The Group of Contemporary Catalan Literature of the Universitat de València (recognized with the code GIUV2013-007 and directed by Professor Vicent Simbor) has specialized in the study of contemporary and current Catalan literature thanks to the application of theoretical paradigms of the utmost relevance and updating.
In recent years, the group's team has updated the proposals of the so-called literary hypertextuality, with special emphasis on author rewritings. Thus, it has been able to study cinematographic or theatrical adaptations of novels, as well as the different versions of a text according to the influence of various agents, including censorship. From here, the intermedial perspective has been incorporated, that is to say, the relationship that occurs between artistic works of different disciplines, as occurs for example in the adaptations.
Recently, the group has published two issues in international reviews, which culminate the work carried out in the framework of the research project «Les relacions hipertextuals en la literatura catalana (1939-1983)", recognized by the Generalitat Valenciana with code CIAICO/2021/143 and directed by Professor Carme Gregori Soldevila.
On the one hand, we should highlight the dossier "Hypertextual writings and Catalan Literature (1939-1983)", coordinated by Carme Gregori and J. Àngel Mateu for issue 29 of the Interlitteraria magazine, published in Estonia for the University of Tartu. On the other hand, we must mention the monograph in number 112 of the Revista Chilena de Literatura, coordinated by Vicent Simbor and entitled "Prácticas de reescritura en la literatura contemporanea Catalana".
Below is the link to each publication:
https://ojs.utlib.ee/index.php/IL/issue/view/29.2
https://revistaliteratura.uchile.cl/index.php/RCL/issue/view/6517
In the first case, we find studies on the rewritings of Joan Vinyoli (Ferran Carbó), the relationship between Joan Fuster and Bertrand Russell (Gonçal López-Pampló), the contribution of Fuster himself to the ballet Marinada (Xavier Hernández-y-Garcia) or the hypertextual relationships in the first plays by Rodolf Sirera (Ramon X. Rosselló). In the second case, the articles analyse the different versions and adaptations of Júlia, by Isabel-Clara Simó (Gonçal López-Pampló), the construction of Joan Fuster’s Obres Completes (Carme Gregori), the use of the myth of Pygmalion in Joan Oliver and George Bernard Shaw (J. Àngel Cano), the musical references in Joan Margarit (Xavier Hernàndez-i-Garcia) and the theatrical beginnings of Rodolf Sirera, related to the model of the epic theatre and the rewriting of Aristophanes (Ramon X. Rosselló).
In short, these works demonstrate the willingness to study Catalan literature from an international perspective, which attests to the artistic dialogue between diverse traditions and the solidity of theoretical references that approve the method of analysis and that are projected from European and American universities.
