Un estudio sociolingüístico sobre el catalán : Los efectos de la inmersión lingüística

This thesis analyzes the current state of the language immersion program in Catalonia after its implementation 30 years ago, and after the immigration wave of the last decade. The language immersion is a method of teaching a second language using a language of instruction different than the students’ mother tongue. The Catalan authorities use this as a method for preserving Catalan in the society.The aim of this study is to examine the use of Catalan at school and outside of school by students who have followed the language immersion program. Language attitudes play an important role for the maintenance of a minority language, as Catalan. Therefore, in this study, the informants’ attitudes towards Catalan have also been measured. The method applied is a quantitative method where the informants have answered a written questionnaire. The results show a high level of knowledge of Catalan and its frequent use in the classroom. In contrast, outside of school the Castilian language is more often used. The informants seem to have a positive attitude towards Catalan.The conclusion is that the language immersion works satisfactory in a school context but often fails outside of school.

Actitudes hacia el catalán : un estudio sociolingüístico de principiantes del catalán en Barcelona

This study focuses on the Catalan language of Catalonia, a region located in the east of Spain. There are many immigrants living in this region who decide to learn the Catalan language in hope of finding a job or to integrate in the Catalan society. The main aim of this study was to discover the types of language attitudes the beginners of Catalan show towards this language (general, instrumental and integrative attitudes). Language attitudes are of importance because it can indicate the “health” of a minority language, such as is usually considered Catalan. The method applied was direct, where the informants had to answer a written questionnaire. The results of the study show positive attitudes towards the Catalan language and its general use in Catalonia. The main conclusions of the study were that the informants showed positive and slightly more instrumental attitudes towards Catalan, indicating that the main motive of learning the language was more of practical use than integrative motives.

Un estudio de la interferencia lingüística del uso del verboser + estado civil del castellano hablado por catalanes

This thesis aims to study the phenomenon of linguistic interference in the use of the verb ser in different marital status (single, married and divorced) in spanish spoken by catalans living in different territorial areas of Catalonia. Our theory is that individuals who reside in territorial areas where catalan is the most spoken language tend to use the verb ser + marital status rather than the verb estar + marital status due to the influence of catalan. We have used a quantitative methodology, i.e. we have collected data through a survey. The results of our study confirm our theory that individuals who reside in territorial areas where catalan is the most spoken language tend to use the verb ser + marital status rather than the verb estar + marital status due to the influence of catalan.

Sculptural abstraction of landscape

The purpose of my Senior Scholar project was to create a series of sculptures that are based on the interaction of natural forms within a selected landscape setting. I hope to convey a sense of how I view and interpret the landscape and to create works that stimulate a sense of wonder in the mind of the viewer. This fascination, perhaps even obsession, with the power of the landscape has kept me going throughout the year. As a source of ideas and imagery, the landscape can never be depleted. There will always be new combinations of landscape elements, different light conditions, and changing seasons to provide me with fresh ideas. Research for the project took me to many different places, be it my trip to Monhegan Island or driving to New York City to study the cityscape. I began the year working in steel and plaster, combining the two in works that explore the interaction between living tree roots and inanimate rocks. This led to a series entitled Landscape Recollections, comprised of welded steel forms housed in protective wooden boxes and lit from inside. After visiting New York City, architecture began to playa role in my work, as seen in the two Roadcut pieces and the Cathedral Woods series. Roadcut #1 and Roadcut #2 explore the relationship between a man-made road and the landscape that lies beneath and around it. The Cathedral Woods pieces incorporate architecture in a more abstract manner, using imagery derived from Gothic cathedrals to convey a sense of quiet peacefulness. The soaring verticality of Gothic architecture integrates with the tall tree forms in each piece, enabling me to intertwine these two elements into one another and create a harmonious relationship between architecture and nature. Throughout the year I have kept a sketchbook in which I draw from life, jot down ideas, and take notes on how the project is progressing. I have also completed several large charcoal drawings of my sculptures in which I explore different ways of viewing the steel forms. I am grateful to have had the opportunity to undertake this project, as it has been a very difficult but rewarding process of observing, interpreting, and manifesting the landscape according to my personal vision and experiences.

