Larramendiren gramatika eta gramatikagintzaren historia

Reed. in J. A. Lakarra (ed.) 1992, Manuel de Larramendi. Hirugarren mendeurrena (1690-1990), Andoain: Andoaingo Udala [etc], 193-205 & in R. Gómez & J. A. Lakarra (arg.) 1992, Euskalaritzaren historiaz, I: XVI-XIX. mendeak, Donostia-San Sebastián: Gipuzkoako Foru Aldundia & UPV/EHU, 261-274.

Euskal gramatikagintza zaharraren historia laburra: XVII-XVIII. mendeak

Julio Urkixo Euskal Filologi Mintegiaren Urtekariaren Gehigarriak, LI.

La aportación de W. von Humboldt a la gramática vasca

[EN] The aim of this paper is to introduce the main contributions of Humboldt to the study of the Basque grammar. His methodological innovations and the influence he had on european linguists are pointed out, the grammatical sources available to him are mentioned and his woks on Basque grammar are enumerated. Some of Humboldt's most interesting analysis are mentioned and are placed in the former and later tradition of the Basque grammar.

Astarloaren ekarpena euskal gramatikaren ikerketetan

Pablo Pedro Astarloaren jaiotzako 250. urteurrena dela eta, Durangon, 2002-VI-29an Euskaltzaindiaren bilera irekian irakurritako txostena

“Aditz bakarraren” teoria XIX. mendeko euskal gramatikagintzan

Joseba A. Lakarra & José Ignacio Hualde, arg., Studies in Basque and Historical Linguistics in memoriam of R. L. Trask - R. L. Trasken oroitzapenetan ikerketak Euskalaritzaz eta Hizkuntzalaritza Historikoaz

Objektu-komunztadura XIX eta XX. mendeetako euskal gramatiketan

Beatriz Fernández eta Pablo Albizu (arg.)

Gehiago Pierre Urteren gramatikaren iturriez: Lilyren gramatika

[EN] Pierre Urte wrote Grammaire cantabrique circa 1714, when he was exiled in England. In this article we want to prove that the main source for Urte’s work was the socalled “Lily’s grammar”, which was the oficial grammar to learn Latin language in England from the 16th to the 19th century. The indentification of that source allows us to support the claim that Urte’s grammar must be included in the tradition of language teaching, as was already pointed out by Oyharçabal (1989). In this article, we first offer a brief history of Lily’s grammar. Then, we provide some clues in order to identify the exact edition used by Urte. Finally, in the main section of the article, we confront the two grammatical works; our aim is to ensure Urte’s debt to Lily’s grammar, and to show in detail the principal parts which Urte took from his source (mainly grammatical clasifications and examples).

Los inicios de la vascología en Holanda: El Essai de grammaire de la langue basque de Willem J. van Eys (1865, 1867)

Ed. by Xabier Artiagoitia, Patxi Goenaga & Joseba A. Lakarra.

Descripción y defensa de la lengua vasca durante los siglos XVI y XVII

Ed. por Antonio Manuel González Carrillo

Partizipioa erlatiboa zenekoa: partizipio kategoria XIX. mendeko zenbait euskalariren lanetan

[EUS] Lerro hauen helburua XIX. mendeko hiru euskalarik (Pablo Pedro Astarloak, Wilhelm von Humboldtek eta Willem Jan van Eysek) partizipio kategoriaren barruan -(e)n erlatibozko atzizkidun adizkiak ere sartu zituztela erakustea eta sailkapen horren zergatia azaltzea da.

XVIII. mendeko aditz taula batzuk: Joanes Erauskinen eskuizkribua

Beatriz Fernández & Pello Salaburu (arg. / eds.)

Joanes Erauskinen aditz taulak: azterketa gramatikografiko eta linguistikoa

Gotzon Aurrekoetxea, Jesus Mari Makazaga & Patxi Salaberri Muñoa (eds.)

