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Josep Carles La\u00ednez, born in Valencia, Spain, in 1970, is recognized for his diverse contributions to literature, art, and research, demonstrating his proficiency in multiple Hispanic languages, a reflection of his familial and emotional heritage.<\/p>\n
Between 1989 and 1999, La\u00ednez’s prolific output in the Aragonese language earned him several accolades, including the “Onso d’Oro” poetry award from the City Council of Echo and being named runner-up for the “Ana Abarca de Bolea” poetry prize twice, for his collections Peruigilium Veneris<\/em> [The Eve of Venus’ Festivities] (1992) and Bel diya<\/em> [Someday] (1998). His short novel A besita de l’\u00e1nchel<\/em> [The Visit of the Angel] (1993) also received notable recognition. His additional works include the poetry collection En o gudr\u00f3n esp\u00edgol xuto<\/em> [In the Dry Asphalt Lavender] (1991) and Deseyos batalers<\/em> [Wide-Open Desires] (1999), which compiled his newspaper articles from the 1990s. His contributions extended to magazines like Ruxiada<\/em> and Fuellas<\/em>, and he played a founding role in the Colla de Fablans d’o Sur d’Arag\u00f3n and has been a member of the Consello d’a Fabla Aragonesa since 1993.<\/p>\nIn the Asturian language, his work spanned extensive literary and journalistic efforts until 2010. He won the Theater Award from the Academy of the Asturian Language twice for his plays Elsa met\u00e1lico<\/em> [Metallic Elsa] in 1998 and Thule<\/em> in 2009. Additionally, his poetry collections Lenta lletan\u00eda del cuerpu nel hedreru<\/em> [Slow Litany of the Body in the Lawn] in 2007 and La piedra ente la \u00f1eve<\/em> [The Stone Among the Snow] in 2010, which were published simultaneously in the Latin alphabet and Deseret script, deserve mention. He was a columnist for the Asturian weekly Les Noticies<\/em> for four years (2000-2003), with a selection of his columns being published in Spanish translation under the title Ene marginalia<\/em> in 2003 and in Estonian in the magazine Akadeemia<\/em> in 2004. He has translated works by Sandro Penna, J\u00fcri Talvet, and Vicent Andr\u00e9s Estell\u00e9s into Asturian, among others, and edited and translated the Poes\u00eda asturiana completa<\/em> [Complete Asturian Poetry] (2009) by philosopher and academic Lluis X. \u00c1lvarez. He also co-authored, with Vicente Haya, a collection of Japanese haikus titled Caballinos del dia\u00f1u, lluci\u00e9rnagues y caparines<\/em> [Ponies of the Devil, Fireflies, and Butterflies] in 2004.<\/p>\nAt the same time, he has devoted attention to his two family languages: Valencian and Spanish. In 1995, he published the poetry collection Dionysiaka<\/em>, followed by his complete poetry in Valencian, titled Anxia <\/em>(2001), which won the “Ro\u00eds de Corella” Prize at the “Ciutat de Val\u00e8ncia” Awards in 2000. His theatrical monologue Berl\u00edn<\/em> (2001) is also noteworthy. In 1998, he translated Vicente Blasco Ib\u00e1\u00f1ez’s Cuentos de adolescencia <\/em>[Tales of Adolescence] from its likely original language of composition (Valencian); and in 2000, his Spanish version of Extranjero en su patria y otros poemas pol\u00edticos<\/em> [Stranger in His Own Country and Other Political Poems], by the Occitan priest, writer, and nationalist Joan Larzac, was published.<\/p>\nIn Spanish, he has created various books that demonstrate a rich heterodoxy. Among them are two poetry collections: Exotica martyria<\/em> (1991) and M\u00fasica junto al r\u00edo<\/em> [Music by the River] (2001), in which he incorporates entire verses in the Castilian-Aragonese dialect of the Valencian Alto Palancia region, a dialect he has continued to use for publishing poems and short stories. A selection of these was included in his bilingual anthology Alg\u00fan d\u00eda. Obra po\u00e9tica en aragon\u00e9s (1989-2000)<\/em> [Someday. Poetic Work in Aragonese) (2019). He has also published a “cyberromantic” novel, Alma<\/em> (1997); a book of aphorisms, In hoc signo vinces<\/em> (1998), which was translated into Estonian (published by the University of Tartu); and a dialogued novella, Una noche m\u00e1s<\/em> [One More Night] (2002). Alongside these works, a series of genre-defying books are undoubtedly the most intimate by the author: the non-fiction book La tumba de Le\u00f3nidas<\/em> [The Tomb of Leonidas] (2006); the collection of literary prose Aqu\u00ed la noche tiene el nombre de Valeria<\/em> [Here the Night is Named Valeria] (2007), lyrically dealing with the essence and future of Castile; and La muerte del padre<\/em> [The Death of the Father] (2009), a diary written in half a dozen languages, narrating the event its title suggests. With this, he inaugurated his Tabularium<\/em> project, which has seen various releases in Aragonese, Asturian, Spanish, Catalan, Occitan, and Valencian. He has been a finalist for the Valencian Critics’ Award in the essay category twice.