Um estudo das condições de percolação e estabilidade em barragens de terra mediante métodos geofísicos: caso do dique de Sant Llorenç de Montgai - Espanha

The monitoring of Earth dam makes use of visual inspection and instrumentation to identify and characterize the deterioration that compromises the security of earth dams and associated structures. The visual inspection is subjective and can lead to misinterpretation or omission of important information and, some problems are detected too late. The instrumentation are efficient but certain technical or operational issues can cause restrictions. Thereby, visual inspections and instrumentation can lead to a lack of information. Geophysics offers consolidated, low-cost methods that are non-invasive, non-destructive and low cost. They have a strong potential and can be used assisting instrumentation. In the case that a visual inspection and strumentation does not provide all the necessary information, geophysical methods would provide more complete and relevant information. In order to test these theories, geophysical acquisitions were performed using Georadar (GPR), Electric resistivity, Seismic refraction, and Refraction Microtremor (ReMi) on the dike of the dam in Sant Llorenç de Montgai, located in the province of Lleida, 145 km from Barcelona, Catalonia. The results confirmed that the geophysical methods used each responded satisfactorily to the conditions of the earth dike, the anomalies present and the geological features found, such as alluvium and carbonate and evaporite rocks. It has also been confirmed that these methods, when used in an integrated manner, are able to reduce the ambiguities in individual interpretations. They facilitate improved imaging of the interior dikes and of major geological features, thus inspecting the massif and its foundation. Consequently, the results obtained in this study demonstrated that these geophysical methods are sufficiently effective for inspecting earth dams and they are an important tool in the instrumentation and visual inspection of the security of the dams

Reproductive biology of two macrourid fish, Nezumia aequalis and Coelorinchus mediterraneus, inhabiting the NW Mediterranean continental margin (400-2000m)

Nezumia aequalis and Coelorinchus mediterraneus are abundant species on the upper and lower continental slopes, respectively, in the Mediterranean Sea. A study on the reproductive strategy of the two species was conducted on the Catalan margin (NW Mediterranean). The reproductive cycle of both species was investigated using visual analyses of gonads and histological screening. The shallower species, N. aequalis, showed continuous reproduction with a peak of spawning females in winter months. In contrast, the deeper-living species, C. mediterraneus, showed semi-continuous reproduction with a regression period during the spring. Juveniles of N. aequalis were present in all seasons, but most abundant in the spring. Only two juveniles of C. mediterraneus were found. Both species had asynchronous oocyte development. The average fecundity of N. aequalis was 10,630 oocytes per individual, lower than known for the same species in the Atlantic Ocean. The fecundity of C. mediterraneus was measured for the first time in this study, with an average of 7693 oocytes per individual. Males of both species appear to have semi-cystic spermatogenesis. © 2013 Elsevier Ltd.

A imagem da autoridade episcopal no período merovíngio através da Vita Sancti Marcelli e demais Vitae de Venâncio Fortunato

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Tendencias espacio-temporales en las capturas accidentales de tortuga boba (Caretta caretta) en la costa catalana entre los años 2000 y 2009

Se describen las tendencias en las capturas accidentales de tortuga boba (Caretta caretta) a lo largo de la costa catalana (Mediterráneo occidental) a partir de los datos del Centro de Recuperación de Animales Marinos de Cataluña. En Girona, la provincia más septentrional y base de la fracción mayor de la flota pesquera de Cataluña, es donde se produce un mayor número de capturas accidentales de esta especie. La mayoría de estas capturas se dan en los meses de verano, coincidiendo con el mayor esfuerzo pesquero del año. La gran mayoría de los individuos son capturados vivos, siendo el palangre el aparejo que provoca más de la mitad de las capturas incidentales en esta región. ABSTRACT: Trends in the loggerhead turtle (Caretta caretta) captured along the Catalonian coasts (Western Mediterranean) are described using data collected by the Marine Animal Rescue Centre of Catalonia. Girona, the most northerly province and base of the greater fraction of the fishing fleet of Catalonia, is the area where the greater part of loggerhead turtle was captured, particularly during the summer, coinciding with the higher fishing effort season. The majority of individuals were caught alive, and the longline appeared to be the fishing gear that causes more than half of the incidental captures in this region

Un proyecto de arsenal para la Barceloneta (1743)

[ES] En 1743 el ingeniero militar Miguel Marín diseñó un arsenal naval en Barcelona. En este artículo se estudia el contexto inmediato de este proyecto. Primeramente, la voluntad de trasladar la principal base naval mediterránea de Cartagena a la capital catalana. En segundo lugar, la relación centro-periferia y el papel del lobby catalán dentro del proceso.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