Käsitteellisestä ruumiilliseen, sitaatiosta paikkaan - maalaustaide ja nykytaiteen historia

The dissertation "From Conceptual to Corporeal, from Quotation to Site: Painting and History of Contemporary Art" explores the state of painting in contemporary art and art theory since the 1960s. The purpose of the study is to re-consider the dominant "end of painting" -narrative in contemporary art history, which goes back to the modernist ideology of painting as a reductive, medium-specific form of art. Drawing on Michel Foucault´s concepts of discursive formation and archive, as well as Jean-Luc Nancy´s post-phenomenological philosophy on corporeality, I suggest that contemporary painting can be redefined as a discursive-sensuous practice. Instead of seeing painting as obsolete or over as an avantgarde art genre, I show that there have been alternative, neo-avantgardist ways of defining painting since the end of the 1960s, such as French artist Daniel Buren´s early writings on painting as "theoretical practice". Consequently, the tendency of the canonical Anglo-American contemporary art narratives to underestimate the historical and institutional codes of art can be questioned. This tendency can be seen, for example, in Rosalind Krauss´s influential theory on index. The study also reflects the relations between conceptual art and painting since the 1960s and maps recent theories of painting, which re-examine the genre´s possibilities after the modernist rhetoric. Concepts of "flatbed", "painting in the extended field", "as painting" and so on are compared critically with the idea of painting as discursive practice. It is also shown that the issues in painting arise from the contemporary critical art debate while the dematerialisation paradigm of conceptual art has dissolved. The study focuses on the corporeal-material-sensuous -cluster of meanings attached to painting and searches for its avantgardist possibilities as redefined by postfeminist and post-phenomenological discourse. The ideas of hierarchy of the senses and synesthesia are developed within the framework of Jean-Luc Nancy´s and Luce Irigaray´s thought. The parameters for the study have been Finnish painting from 1990 to 2002. On the Finnish art scene there has been no "end of painting" ideology, strictly speaking. The mythology and medium-specificity of modernism have been deconstructed since the mid-1980s, but "the archive" of painting, like themes of abstraction, formalism and synesthesia have been re-worked by the discursive practice of painting, for example, in the works of Nina Roos, Tarja Pitkänen-Walter and Jussi Niva.

Ylirajaisia suhteita : Helsingin olympialaiset, Armi Kuusela ja ylikansallinen historia

In 1952 Helsinki hosted the Summer Olympic Games and Armi Kuusela, the current “Maiden of Finland”, was at the same time crowned Miss Universe. In popular history writing, these events have been designated as a crucial turning point – the end of an era marked by war and deprivation and the beginning of a modern, Western nation. Symptomatically, both events were marked by Finnish women’s sexual relationships with foreign men. The Olympics were shadowed by a concern over Finnish women’s “undue friendliness” with the Olympic guests, and Armi Kuusela's world tour was cut short by her surprise marriage in Tokyo and subsequent emigration to the Philippines. This study is an inquiry into the Helsinki Olympics and the public persona of Armi Kuusela from the point of view of transnational heterosexuality and the constitution of Finnish national identity. Methodologically the two main components of the study are intersectionality, defined here as a focus on the mutual histories and effects of discourses of gender, sexuality, race and nation; and transnational history as a way of exploring the ways that both nations and sexual subjects are embedded in global relations of power. The analysis proceeds by way of contextual and intertextual readings of various sources. Part one, centering on the Olympics, involves a campaign mounted by certain women’s organizations before the Games in order to educate young women about the potential dangers of the forthcoming international event as well as magazine and newspaper articles published during and after the Games concerning the encounter between young Finnish women and foreign, especially “Southern,” men. It places the debates during the Olympics within the framework of wartime understandings of women’s sexuality; the history of the concept of decency (siveellisyys); post-war population policy; the intersectional histories of conceptions pertaining to race and sexuality; and finally, the post-war concerns over women’s migration from rural areas to the capital city and their potential emigration abroad. Part two deals with the persona of Armi Kuusela and the public reception of her world tour and marriage, based on material from both Finland and the Philippines (newspapers, magazines, advertisements, books and films). It examines the persona of Armi Kuusela as a figure of national import in terms of the East/West divide; the racialized images of different geographic climates and Oriental “Others;” the meaning of whiteness in the Philippines; the significance of class and colonial history for the domestication of sexual and racial transgressions implied by an unconventional transnational marriage; as well as the cultural logics of transnational desire and its possible meanings for women in 1950s Finland. The study develops two arguments. First, it suggests that instead of being purely oppositional to national discourses, transnational desire may also be viewed as a product of these very discourses. Second, it claims that the national significance of both the Olympics and the persona of Armi Kuusela was due to the new points of comparison they both offered for national identity construction. In comparison with the sexualized Southern men at the Olympics and the racialized Orient in the representations of Armi Kuusela’s travels and marriage, Finland emerged as part of the civilized North, placed firmly within the perimeters of Western Europe. As such, both events mark a “whitening” of the Finnish people as well as a distancing from their previous designations in racial hierarchies. At the same time, however, the process of becoming a white nation inevitably meant complying with and reproducing racial hierarchies, rather than simply abolishing them.