Helena Buffery – författare

Barcelona: Visual Culture, Space and Power offers a unique approach to the history of the avantgarde in Barcelona, as well as its legacy in the post-war period. It presents the relationship between environment, identity and performance as explored by countercultural artists and communities from the 1960s to the present day.

Barcelona - Visual Culture, Space and Power offers a unique approach to the history of the avantgarde in Barcelona, as well as its legacy in the post-war period. It presents the relationship between environment, identity and performance as explored by countercultural artists and communities from the 1960s to the present day.

The 'Book of Deeds' is the first known autobiography by a Christian king. Its author was James I of Aragon (1213-76), known as 'The Conqueror', one of the great political figures of 13th-century Europe and a successful crusader. In his 'Deeds', James describes the turbulent years of his minority, the thrilling capture of Majorca, the methodical conquest of the kingdom of Valencia, the reconquest of the kingdom of Murcia after Castile had failed to hold it, and many of the important events of his reign. While crusade and conquest of Spanish territory from the Muslims and Christian-Muslim relations on the frontier are central features of the account, the 'Deeds' are also a treasure trove of information on the image, power and purpose of monarchy, loyalty and bad faith in the feudal order, the growth of national sentiment, and medieval military tactics. At the same time, the book presents a unique insight into the mind of a medieval ruler, the supreme example we possess of the fears and ambitions of a man at the very centre of events.

In this reference, Buffery and Marcer cover all of the areas historically inhabited by the Catalan people. These are, in order of size and population: Catalonia, which accounts for over half of the population of the Catalan-speaking areas; Valencia, with over a third; the Balearic Islands with just under 8 percent; and the Catalunya Nord, the Principality of Andorra, and the Catalan-speaking areas within Aragon, Murcia, and Alghero.The Historical Dictionary of the Catalans deals not only with the people who live in Catalonia, but with the language and culture of the Catalan countries as well. This is done through a chronology, an introductory essay, a bibliography, and over 600 cross-referenced dictionary entries on significant persons, places, events, institutions, and aspects of culture, society, economy, and politics.

In this reference, Buffery and Marcer cover all of the areas historically inhabited by the Catalan people. These are, in order of size and population: Catalonia, which accounts for over half of the population of the Catalan-speaking areas; Valencia, with over a third; the Balearic Islands with just under 8 percent; and the Catalunya Nord, the Principality of Andorra, and the Catalan-speaking areas within Aragon, Murcia, and Alghero.The Historical Dictionary of the Catalans deals not only with the people who live in Catalonia, but with the language and culture of the Catalan countries as well. This is done through a chronology, an introductory essay, a bibliography, and over 600 cross-referenced dictionary entries on significant persons, places, events, institutions, and aspects of culture, society, economy, and politics.

The ''Book of Deeds'' is the first known autobiography by a Christian king. Its author was James I of Aragon (1213-76), known as ''The Conqueror'', one of the great political figures of 13th-century Europe and a successful crusader. In his ''Deeds'', James describes the turbulent years of his minority, the thrilling capture of Majorca, the methodical conquest of the kingdom of Valencia, the reconquest of the kingdom of Murcia after Castile had failed to hold it, and many of the important events of his reign. While crusade and conquest of Spanish territory from the Muslims and Christian-Muslim relations on the frontier are central features of the account, the ''Deeds'' are also a treasure trove of information on the image, power and purpose of monarchy, loyalty and bad faith in the feudal order, the growth of national sentiment, and medieval military tactics. At the same time, the book presents a unique insight into the mind of a medieval ruler, the supreme example we possess of the fears and ambitions of a man at the very centre of events.

The ''Book of Deeds'' is the first known autobiography by a Christian king. Its author was James I of Aragon (1213-76), known as ''The Conqueror'', one of the great political figures of 13th-century Europe and a successful crusader. In his ''Deeds'', James describes the turbulent years of his minority, the thrilling capture of Majorca, the methodical conquest of the kingdom of Valencia, the reconquest of the kingdom of Murcia after Castile had failed to hold it, and many of the important events of his reign. While crusade and conquest of Spanish territory from the Muslims and Christian-Muslim relations on the frontier are central features of the account, the ''Deeds'' are also a treasure trove of information on the image, power and purpose of monarchy, loyalty and bad faith in the feudal order, the growth of national sentiment, and medieval military tactics. At the same time, the book presents a unique insight into the mind of a medieval ruler, the supreme example we possess of the fears and ambitions of a man at the very centre of events.

The 'Book of Deeds' is the first known autobiography by a Christian king. Its author was James I of Aragon (1213-76), known as 'The Conqueror', one of the great political figures of 13th-century Europe and a successful crusader. In his 'Deeds', James describes the turbulent years of his minority, the thrilling capture of Majorca, the methodical conquest of the kingdom of Valencia, the reconquest of the kingdom of Murcia after Castile had failed to hold it, and many of the important events of his reign. While crusade and conquest of Spanish territory from the Muslims and Christian-Muslim relations on the frontier are central features of the account, the 'Deeds' are also a treasure trove of information on the image, power and purpose of monarchy, loyalty and bad faith in the feudal order, the growth of national sentiment, and medieval military tactics. At the same time, the book presents a unique insight into the mind of a medieval ruler, the supreme example we possess of the fears and ambitions of a man at the very centre of events.

Barcelona: Visual Culture, Space and Power offers a unique approach to the history of the avantgarde in Barcelona, as well as its legacy in the post-war period. It presents the relationship between environment, identity and performance as explored by countercultural artists and communities from the 1960s to the present day.

This book brings together twelve specially commissioned essays that showcase current research on Spanish Republican exile theatre and performance, including work by some of the foremost scholars in the field. Covering a range of periods, geographical locations and theatrical phenomena, the essays are united by the common question of what it means to ‘stage exile’, exploring the relationship between space, identity and performance in order to excavate the place of theatre in Spanish Republican exile production.Each chapter takes a particular case study as a starting point in order to assess the place of a particular text, practitioner or performance within Hispanic theatre tradition and then goes on to examine the case study’s relationship with the specific sociocultural context in which it was located and/or produced. The authors investigate wider issues concerning the recovery and performability of these documentary traces, addressing their position within the contemporary debate over historical and cultural memory, their relationship to the contemporary stage, the insights they offer into the experience and performance of exile, and their contribution to contemporary configurations of identity and community in the Hispanic world. Through this commitment to interdisciplinary debate, the volume offers a new and invigorating reimagination of twentieth-century Hispanic theatre from the margins.