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[ca] L’article proposa un replantejament del paper de les terres gironines en la cultura trobadoresca, centrat sobretot en les circumstàncies de la possible etapa inicial de l’activitat de Cerverí (el moment en què es va convertir en Cerverí de Girona), la interpretació del sentit de la ruta de la seva Recepta de xarob i, finalment, la reconstrucció d’un cercle poètic entorn de la catedral de Girona. Per a tots aquests aspectes, combina l’anàlisi literària amb les dades històriques, tot recollint informació dispersa i inèdita sobre els personatges rellevants. En resulten exemples evidents de la implicació de la noblesa amb la cultura trobadoresca i de la manera com la lírica dels trobadors reflecteix les xarxes familiars i polítiques, i així complementa la visió que tradicionalment s’ha tingut de les relacions entre la noblesa i la reialesa en moments de conflicte.

Despite the remote origin of women in music, today the presence of names of women dedicated to musical composition remains limited in historiography. Also references to fi lm music composers are even more unusual, although cinema is probably the most important art in the 20th Century. According to these circumstances, in this paper we propose an approach to Ana Satrova, a composer of original soundtracks who worked in the Spanish film area between 1969 and 1985. In this occasion, we offer a stylistic and visual studio about his first work in the Spanish cinema of Franco’s regime: Homicidios en Chicago (1969, José María Zabalza)

This paper contains part of the results gathered from the first architectonic study of the Castle of Leiria’s military structures, conducted within a master dissertation in Art History, from the University of Coimbra, combining Archaeology of Arquitecture and Art History. Among the several defensive structures of this castle, the so called último reduto (last stronghold), a small fortress within the castle itself, would reveal a complex and diachronic construction, unlike any other in the Castle of Leiria. In spite of its aparent modest architecture, awarding it classifications such as “conservative project” or “unfinished project”, it is demontrated how the último reduto, resulting of a four constructive phases sequence, is in fact an advanced project, a completely Gothic defensive system, although contained within a Romanic castle.

[ca] L'artesanat fou un col??lectiu destacat en l'àmbit del conjunt de viles que formaven el País Valencià en la baixa Edat Mitjana, també en el cas d'Alzira. En el següent article tractem d'oferir una anàlisi d'aquest heterogeni grup social mitjançant un dels principals espais on desenvolupava la seua activitat, l'obrador o la casa. I això a partir de la localització de bona part de la menestralia en el centre urbà, també de les tasques que portava a terme en l'àmbit domèstic, passant per la transmissió del patrimoni o en quines condicions accedia al mercat immobiliari. En definitiva, pretenem interrogar-nos sobre com s'inseria l'habitatge en les estratègies familiars i quin paper jugava en les lògiques que permetien la reproducció social de l'artesanat.

This paper mainly deals with Isaac Albéniz' orchestral music (1860-1909), often partially reviled in favor of his piano music, after Manuscript 984 from the "Biblioteca de Cataluya" (Barcelona coming to light, and having its origin in the musician's family legacy. The composer born in Camprodon appears here located in the context of the Catalan Modernism at the change of the century who is then partially influenced by the first waves of Wagnerism, from the interpretations by german composed performed in Spain, Manuscript 984 clearly shows the insuperable contradiction that the scholar has to face when considering completed works like the tone poem Catalonia (1908), with a remarkably rich orchestration reminding the French scent of the Paul Dukas school; on the other, a number of rough drafts, often written an extremely neglected scoring technique, that seem to be created by a different composer. Compositions like the aforementioned Catalonia suggest the necessity of considering the probable intervention of an orchestrator in Albéniz' works in which the orchestral palette appears with a wider range of nuances.