la seva època, i que ens presenten el Roca erudit en un moment en què
els coneixements d’un escriptor són mostra de la seva vàlua i marca de prestigi.
En conjunt, la present tesi pretén ser una aportació a la història de la literatura i
de la poesia catalana que es fa a Mallorca entre la segona meitat del segle XVIII i el
primer quart del segle XIX.[spa] Esta tesis tiene por objetivo elaborar una edición crítica de la obra poética del
escritor y abogado Guillem Roca i Seguí (Palma, 1742-1813). Además, se propone
relacionar su poesía con la que se escribe en la época y estudiar la transmisión y la
recepción tanto de la obra como de la figura del autor hasta la actualidad.
En un primer capítulo revisamos cómo se lleva a cabo la redefinición del periodo
mal denominado “Decadencia” y también como se dejan de lado los prejuicios que
valoraban la producción literaria del siglo XVIII, que se había considerado como un
paso necesario para llegar a la etapa posterior, esplendorosa y renaciente. En este
sentido, se da noticia de los principales trabajos que han ayudado a periodizar la
historia de la literatura catalana a partir de criterios estéticos, y también se muestra
como a través de sucesivos estudios especializados los investigadores van marcando
unas pautas que animan a descubrir a los personajes y literatos más emblemáticos de
estos momentos.
De esta manera, a partir de las noticias que tenemos de los diferentes poetas de
la época, obtenidas en manuscritos pero también a través de testimonios impresos y
bibliográficos, analizamos la producción poética que se da entre la segunda mitad del
siglo XVIII y el primer cuarto del siglo XIX. Se trata de una poesía que a nivel de
estéticas es muy variada ─ya que los poemas se adscriben desde el postbarroquismo
hasta el Neoclasicismo─, temáticamente muy diversa, y asociada a una gran variedad
de registros que no siempre facilitan la diferenciación entre aquellas piezas más cultas
y las que pertenecen a la literatura popular.
Seguidamente, centrados ya en el tema que nos ocupa, se exponen todos los
datos que se han podido localizar de la biografía de Guillem Roca i Seguí, que se
relaciona con la de su tío Joan Baptista Roca i Mora (siglo XVIII-1803) y con la de su
hijo Guillem Roca i Reus (1793-1852). Los tres autores son escritores y abogados,
comparten el hecho de ocupar cargos públicos en la Mallorca de su tiempo, y resultan
personajes controvertidos que disfrutan de un círculo de amistades y de enemistades
que condiciona su escritura.
A continuación, se ha revisado la transmisión y la recepción de la figura y de la
poesía de Guillem Roca i Seguí. Sus obras se conservan dispersas sobre todo en
manuscritos de diferentes bibliotecas de Mallorca y del Principado de Cataluña.
También las publicaciones periódicas del siglo XIX recogen algún poema o fragmento
de Guillem Roca i Seguí. Además, en 1852 se publica el pliego suelto Romances per
plorar rient o per riure plorant, formado por dos poemas de Guillem Roca i Seguí.
Más adelante, el erudito Joaquim Maria Bover incorpora la biografía del poeta en sus
obras, junto con algún fragmento de las composiciones más conocidas; estos textos
serán ampliamente reproducidos por otros estudiosos y motivarán la curiosidad sobre
el autor.
En cuanto al conocimiento de su obra, en esta tesis se relacionan una serie de
estudios que nos demuestran que en la primera mitad del siglo XX, con diferente
grado de rigor, Guillem Roca i Seguí todavía está presente en la historia de Mallorca.
Posteriormente, a partir de la década de los sesenta del siglo XX, como consecuencia
de la revalorización científica de la época en la que vivió el autor, han aparecido
numerosos trabajos que pertenecen a diferentes ciencias que remarcan
tangencialmente la importancia de su figura. Por otra parte, estos últimos años Roca ha
sido mencionado en varios estudios en los que los investigadores valoran su personalidad y valía como escritor, al tiempo que evidencian la urgencia de una
edición de su poesía completa, ya que su obra en otros géneros (la narrativa y el teatro)
se encuentra editada y al alcance del lector.
En cuanto a su obra poética, en 1971 el investigador Jaume Vidal Alcover, en su
tesis de licenciatura inédita, comenzó la tarea de recopilación de los poemas de Roca,
realizando la trascripción de las composiciones conservadas en las misceláneas
Vilafranca y Bover. Aunque no se trataba de una edición crítica, Vidal demuestra la
importancia de la poesía de Roca para la lengua catalana y transcribe setenta y nueve
poemas. Ahora, después de una exhaustiva investigación, se presenta un corpus de
ochenta y tres composiciones poéticas de extensión, estilo y calidad desiguales, que
permiten valorar al poeta en su diversidad de matices, y que son la principal
aportación de esta tesis el estudio de la poesía en la Mallorca de la época.
