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                    <text>Sant Paul del Camp
Barcelona has been represented in cinema in various forms, most notably by experimental
filmmaker José Luis Guerín. En Construcción by Guerín is a pseudo-documentary that utilizes
several cinematic techniques to represent the essence of the Barrio Chino.
Joan Roman Resina reads into the mind of the director and the way he depicted this
neighborhood of Barcelona. He describes Guerín’s tactic of still shots, rarely panoramic or
overhead, in order to achieve a feeling of intimacy with the streets and buildings. Resina writes
about the Barrio Chino as being a maker of “ghosts,” specifically the historic buildings that are
pushed aside as relics or lost forever for the sake of innovation (Resina 2008: 263).
One such building that survived the reconstruction of the Barrio Chino was Sant Pau del
Camp (Church of St. Paul of the Countryside), a Romanesque church that was featured several
times in En Construcción, presumably as one of the “ghosts” that remained as a reminder of the
past. The construction of this site is a mystery, with clues to the time of inception like the
gravestone of Guifre II Borrell from the year 911 (“Sant Pau del Camp”). Traces of the original
architecture can be seen on the capitals and bases of the portal, yet the remainder of the structure
was rebuilt in the 11th and 12th centuries following its destruction during a Muslim raid of 985
AD (“Sant Paul del Camp, Barcelona”).
Longhurst writes about the Spaniards of the 1960s “abandoning their roots” in search of
opportunity in the city, a social shift that continues to draw the center of culture out of rural
Barcelona (Longhurst 2000: 19). This is evident with the Benedictine monastery, which was
once located outside of the city of Barcelona, yet through generations of construction,
renovation and expansion, it now sits within the Barrio Chino surrounded by tall buildings,
bustling streets and curious tourists. This site was declared a National Monument in 1879.

�Work cited:


“Sant Pau del Camp”: http://www.barcelonaturisme.com/wv3/en/page/499/sant-paudel-camp.html



“Sant Paul del Camp, Barcelona”: http://www.sacreddestinations.com/spain/barcelona-sant-pau-del-camp

�</text>
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Irina Swain&#13;
Camille Kresz</text>
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Camille Kresz</text>
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                    <text>Santa Maria del Mar
I firmly believe that even though it is necessary to plan now and look to the future to
grow, the past should never be forgotten; this being said, it makes sense that Barcelona’s
offering of new-age architecture while still preserving remnants of the past is what impresses
me most.
Through the Santa Maria del Mar, we can see the “essence of medieval Barcelona”
(Hughes 2004: 40). The motif of width and length being emphasized over height is repeated
through this landmark, illustrating the sense of security and triumph medieval Catalans felt
when designing the buildings, and as a result, the Santa Maria del Mar is a primeval example
of Catalan Gothic architecture (Choay 1969: 26; Hall 1997: 127). This cathedral, located where
“the city meets the sea,” was a “place made by workers for workers,” utilized by the sailors and
merchants of Barcelona in the 14th century.
In 1936, it was attempted to be burnt down by subversive anarchists during the Spanish
Civil War; incredibly enough, its structure prevailed (Hughes 2004: 59-60). And what a
structure it is—its lofty ceilings and unprecedentedly spaced columns served as an influence
for Gaudí’s La Sagrada Familia, a true testament to the extravagance and allure of the Santa
Maria. Though the internal area of the church was burned out and its vaults are scathed by the
heat of the fire, the Santa Maria may as well have been reborn through the fire with its
unadorned, seemingly untouched interior reminiscent of the Llotja only hinting at secrets of the
past.