La nuit dans les romans des Lumières Du roman libertin au roman gothique

Cette thèse se propose d’analyser les images de la nuit et ses significations dans les romans du XVIII siècle, à partir des années 1730-1740, dans le cadre de trois littératures: la littérature anglaise, française et italienne. Deux conceptions opposées sont mises en comparaison: la première, d’exorcisation de la nuit, est typique de la première partie du siècle; elle est représentée principalement par le genre des romans libertins. La deuxième conception montre une valorisation de la nuit qu’on trouve en particulier dans les romans gothiques, qui se sont développés à partir de la seconde partie du siècle. Le but final de la présente recherche est de trouver une explication au refus de la nuit de la part de certains auteurs et ensuite de repérer les causes du bouleversement de cette vision. Puisque la nuit empêche le sens de la vue, elle a été considérée une forme de négation de l’espace physique; selon le profil psychologique et anthropologique la nuit constituerait alors la cause principale de la perte d’orientation. Selon une interprétation intellectuelle et philosophique, elle serait un symbole d’ignorance et d’irrationalité. La situation change vers la moitié du siècle des Lumières, car la nuit commence à assumer un rôle actif et nécessaire dans le processus d’apprentissage. Au niveau social, les rencontres les plus importantes adviennent pendant la nuit. Dans le revival des cathédrales gothiques et des châteaux médiévaux, on voit que la nuit s’empare désormais de l’espace, qui s’enrichit de lumières et d’ombres.

New techniques for the remote sensing of foliar nitrogen concentration in forest ecosystems.

During my Doctoral study I researched about the remote detection of canopy N concentration in forest stands, its potentials and problems, under many overlapping perspectives. The study consisted of three parts. In S. Rossore 2000 dataset analysis, I tested regressions between N concentration and NIR reflectances derived from different sources (field samples, airborne and satellite sensors). The analysis was further expanded using a larger dataset acquired in year 2009 as part of a new campaign funded by the ESA. In both cases, a good correlation was observed between Landsat NIR, using both TM (2009) and ETM+ (2000) imagery, and N concentration measured by a CHN elemental analyzer. Concerning airborne sensors I did not obtain the same good results, mainly because of the large FOV of the two instruments, and to the anisotropy of vegetation reflectance. We also tested the relation between ground based ASD measures and nitrogen concentration, obtaining really good results. Thus, I decided to expand my study to the regional level, focusing only on field and satellite measures. I analyzed a large dataset for the whole of Catalonia, Spain; MODIS imagery was used, in consideration of its spectral characteristics and despite its rather poor spatial resolution. Also in this case a regression between nitrogen concentration and reflectances was found, but not so good as in previous experiences. Moreover, vegetation type was found to play an important role in the observed relationship. We concluded that MODIS is not the most suitable satellite sensor in realities like Italy and Catalonia, which present a patchy and inhomogeneous vegetation cover; so it could be utilized for the parameterization of eco-physiological and biogeochemical models, but not for really local nitrogen estimate. Thus multispectral sensors similar to Landsat Thematic Mapper, with better spatial resolution, could be the most appropriate sensors to estimate N concentration.

Entre Francia y la Argentina : las redes humanitarias de la expatriación catalana republicana en la segunda posguerra

Este artículo se propone analizar el universo de prácticas humanitarias en la expatriación catalana republicana en la segunda posguerra mundial haciendo foco en el papel jugado por el intercambio epistolar que se desarrolló entre Francia y la Argentina; y en el modo en que esa correspondencia entre víctimas, familiares, testigos y benefactores localizados a ambos lados del Atlántico permite dar cuenta del funcionamiento de redes de circulación transnacional de ayuda solidaria no exentas de tensiones políticas. El trabajo pretende complejizar el tradicional enfoque estado-nación céntrico de los estudios sobre el exilio republicano español desde el interés por la reconstrucción de los vínculos e interconexiones epistolares entre comunidades de la expatriación (refugiados, evacuados, emigrados, exiliados) en orden a la cimentación de aquellas estrategias y proyectos de ayuda que tuvieron como protagonista al Comité Pro Catalans Refugiats a França del Casal de Catalunya de Buenos Aires. Partimos del supuesto de que la correspondencia constituyó en el mundo disperso de la emigración y el exilio entre la guerra civil española y la segunda posguerra mundial, uno de los instrumentos fundamentales de construcción de puentes, de cimentación de vínculos y de materialización de proyectos colectivos.

Jordi Arbonès en Argentina : Un traductor del inglés al catalán

Desde su radicación en Argentina en 1956, Jordi Arbonès, nacido en Cataluña, comienza a traducir obras del inglés al catalán. A medida que avanza en el conocimiento de la lengua y cultura de ambas sociedades, recibe pedidos de importantes editoriales para publicar en catalán las obras de autores reconocidos universalmente, permitiendo así la introducción de los mismos en el ámbito catalán, especialmente en el posfranquismo. A su muerte en 2001, tiene unas 150 obras traducidas. En base a su legado, se crea la 'Càtedra Jordi Arbonès' en la Facultat de Traducció i d'Interpretació de la Universitat Autònoma de Barcelona