Los poemas aquí editados pertenecen, como hemos indicado, a registros muy
diversos que van desde la reelaboración literaria de los autores barrocos y neoclásicos
castellanos, o los clásicos grecolatinos, hasta la poesía de circunstancias. Por otra
parte, se observa la diversidad de estéticas que abarca desde el postbarroquismo hasta
el iluminismo, y dentro de éste se registran poemas vinculados al Neoclasicismo y al
experimentalismo lingüístico. Esta variedad en la obra de un solo autor es propia de
los escritores con quienes Guillem Roca i Seguí comparte momento histórico.
Para hacer frente a esta diversidad, los poemas han sido clasificados en tres
bloques: se agrupan en un primer apartado las fábulas, algunas de estilo neoclásico,
escritas a partir de las de Félix M. Samaniego; en segundo lugar, se editan dos
composiciones largas que se relacionan con la poesía que parodia el Barroco.
Finalmente, se incluyen las composiciones de circunstancias, pobladas de personajes y
anécdotas del entorno del autor, algunas de las cuales se pueden relacionar con la
estética rococó. En conjunto, una obra compleja y variada, propia de un escritor del
último cuarto del siglo XVIII y comienzos del siglo XIX.
La tesis culmina, a modo de apéndice, con la edición de la biblioteca de Guillem
Roca i Seguí, una auténtica joya documental. Gracias a este documento tenemos
acceso a las lecturas de temática muy diversa del autor en cuestión, que constituyen
una muestra clara de los conocimientos que podía adquirir un abogado de su misma
condición y de su época, y que nos presentan al Roca erudito en un momento en que
los conocimientos de un escritor son muestra de su valía y marca de prestigio.
En conjunto, la presente tesis pretende ser una aportación a la historia de la literatura y
de la poesía catalana que se produce en Mallorca entre la segunda mitad del siglo
XVIII y el primer cuarto del siglo XIX.[eng] This thesis aims to establish a critical edition of the poetic work of writer and
lawyer Guillem Roca i Seguí (Palma, 1742-1813). In addition, his poetry will be
aligned with the poetry written by others during his time. An examination of the
transmission and reception of both the work and the figure of the writer up to the
present day will be undertaken.
In the first chapter I review how the redefinition of the incorrectly used term
"Decadence" has been translated into writings, and also prejudices were put aside that
had undervalued the literary production of the eighteenth century, and which were
regarded merely as a necessary step to reach the later magnificient and resurgent stage.
In this sense, I take into account the major works that have helped periodize the
history of Catalan literature from aesthetic criteria. It is also proved that through
successive specialized studies researchers are marking guidelines that encourage the
discovery of the characters and the most emblematic literati of that time.
Thus, from the information we have of different poets of the time, obtained not
only from manuscripts but also through printed and bibliographical testimonies, I
analyze the poetic output that occurs between the second half of the eighteenth century
and the first quarter of the nineteenth century. It is a poetry that is aesthetically varied
─poems ranging from the post-Baroque to Neoclassicism─, which are thematically
very diverse, and associated with a variety of registers that do not always facilitate
differentiation between those more refined poems and those belonging to popular
literature.
Then, focusing on the author, all data gathered have allowed me to establish the
biography of Guillem Roca i Seguí, as it relates to that of his uncle Joan Baptista Roca
i Mora (XVIIIth century -1803) and to his son Guillem Roca i Reus (1793-1852). All
three authors were writers and lawyers, held public posts in the Majorca of their time,
and were controversial figures who had a circle of friendships and enmities that
affected their writing.
I later review the transmission and reception of the figure and the poetry of
Guillem Roca i Seguí himself. His works are preserved in manuscripts mainly in
different libraries of Majorca and of the Principality of Catalonia. Also, the nineteenth
century periodicals collected some poem or fragment by Guillem Roca i Seguí. In
addition, in 1852, the broadsheet Romances per plorar rient o per riure plorant was
published, consisting of two of Roca’s poems. Later on, the scholar Joaquim Maria
Bover incorporated the biography of the poet into his works, along with some
fragments of his best-known compositions. Those texts were widely reproduced by
other scholars and created interest for the author.