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Irina Swain&#13;
Camille Kresz</text>
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                  <text>"Reading" Fashion in A. Pushkin's Eugene Onegin: Word as Image in 1820s Imperial Russia</text>
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                  <text>The importance of fashion in XIX Century Russian Literature, with referene to&amp;nbsp;&lt;em&gt;Eugene Onegin.&amp;nbsp;&lt;/em&gt;</text>
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                  <text>Images to match citations, revealing the significance of evolving Russian fashion during the period of&amp;nbsp;&lt;em&gt;Eugene Onegin.&amp;nbsp;&lt;/em&gt;</text>
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                  <text>&lt;p align="center"&gt;&amp;nbsp;(English)&lt;/p&gt;&#13;
&lt;p&gt;Bernstein, Aline.&amp;nbsp;&lt;em&gt;Masterpieces of Women's Costume of the 18th and 19th Centuries&lt;/em&gt;. Mineola, NY: Dover Publications, 2001.&lt;/p&gt;&#13;
&lt;p&gt;Efimova, L. V., and T. S. Aleshina.&amp;nbsp;&lt;em&gt;Russian Elegance: Country and City Fashion from the 15th to the Early 20th Century&lt;/em&gt;. London: Vivays Pub., 2011.&lt;/p&gt;&#13;
&lt;p&gt;Hahn, H.&amp;nbsp;&lt;em&gt;Scenes of Parisian Modernity&lt;/em&gt;. New York: PALGRAVE MACMILLAN, 2016.&lt;/p&gt;&#13;
&lt;p&gt;Hiner, Susan.&amp;nbsp;&lt;em&gt;Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France&lt;/em&gt;. Philadelphia: University of Pennsylvania Press, 2010.&lt;/p&gt;&#13;
&lt;p&gt;Perrot, Philippe.&amp;nbsp;&lt;em&gt;Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century&lt;/em&gt;. Princeton, NJ: Princeton University Press, 1996.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Pushkin, Alexander.&amp;nbsp;&lt;em&gt;Eugene Onegin:&amp;nbsp;&lt;/em&gt;A Novel in Verse (Oxford's World's Classics). Translated with an Introduction and Notes by James E. Falen. NY: Oxford University Press, 2009.&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;Ribeiro, Aileen.&amp;nbsp;&lt;em&gt;The Art of Dress: Fashion in England and France, 1750-1820&lt;/em&gt;. London: Yale University Press, 1995.&lt;/p&gt;&#13;
&lt;p&gt;Salmond, Wendy R., et al. Konstantin&amp;nbsp;&lt;em&gt;Makovsky: The Tsars painter in America and Paris.&amp;nbsp;&lt;/em&gt;Washington, D.C., Hillwood Estate, Museum &amp;amp; Gardens, 2015.&lt;/p&gt;&#13;
&lt;p&gt;Takeda, Sharon Sadako., et al.&amp;nbsp;&lt;em&gt;Reigning Men: Fashion in Menswear, 1715-2015&lt;/em&gt;. Los Angeles County Museum of Art, 2016.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p align="center"&gt;(Russian)&lt;/p&gt;&#13;
&lt;p&gt;Кирсанова Р. М.&amp;nbsp;&lt;em&gt;Костюм в русской художественной культуре&lt;/em&gt;. М.: Большая Советская Энциклопедия, 1995.&lt;/p&gt;&#13;
&lt;p&gt;Лотман Ю. М. Роман А. С. Пушкина &amp;ldquo;Евгений Онегин&amp;rdquo;: Комментарий // Лотман Ю. М.&amp;nbsp;&lt;em&gt;Пушкин: Биография писателя; Статьи и заметки, 1960-1990; &amp;ldquo;Евгений Онегин&amp;rdquo;: Комментарий.&amp;nbsp;&lt;/em&gt;- СПб.: Искусство-СПб, 1995. С. 472-762.&lt;/p&gt;&#13;
&lt;p&gt;Лотман, Юрий.&amp;nbsp;&lt;em&gt;Беседы о русской культуре&lt;/em&gt;. СПб.: Искусство-СПб, 1994.&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;Русская культура&lt;/em&gt;. М.: Белый город, 1995.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Пушкин А. С. &amp;ldquo;Евгений Онегин&amp;rdquo;// А. С. Пушкин. Полное собрание сочинений в 10 тт. Издание третье. М.: Наука. Т. 4. С. 6-213; 581-608.&lt;/strong&gt;&lt;/p&gt;&#13;
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                <text>"Sir Thomas Norris appointed one of the commissioners for the survey of attainted lands" including Kilcolman. Maley notes "it is likely that Spenser, when he took up residence, lived in a house on the estate, and not in the castle itself." (43)</text>
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                  <text>“Biography.” &lt;em&gt;Spenser Online&lt;/em&gt;, http://www.english.cam.ac.uk/spenseronline/scholarly-resources/biography/. Accessed March 2018. &lt;br /&gt;&lt;br /&gt;Hadfield, Andrew. &lt;em&gt;Edmund Spenser: A Life&lt;/em&gt;. Oxford UP, 2012. &lt;br /&gt;&lt;br /&gt;Judson, Alexander C. &lt;em&gt;The Life of Edmund Spenser&lt;/em&gt;. Edited by Greenlaw, E., Osgood, C.G., Padelford, F.M., Heffner, R.Oxford UP, 1945. &lt;br /&gt;&lt;br /&gt;Maley, Willy. &lt;em&gt;A Spenser Chronology&lt;/em&gt;. MacMillian, 1994. &lt;br /&gt;&lt;br /&gt;Spenser, Edmund. &lt;em&gt;Selected Letters and Other Papers&lt;/em&gt;. Edited by Christopher Burlinson and Andrew Zurcher, Oxford UP, 2009.</text>
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                <text>“Spenser assignee[ ] of Enniscorthy,” Co. Wexford. (Maley, 58)</text>
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                  <text>“Biography.” &lt;em&gt;Spenser Online&lt;/em&gt;, http://www.english.cam.ac.uk/spenseronline/scholarly-resources/biography/. Accessed March 2018. &lt;br /&gt;&lt;br /&gt;Hadfield, Andrew. &lt;em&gt;Edmund Spenser: A Life&lt;/em&gt;. Oxford UP, 2012. &lt;br /&gt;&lt;br /&gt;Judson, Alexander C. &lt;em&gt;The Life of Edmund Spenser&lt;/em&gt;. Edited by Greenlaw, E., Osgood, C.G., Padelford, F.M., Heffner, R.Oxford UP, 1945. &lt;br /&gt;&lt;br /&gt;Maley, Willy. &lt;em&gt;A Spenser Chronology&lt;/em&gt;. MacMillian, 1994. &lt;br /&gt;&lt;br /&gt;Spenser, Edmund. &lt;em&gt;Selected Letters and Other Papers&lt;/em&gt;. Edited by Christopher Burlinson and Andrew Zurcher, Oxford UP, 2009.</text>
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