Galician Studies

The essay presents a personal approach to Bruno Schulz not only as an outstanding writer and artist, but above all as a figure of imagination that connects the worlds and cultures of Poles, Ukrainians, and Jews. The author defines this function as “worldbuilding” and places it in a process of reconstructing the semantic landscape of Galicia, devastated by World War II and mass deportations, which turned the postwar generations into semantic orphans. This reconstruction does not consist in the impossible return of Poles, Jews, and Ukrainians to Drogobych or Lviv, but in acknowledging the complex past of the region which is our home. Its picture stems from the text of the architectural heritage as well as written texts. Such a text or archetypal metatext has been the work of Bruno Schulz and many others, born in the same area: Joseph Roth, Leopold Sacher-Masoch, Paul Celan, Stanisław Lem, Zbigniew Herbert, Rosa Ausländer, Gregor von Rezzori, Manès Sperber, Georg Drozdowski or Bogdan-Igor Antonych. The task of reconstructing the Regions of Great Heresy has been performed not just in Drogobych, but all over our part of the world – in Lviv, Vilnius, Gdańsk, Wrocław, and Tschernivtsi. We have been trying to heal the wounds inflicted by World War II, which will take long, is by no means simple, and meets much resistance. Like in Schulz’s stories, we have embarked on a long but interesting journey and much is still to be discovered.

Tras recordar a grandes rasgos la trayectoria de la Federación Regional de los Trabajadores entre su creación en 1881 y su disolución en 1888, este artículo resume la actividad de las federaciones locales y evoca los periódicos obreros que aparecen en Vigo, Pontevedra, Ourense y Ferrol, antes de insistir en el protagonismo de los obreros coruñeses afiliados a la Unión de Constructores de Edificios de la F.T.R.E. En línea desde el 1.° de mayo de 2020.

Cuando hablamos de tirador de élite, o tirador de precisión, viene a nuestra mente un soldado situado en un lugar remoto, preparado para abatir a un enemigo con su arma de mira telescópica, sin ser ni visto ni oído. Efectivamente, en la actualidad son combatientes de élite cuya misión es hacer fuego a larga distancia para abatir objetivos concretos. Los ejércitos actuales o las fuerzas del orden cuentan con este tipo de individuos a los que someten, por lo general, a un entrenamiento especial dado el cariz de sus misiones. Deben tener fuerza física, fuerza mental y capacidad para trabajar en soledad o en grupos reducidos, además de ser expertos en camuflaje. De todo ello depende el éxito de la misión. Pueden actuar en parejas, pudiendo ser indistintamente uno y otro observador y tirador dependiendo de los objetivos establecidos. No siempre su misión consiste en abatir un objetivo, también se introducen en zona ocupada por el enemigo con equipo para pasar hasta cinco días en una posición de tiro sin apenas moverse, evitar ser descubiertos y, desde allí, obtener la mayor información posible. No entraremos aquí en la distinción entre los diferentes tipos o grados de tiradores de precisión porque varía según los países y sus ejércitos: es lo que oímos en inglés como sharpshooter, sniper, marksman… esas diferencias no son relevantes para lo vamos a exponer. En este punto tan solo nos interesa el concepto general de tirador de precisión, un tirador que a lo largo del tiempo ha ido desarrollando su técnica y su armamento para alcanzar a un objetivo de la manera más eficaz. A pesar de la idea actual y moderna que podamos tener de un tirador de precisión, sabemos de la existencia ya en los ejércitos antiguos de grupos de tiradores (con arcos, ballestas, hondas o cualquier otro tipo de armas de proyectiles). Sin embargo, actualmente y para referirse a tiradores de precisión, no se consideran tales sino aquellos que disparan con arma de fuego[1], con o sin mira telescópica[2], aunque hoy en día, evidentemente, su uso es generalizado.

At the courts of Kings of the independent kingdom of León Fernando II (1157-1188) and Alfonso IX (1188-1230) languages mixed freely in a cosmopolitan culture. The langue d’oc was understood and canços were composed, the first generation of Galician and Portuguese troubadours elevated the rank of the local vernacular language; Latin, too, was spoken and understood, and it held sway in the royal chancery, and the shifting loyalties of some magnates had even taught them to hold their own in Arabic. Meanwhile Compostela was elevated into an artistic center of the first rank, a catalyst for the transformation of a figural language and the creation of a distinctive poetics. It attracted artists of all kinds, including English miniaturists and, possibly, bronze casters; Burgundian sculptors that brought together artists trained in the early Gothic workshops of Paris and Champagne, and they even admitted new formulas from Almohad art. The result was a kind of visual polyglossy that forged a distinctive figural language, sometimes anticipating developments in northern Europe.
    The singularity of the visual culture of Galicia in this period cannot be separated from the flowering of Latin culture among the clerics who ultimately were responsible for the visual discourses of the Galician cathedrals. They found themselves seduced by the realization in stone of the architectural metaphors used in biblical exegesis by authors like Richard of Saint Victor, Peter Comestor and Peter of Celle. Thus, the Celestial Jerusalem and the heavenly ladder found diverse forms of visual expression in the principal Galician architectural projects of the period: the west end of Santiago cathedral, the monumental programs of Ourense cathedral, and the west facade of Tui cathedral. Galician canons and bishops also shared with the theologians of Paris a taste for biblical typology, especially for its specific use in the exaltation of the Capetian kings, readily applied in Galicia to the glorification of the newly independent dynasty of León. This appears evident not only from the sculptural programs decorating the cathedrals, but also from the additions to the Compostelan cartulary known as the Tumbo A.

