Keynote speakers
Isaac Rosa
Spanish writer
Wednesday, 4th September, 13h30, FLUL
«El mundo se derrumba y nosotros leemos novelas»
En tiempo de crisis, profundas transformaciones, incertidumbre ante el futuro y nuevos conflictos, ¿qué sentido tiene escribir y leer ficciones? ¿Qué puede aportar la literatura en un momento como este? Una defensa de la ficción narrativa como posible herramienta para interpretar la realidad, ensanchar la imaginación colectiva, construir comunidad y levantar resistencias.
Isaac Rosa (Sevile, 1974) is a celebrated Spanish author, whose fictional works deal with 20 th century historical memory in Spain, and with contemporary social issues in the global world. He is a regular contributor to Eldiario.es and has written to several other media. His novel El vano ayer won the Prize Rómulo Gallegos in 2005, and El país del miedo was the recipient of the Premio Fundación José Manuel Lara in 2008. In 2007, he published the novel ¡Otra maldita novela sobre la guerra civil!, as the enlarged reedition of one of his first works, La malamemoria (1999). Isaac Rosa’s most recent novel is Feliz final (2018).
Spanish writer
Wednesday, 4th September, 13h30, FLUL
«El mundo se derrumba y nosotros leemos novelas»
En tiempo de crisis, profundas transformaciones, incertidumbre ante el futuro y nuevos conflictos, ¿qué sentido tiene escribir y leer ficciones? ¿Qué puede aportar la literatura en un momento como este? Una defensa de la ficción narrativa como posible herramienta para interpretar la realidad, ensanchar la imaginación colectiva, construir comunidad y levantar resistencias.
Isaac Rosa (Sevile, 1974) is a celebrated Spanish author, whose fictional works deal with 20 th century historical memory in Spain, and with contemporary social issues in the global world. He is a regular contributor to Eldiario.es and has written to several other media. His novel El vano ayer won the Prize Rómulo Gallegos in 2005, and El país del miedo was the recipient of the Premio Fundación José Manuel Lara in 2008. In 2007, he published the novel ¡Otra maldita novela sobre la guerra civil!, as the enlarged reedition of one of his first works, La malamemoria (1999). Isaac Rosa’s most recent novel is Feliz final (2018).
João Luís Lisboa
Universidade Nova de Lisboa
Thursday, 5th September, 17h, NOVA FCSH
«Iberian contacts: the Spanish novels in the popular edition in Portugal in the early twentieth century»
Being well known the weight of the French novel in the fortunes of publishers around the world in the late nineteenth and early twentieth century, I want to draw one's attention to another scenario, which also had its space, with unequal but undeniably popular success. I am referring to books translated from Spanish. In the shadow of the French novels, these books also had a great demand and circulation, with their own strategies, sales in fascicules, and gifts of engravings illustrating the plots. Among the bestselling authors we almost do not find the biggest names in Spanish and Spanish-language literature of those years. We hardly find Pérez Galdós, or Rubén Darío, for example. On the other hand, Pérez Escrich and Vicente Blasco Ibañez were successful. I will not present, therefore, a picture of the literature, but of the publishing world that, in Portugal, uses the Spanish letters and spreads them.
«Contactos ibéricos: as novelas espanholas na leitura popular em Portugal no início do século XX»
Conhecido o peso do romance francês na fortuna das editoras de todo o mundo, em finais do século XIX e inícios do século XX, venho chamar a atenção para outro cenário, que teve também o seu espaço, com sucessos desiguais, mas inegavelmente popular. Falo de livros traduzidos do espanhol. Na sombra dos romances franceses, estes livros tiveram também uma grande procura e circulação, com estratégias próprias, vendas em fascículos, oferta de gravuras-brinde ilustrando os enredos. Entre os autores mais vendidos não estão os maiores nomes da literatura espanhola e de língua espanhola desses anos. Quase não encontramos Pérez Galdós, ou Rubén Darío, por exemplo. Em compensação, tiveram sucesso Pérez Escrich e Vicente Blasco Ibañez. Não apresentarei, pois, um quadro da literatura, mas da edição que, em Portugal, recorre às letras espanholas e as difunde.