As far as the knowledge of his work is concerned, in this thesis a series of
studies shows that in the first half of the twentieth century, with different degrees of
rigor, Guillem Roca i Seguí was still present in the history of Mallorca. Subsequently,
from the nineteen sixties, and as a result of scientific reappraisal towards the time of
the author, numerous works
belonging to different sciences that emphasize the importance of his figure as a
writer and poet have appeared. Moreover, in recent years Roca has been mentioned in
several studies in which researchers assess his personality and worth as a writer. They
also point out the urgency of editing his complete poetry, since his work in other
genres (prose and drama) is already published and available to the reader. As for his poetry, in 1971 the researcher Jaume Vidal Alcover, in his
unpublished thesis, began the task of collecting Roca’s poems, carrying out the
transcription of Roca’s works which were kept in Vilafranca’s and Bover’s
Miscellanies. Although his was not a critical edition, Vidal demonstrated the
importance of Roca’s poetry for the Catalan language and transcribed seventy-nine
poems. Now, after extensive research, a body of eighty-three poetic compositions has
been made available. These poems, of different extension, style and uneven quality,
allow us to value the poet in his diversity of nuances. The main contribution of my
thesis to the study of the poetry of that time in Majorca is this analysis.
As mentioned above, the poems published here belong to very different
registers: ranging from literary reworking of the baroque and neoclassical Castilian
authors to the classical Greco-Roman writers, and also to the poetry of circumstances.
Moreover, the diversity of aesthetics range from the post-Baroque to the il·luminisme.
Within the latter, poems linked to Neoclassicism and linguistic experimentalism are
recorded. This variety in the work of a single author also appears in other writers with
whom Guillem Roca i Seguí shares a historical context.
To address this diversity, the poems have been classified into three blocks.
Firstly, fables are grouped into the first section, some of which are of neoclassic style,
written in the style of Felix M. Samaniego. Secondly, two long compositions which
relate to the poetry that parody the Baroque style are edited. Finally, the compositions
of circumstances some of which can be related to the Rococo Aesthetic are included.
These poems of circumstances are filled with characters and stories from the author’s
environment. Overall, Roca i Seguí has produced a complex and varied work: that of a
writer of the last quarter of the eighteenth century and early nineteenth century.
The thesis culminates with the analysis of the book collection of Guillem Roca i
Seguí: a real textual gem and which is included here as an appendix. With this
document we have access to the diverse readings of this author, which constitutes a
clear demonstration of the knowledge that a lawyer of his status and age could acquire.
This text shows us Roca as a true scholar, at a time when the knowledge of a writer is
a proof of his value and prestige.
Overall, this thesis is intended as a contribution to the history of literature and
Catalan poetry produced in Majorca between the second half of the eighteenth century
and the first quarter of the nineteenth century
Vernacular architecture and “historical seismography”: an experience research
No full textThe history of hearthquakes can be defined as a very ancient discipline, which roots are on the tales and on records of the most calamitous events whose evidence is not easy to be found because not written but handed down orally, and the history of seismology is a good example. The analysis of the historical archives and the carefull study of the projects concerning the territory and its structure, often reveals precious informations on events that involved the place, such as the most dangerous, i.e earthquakes, but little technical information about recovery or rebuilding is given in written documentation from the direct literature of the urban context and of the individual building is possible to deduce techiques and ways of the past used to inntervene to reply to the seismic needs of the build and from which the historic seismology originates from. The study of the history of earthquakes has become a systematic instruments to determine the areas where they can happen with a likely periodicity from the past century, and relates especially on historic seismology which has its historic reference store, even if it bases itself on oral sources. Our study, instead, based exclusively upon the analysis and the direct study of the architecture, aims to determinate the needs and the technical devices, peculiar to the art of building, but strictly connect to the local building culture of our territorial reference or research. The rich store of informations has allowed us to study different costructive typology, often determined by needs connected not only to the building tradition but also to the local seismic culture. In the areas exposed at high seismic risk, the regularity of the event can create a progressive rooting of the tecniques and behaviours leading to a clear protective view. When the system becomes part of the experience of the comunity, it stays in the people’s memory. The resident population are titular of their own seismic culture that generates non codified and non written rules but readable in the constructive characteristics of the buildings, in the general structure given by the territory. Every building bears witness to its own history and furnishes an enormous quantitaty of informations: the damage suffered, the repair work, intervention of prevention. A "global" local research and at the same time a systematic research of the frequencies of the constructive elements are developed. From this will of putting the basis for a systematic study of the “historical seismography” that promotes a technical normative of reference that is neither generic nor inducing inter-ventions little respectful of a context that only asks to be left in alone
Heron’s Legacy: An Example of Ancient Calculations Applied to Roman Imperial Architecture
No full textHeron of Alexandria is a well-known author in the field of mathematics and engineering,
but his work is of great interest for understanding ancient construction
problems related to architecture. The formulas translated and commented on by
Heiberg (1914a, b) are analyzed through geometric diagrams and applied to famous
Roman domed architecture
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