Neste artigo faise unha exposición sintética do que ata o día de hoxe nos revelou a actividade investigadora en relación co uso escrito do romance nos séculos XII e XIII no espazo político máis intimamente ligado cos idiomas galego e portugués: as terras das que foi rei Afonso X o Sabio e o reino de Portugal. Con todo, non se omiten referencias, máis breves, a outros espazos ibéricos: o navarro e o catalano-aragonés. O foco da atención é o da cronoloxía e as circunstancias en que nestes territorios apareceu e se difundiu a innovación consistente en escribir plenamente en romance, e non en latín.

Resume Na véspera da festa parroquial de San Martiño de Vilelos (O Saviñao, Lugo) os veciños celebran o Fulión, que consiste en subir ao castro máis próximo grandes fachas e tirar dende alí grande cantidade de fogos artificiais. Neste artigo recollemos a etnografía do Fulión de Vilelos e propoñemos unha interpretación sobre o seu posible significado. Palabras clave: Vilelos, Festa do lume, Fachas, Véspe-ras, Agucios. Abstract On the eve of the parish feast of St. Martiño de Vilelos (O Saviñao, Lugo) neighbors celebrate the Fulión, wich consists of taking fachas (big torches) up the nearest hillfort and throw from there lots of fireworks. In this article we collect the ethnography of the feast of Vilelos and propose an interpretation of its possible meaning.

A pandemia provocada pola Covid-19 está facendo que se fale dun antes e dun despois no tratamento e percepción da morte. Pero, realmente está a supoñer unha ruptura tan grande neste eido?

https://www.elsaltodiario.com/antropologia/morte-antes-despois-covid-19

This article argues that Habsburg Galicia was a superficial construct that owed its existence to produced depictions and different narratives from historical and literary sources from its beginnings in the eighteenth century. The cultural appropriation started with the works of travelers, philosophers, geographers, and writers, and it is especially well visible in travel narratives that continue to emerge until today. The paper shows which concepts, texts, and material heritage are used to construct an image of the Habsburg Galicia in contemporary literary or journalistic texts and what is the function of this image. The article employs a multidisciplinary and transnational approach to the historical space of Galicia in order to illustrate its polyphony with the help of various national literatures and cultures, hence conducting a comparative work. The paper analyzes texts of such authors as Martin Pollack, Kaspar Schnetzler, Roswitha Schieb, Andrzej Stasiuk, Yurii Andrukhovych, and Ziemowit Szczerek.

«Manifesto para a supervivência da cultura galega», publicado na revista "Seara Nova" (Lisboa), núm. 1547 (setembro de 1974), pp. 30-31. Assinado por Antonio BUSTO SALGADO, Maca CABALEIRO, Xoán CURRÁIS, Xosé Manuel GARCÍA ÁLVAREZ, Xesús GARCÍA CASTRO, Manuel GARCÍA OTERO, Xurxo Xoán GÓMEZ GUDE, Ricardo MARTÍNEZ, Xosé Martiño MONTERO SANTALLA, Marcial PORTELA, Uxío ROMERO POSE, Xosé Antonio SALGADO, Xoán TRILLO. É a versão original, mas desprovida das abundantes notas que continha. Uma versão completa, mas em tradução espanhola, pode ver-se no item seguinte.

Galician has been in contact with Spanish since the very origins of both
languages. Galician and Spanish are strongly structurally, genetically and typologically related. As the intensity of the contact has been growing and the number of bilingual speakers has been steadily increasing along the 20th century, more and more grammatical Spanish features entered into Galician. In this study, we analyse how the borrowing of Spanish morphological patterns that hypercharacterize the expression of various morphosyntactic features of some verbs causes a restructuring in the grammar of an urban variety of Galician mainly spoken by bilinguals. The incorporation of those Spanish borrowings also seems to provoke an increase in the complexity of the grammar of this Galician variety. We reflect on whether what seems to be a complexification from the point of view of an isolated grammar may be considered a simplification from the point of view of abilingual mind/speaker.