João Luís Lisboa is full professor in the Department of Philosophy at NOVA FCSH (Nova University of Lisbon). He is senior researcher at CHAM - Center for the Humanities, where he coordinates the research group "Reading and the Forms of Writing" and the thematic line "Theory and Methodology".
He is co-director of the scientific journal Cultura. Revista de História e Teoria das Ideias, and was the director of the Centro de História da Cultura (2004-2014) and of the IPLB - Instituto Português do Livro e das Bibliotecas (2001-2002).
In 1998, he got his PhD in History and Civilization from the European University Institute, in Florence, with the thesis Mots (dits) écrits. Formes et valeurs de la diffusion des idées au 18ème siècle au Portugal. He has published widely on cultural history and the history of writing, his most recent book being Então, o quê? A História que (se) conta é problemática (Famalicão: Húmus, 2018).
Universidade Nova de Lisboa
Thursday, 5th September, 17h, NOVA FCSH
«Iberian contacts: the Spanish novels in the popular edition in Portugal in the early twentieth century»
Being well known the weight of the French novel in the fortunes of publishers around the world in the late nineteenth and early twentieth century, I want to draw one's attention to another scenario, which also had its space, with unequal but undeniably popular success. I am referring to books translated from Spanish. In the shadow of the French novels, these books also had a great demand and circulation, with their own strategies, sales in fascicules, and gifts of engravings illustrating the plots. Among the bestselling authors we almost do not find the biggest names in Spanish and Spanish-language literature of those years. We hardly find Pérez Galdós, or Rubén Darío, for example. On the other hand, Pérez Escrich and Vicente Blasco Ibañez were successful. I will not present, therefore, a picture of the literature, but of the publishing world that, in Portugal, uses the Spanish letters and spreads them.
«Contactos ibéricos: as novelas espanholas na leitura popular em Portugal no início do século XX»
Conhecido o peso do romance francês na fortuna das editoras de todo o mundo, em finais do século XIX e inícios do século XX, venho chamar a atenção para outro cenário, que teve também o seu espaço, com sucessos desiguais, mas inegavelmente popular. Falo de livros traduzidos do espanhol. Na sombra dos romances franceses, estes livros tiveram também uma grande procura e circulação, com estratégias próprias, vendas em fascículos, oferta de gravuras-brinde ilustrando os enredos. Entre os autores mais vendidos não estão os maiores nomes da literatura espanhola e de língua espanhola desses anos. Quase não encontramos Pérez Galdós, ou Rubén Darío, por exemplo. Em compensação, tiveram sucesso Pérez Escrich e Vicente Blasco Ibañez. Não apresentarei, pois, um quadro da literatura, mas da edição que, em Portugal, recorre às letras espanholas e as difunde.
João Luís Lisboa is full professor in the Department of Philosophy at NOVA FCSH (Nova University of Lisbon). He is senior researcher at CHAM - Center for the Humanities, where he coordinates the research group "Reading and the Forms of Writing" and the thematic line "Theory and Methodology".
He is co-director of the scientific journal Cultura. Revista de História e Teoria das Ideias, and was the director of the Centro de História da Cultura (2004-2014) and of the IPLB - Instituto Português do Livro e das Bibliotecas (2001-2002).
In 1998, he got his PhD in History and Civilization from the European University Institute, in Florence, with the thesis Mots (dits) écrits. Formes et valeurs de la diffusion des idées au 18ème siècle au Portugal. He has published widely on cultural history and the history of writing, his most recent book being Então, o quê? A História que (se) conta é problemática (Famalicão: Húmus, 2018).
Begoña Soto-Vázquez
Universidad Rey Juan Carlos
Friday, 6th September, 11h30, FLUL
«Raias y rutas ibéricas. Redibujar mapas del cine y su historia»
Las relaciones cinematográficas entre Portugal y España cuando el “invento” de las imágenes animadas llega a la Península Ibérica se veían mediatizadas por unas comunicaciones y unos medios de transporte bastante precarios. Este factor, entre otros posibles, aconseja no dar como evidente e incuestionable un concepto de cine nacional que será mucho menos uniforme y homogéneo que el mayoritariamente admitido.
