En aquest article presentam la relació entre Maria Antònia Salvà i Palmira Jaquetti, dues dones que des de perspectives i amb finalitats diferents, s’acostaren i s’interessaren pel món de la cançó popular.

http://www.escolademallorqui.cat/wp-content/uploads/2020/01/PAPERS-DE-SA-TORRE-72.pdf

One could call «industrial musicology» the study of the musical life in factories and workshops. Unlike agrarian societies, there are very few works about industrial workers’ musical activity, neither at the Catalan Countries nor Europe. Based on British and Catalan scholars’ few theoretical works, our research Música popular i indust…[Read more]

La Vie Monseigneur Saint Fiacre, one of two medieval French plays featuring the misogynistic horticulturalist, has come down to us in a mildly puzzling form, as a saint play with an interpolated farce. While the text indicates that the farce was intended to be played as an integral part of the performance, it is in fact quite unrelated to the…[Read more]

In the wake of modernism studies’ global turn, this article considers the role of translation in fostering Iranian modernism. Focusing on the poetic translations of Bijan Elahi (1945-2010), one of Iran’s most significant poet-translators, we demonstrate how untranslatability becomes a point of departure for his experimental poetics. Elahi used pre…[Read more]

André de la Vigne (1470?-1526?) in the manuscript of his “Mystère de Saint Martin,” performed in the town of Seurre in October 1496, also included a “moralité” and a “farce.” Although they are positioned at the conclusion of the “mystère,” these short plays were undoubtedly integral to the larger performance. At the same time they are via…[Read more]

In this article we present the close relationship between Baltasar Samper and Manuel Blancafort, two of the most prominent Catalan composers of the first half of the 20th Century, and the rediscovery of the forgotten piano roll of one Samper’s most succesful works, which now can be heard to hear for the first time in 90 years. Edit Sonograma…[Read more]

One could call «industrial musicology» the study of the musical life in factories and workshops. Unlike agrarian societies, there are very few works about industrial workers’ musical activity, neither at the Catalan Countries nor Europe. Based on British and Catalan scholars’ few theoretical works, our research Música popular i indust…[Read more]

Baltasar Samper i Marquès (1888-­1966), from Majorca, was one of the most promi­nent musicians of the first third of the 20th century, forming part of the musical elite of Catalonia until the outbreak of the Spanish Civil War. A long exile, first in France and later in Mexico, from where he was never to return, pushed him into the background an…[Read more]

Bijan Elahi, “Five Scenes from Icarus,” The Kenyon Review issue XLI (2019): 75-77.

Bijan Elahi, “Five Scenes from Icarus,” The Kenyon Review issue XLI (2019): 75-77.

This essay offers an autobiographical account of reading across literatures and languages. I compare the selves that I have developed in each of three languages—Russian, Persian, and Georgian—over the course of many years of reading. Refusing to make literary traditions coterminous with national identities, I reflect here on love through lan…[Read more]

Gino Bonichi, better known as Scipione after the Roman general Scipio Africanus, was born in Macerata in 1904. He moved to Rome in 1909, where
he studied for a short period at the Academy of Fine Arts. Together with Mario Mafai and Antonietta Raphaël he was one of the founders of the so-called ‘Roman School’ or ‘Via Cavour School’, a group of…[Read more]

Gino Bonichi, better known as Scipione after the Roman general Scipio Africanus, was born in Macerata in 1904. He moved to Rome in 1909, where
he studied for a short period at the Academy of Fine Arts. Together with Mario Mafai and Antonietta Raphaël he was one of the founders of the so-called ‘Roman School’ or ‘Via Cavour School’, a group of…[Read more]

Three Poems by Bijan Elahi in the 25th-anniversary edition of Two Lines:

“My Scent that Doesn’t Pass” [بوی من که نمیآید]
“Dupin Detects” [Dupin Detects]
“Song of the Moon Hanging over the Fields of Damascus”
[معلقه‌ی ماه روی دشت‌های دمشق ]

Three Poems by Bijan Elahi in the 25th-anniversary edition of Two Lines:

“My Scent that Doesn’t Pass” [بوی من که نمیآید]
“Dupin Detects” [Dupin Detects]
“Song of the Moon Hanging over the Fields of Damascus”
[معلقه‌ی ماه روی دشت‌های دمشق ]

Jorgenrique Adoum (translated by Katherine M. Hedeen and Víctor Rodríguez Núñez), ʿĀ’ishah al-Bāʿūnīyah (translated by Th. Emil Homerin), Rachel Tzvia Back, Dan Bellm, Luis Enrique Belmonte (translated by Guillermo Parra), Daniel Borzutzky, George Economou, Sa rah Tuss Efrik (translated by Johannes Göransson), Paul Éluard (translated by Carlos L…[Read more]

The anonymous “Le Sacrifice d’Abraham” performed before Francis I in Paris in 1539 has traditionally been treated–if at all–simply as a variant of an earlier play of the same name published as part of the 15th-century “Mistère du Viel Testament.” More recently, it has been suggested that the play anticipates the direction taken by Théodore de B…[Read more]

Review of Ali-Akbar Dehkhoda, Charand-o Parand. Revolutionary Satire from Iran, 1907–1909, Translated by Janet Afary and John R. Perry, in Iranian Studies

“It’s time to…declare our opposition to this private theft of public culture,” wrote computer programmer and internet activist Aaron Swartz in his “Guerilla Open Access Manifesto” (2008). Swartz was criticizing the privatization of scholarship already in the public domain, and seeking ways to make this work accessible to everyone. This essay exami…[Read more]

Théodore de Bèze (1519-1605), French Reformer and Professor at Lausanne and Geneva, wrote his only play, “Abraham sacrifiant,” in 1550. The only readily available English translation, by Arthur Golding, was published in 1577. The translation offered here, based on the text of the original edition reproduced by Donald Stone, Jr. in “Four R…[Read more]