Both Joan Maragall's work and that of Francisco Matos Paoli underscore the centrality of the word-and of poetry in particular-as a vehicle for envisioning emancipatory horizons for the Catalan and Puerto Rican nations, respectively. This article contends that the creative impulse emanating from a higher realm, along with Matos Paoli's notion of "poesia total" and Maragall's concept of "la paraula viva" constitute a point of convergence between the two authors. Although writing from different hemispheres and at different times, the study concentrates on the spiritual and patriotic dimensions that shape their national songs. More specifically, it brings Matos Paoli's Canto de la locura in dialogue with Maragall's "El Cant de la Senyera" and "Cant delsjoves", understanding these works as forward-looking proposals for their respective stateless nations.
The Egyptian poet and playwright Ahmed Shawqi (1868-1932), who received the honorary title of 'Prince of Poets' in his country in 1927, is a prominent figure in the renaissance of Arabic literature during the decline of the Ottoman Turkish Empire. The social context in which he lived and developed his work, as well as the constant tension between classicism and romanticism that characterized it, suggests curious similarities with the life and literary career of Joan Maragall. The first part of this article includes a brief reference to the achievements of the 19th-century Arabic literary Nahda (Renaissance), and a biography of Shawqi that presents-from the years of his formation in the family environment, the Koranic school and the secondary school that educated him in French-the most defining traits of the author's personality and poetic genius until 1914, when his commitment to Egyptian nationalism against British imperialism ended up leading him into exile.
Joan Maragall and Ada Negri were contemporaries, writing poetry during the late 19th and early 20th centuries. Both enjoyed wide popular success in their respective cultures, but there is no evidence that they ever communicated or were familiar with each other's work. This essay is an exercise in comparative literature, approaching their poetry with a view to illustrate the similarities and, more importantly, the distinguishing features between them. At first glance, their bodies of work appear to be comparable, both stemming from closely related literary traditions. However, a more thorough and contextual analysis demonstrates clear distinctions, primarily due to each author's interests and unique approach. Maragall developed a highly structured aesthetic theory closely linked to Modernism, which is reflected in his poetry. On the other hand, Negri writes poetry with a personal tone, portraying the society of the time from a perspective that positions itself as feminine.
Joan Maragall is one of the most important literary influences for Victor Catala. Although Catala's work stems from Maragall's modernism, she develops her own style, through which she also innovates in terms of form, as seen in Un film (3000 metres). Based on this statement, the present work analyzes the impact that early 20th century cinema had on this work, situating it within its context and observing its reception. By analyzing cinematic techniques and narrative structures within the novel, the paper highlights how Catala adopted and adapted filmic elements such as montage, the Kuleshov effect, photogeny, temporal leaps, and intertitles into her literary work. The thesis also explores non-cinematic influences such as the presence of the narrator, free indirect discourse, and naturalistic descriptions. Ultimately, it argues that Catala's novel is a pioneering work that bridges literature and cinema, demonstrating the author's forward-thinking vision and her ability to anticipate theoretical advancements in cinematic aesthetics.
This paper examines Joan Maragall's radical theology of divine immanence, locating God not only in nature but within human consciousness and the senses. Maragall redefines transcendence as a phenomenologically accessible reality mediated by spiritually understood senses, thereby challenging the apophatic bent of centralist Catholicism that relegated sensory revelation to paganism. In dialogue with Jean-Luc Marion's phenomenology of givenness, I argue that Maragall shifts divine epistemology from an exclusively transcendent model to immanent revelation, grounding authority and progress in a people's openness to divine presence. Revelation thus yields a political theology in which spiritual vitality-not institutional reason-structures communal life (poble) as receptivity to God in the world. The article concludes by tracing how this sensory-theological reconfiguration informs Maragall's vision of community and its institutions.