Las primeras presentaciones del cinematógrafo ante un público en el territorio español tienen lugar en Madrid y en territorio luso en Lisboa, ambas proyecciones se darán con menos de un mes de diferencia. Las dos sesiones de exhibiciones se hicieron con el mismo aparato, un animatógrafo, directamente venido de Londres, y de la mano del mismo empresario, Edwin Rousby. Con este inicio debemos suponer que las conexiones cinematográficas entre los dos países, en estos primeros años, serán no sólo numerosas sino muy fluidas.
Begoña Soto Vázquez is Professor at University Rey Juan Carlos of Madrid teaches Film History and Theory. She was the academic director of the Master degree and PhD programme on Spanish Cinema Studies. She directed Andalusian Film Archive and has written on Early Cinema in Spain and Portugal. She collaborates as independent researcher with Filmoteca Española and Filmoteca de Catalunya. Amongst her most recent publications: “El poder de lo desconocido. O cómo enfrentarse a la contribución de las mujeres en los primeros años del cine español” in Preséncies i representacions de la dona en els primers anys del cinema 1895-1920, 2019; with Marina Díaz Patrimonio cinematográfico. Sin pasado no hay presente, no hay futuro, 2018; with Luis Alonso and Daniel Sánchez “Field trip to insanity: bodies and minds in the Doctor Maestre Film Collection (Spain, 1915)” in Corporeality in Early Cinema viscera, skin, and physical form, 2018; with Elena Cordero “Women and the shift from Theatre to Cinema in Spain: The case of Helena Cortesina (1903–84)” in Nineteenth Century Theatre and Film. Also with Elena Cordero is at the stage of final editing Women in Iberian Cinema: A Feminist Approach to Portuguese and Spanish Filmic Culture.
Universidad Rey Juan Carlos
Friday, 6th September, 11h30, FLUL
«Raias y rutas ibéricas. Redibujar mapas del cine y su historia»
Las relaciones cinematográficas entre Portugal y España cuando el “invento” de las imágenes animadas llega a la Península Ibérica se veían mediatizadas por unas comunicaciones y unos medios de transporte bastante precarios. Este factor, entre otros posibles, aconseja no dar como evidente e incuestionable un concepto de cine nacional que será mucho menos uniforme y homogéneo que el mayoritariamente admitido.
Las primeras presentaciones del cinematógrafo ante un público en el territorio español tienen lugar en Madrid y en territorio luso en Lisboa, ambas proyecciones se darán con menos de un mes de diferencia. Las dos sesiones de exhibiciones se hicieron con el mismo aparato, un animatógrafo, directamente venido de Londres, y de la mano del mismo empresario, Edwin Rousby. Con este inicio debemos suponer que las conexiones cinematográficas entre los dos países, en estos primeros años, serán no sólo numerosas sino muy fluidas.
Begoña Soto Vázquez is Professor at University Rey Juan Carlos of Madrid teaches Film History and Theory. She was the academic director of the Master degree and PhD programme on Spanish Cinema Studies. She directed Andalusian Film Archive and has written on Early Cinema in Spain and Portugal. She collaborates as independent researcher with Filmoteca Española and Filmoteca de Catalunya. Amongst her most recent publications: “El poder de lo desconocido. O cómo enfrentarse a la contribución de las mujeres en los primeros años del cine español” in Preséncies i representacions de la dona en els primers anys del cinema 1895-1920, 2019; with Marina Díaz Patrimonio cinematográfico. Sin pasado no hay presente, no hay futuro, 2018; with Luis Alonso and Daniel Sánchez “Field trip to insanity: bodies and minds in the Doctor Maestre Film Collection (Spain, 1915)” in Corporeality in Early Cinema viscera, skin, and physical form, 2018; with Elena Cordero “Women and the shift from Theatre to Cinema in Spain: The case of Helena Cortesina (1903–84)” in Nineteenth Century Theatre and Film. Also with Elena Cordero is at the stage of final editing Women in Iberian Cinema: A Feminist Approach to Portuguese and Spanish Filmic Culture.