<\/p>\nIn his role as a scholar of Spanish literature, notable contributions include the first edition of the unpublished 17th-century work El mayor de los milagros<\/em> [The Greatest of Miracles] by Antonio Tello de Meneses (2001), the re-edition of the novel Mos\u00e9n Pedro<\/em> by Benjam\u00edn Jarn\u00e9s (2005), the edition of Escritos taurinos<\/em> [Bullfighting Writings] by Francesc Almela i Vives (2006), and the Cartas a Emilio Gasc\u00f3 Contell<\/em> [Letters to Emilio Gasc\u00f3 Contell] by Vicente Blasco Ib\u00e1\u00f1ez (2012).<\/p>\nIn the field of audiovisual studies, he was a member of the editorial board of the film magazine Banda Aparte<\/em>, and a contributor to theoretical publications such as Archivos de la Filmoteca<\/em> and Imatge<\/em>. In 2003, his book Construcci\u00f3n metaf\u00f3rica y an\u00e1lisis f\u00edlmico<\/em> [Metaphorical Construction and Film Analysis] was published. He is co-author of the titles Filmar la mirada<\/em> [Filming the Gaze] (2001), Cultura visual contempor\u00e1nea<\/em> [Contemporary Visual Culture] (2007), and Hollywood revelado<\/em> [Hollywood Unveiled] (2012). He was part of the editorial team for the cultural program El faro de Alejandr\u00eda<\/em> (1998-2000), directed and presented by Fernando S\u00e1nchez Drag\u00f3.<\/p>\nIn a more artistic domain, he has published the author books El naixement de la platja<\/em> [The Birth of the Beach] (2001) and Tr\u00e0nsits<\/em> [Transits] (2002), and two plaquettes of experimental poetry in English: Shipwreck<\/em> (1999) and Archangel’s Appeal<\/em> (2000), a language in which he published various experimental pieces during the early 1990s in Canada and the United States. He has also performed several performances, all with a background of paganism. He has theorized about this artistic genre in the collective book Cartograf\u00edas del cuerpo<\/em> [Cartographies of the Body] (2004) and in the Italian magazine Aut Aut<\/em> (2004).<\/p>\nIn the realm of children’s literature, notable works include Una m\u00e1s en la familia<\/em> [One More in the Family] (2002), which introduces LGBTIQ+ themes into the story; Taure, el tauronet<\/em> [Taure, the Little Shark] (2022), about a shark that does not grow and has no teeth; and Del bosc, no se n’ix<\/em> [From the Forest, One Does Not Leave] (2022), narrating the ritual initiation of a girl, which was also published in Spanish translation: Del bosque, no se sale<\/em> (2023). In this thematic line, the essay El paganismo explicado a los ni\u00f1os<\/em> [Paganism Explained to Children] (2015) should also be highlighted.<\/p>\nWithin the scope of “dark identitarian neopaganism,” he founded the national-pagan collective Gudua Deisdea in 1994, and co-founded the C\u00edrculo de Ur in 2015, where he created and has been directing its theoretical publication, Studia S\u00e6tanica<\/em>, since 2019. The book In hoc signo vinces<\/em> (1998) already reflected on Europe and paganism, and he is also the author of the poetry collection in Neo-Iberian Iltirsken zeltar<\/em> [The Tomb of the Wolves] (2017) and the comic script Offertorium<\/em> (2021). He has written and directed the short films C\u00edrculo de Ur<\/em> (2017), Hoc est corpus meum<\/em> (2019), and Vt nox lvx<\/em> (2021), and published the book of photographs Ipsissima Lux<\/em> (2023). He regularly collaborates with the record producer GH Records on theatrical setups and film productions.<\/p>\nBetween 1997 and 2004, he directed Llambert Palmart SL, based in Valencia, a publishing house that published over forty titles of essays, novels, theater, and poetry. Among the authors published are the singer-songwriter Nacho Vegas, the Equatorial Guinean writer Juan Tom\u00e1s \u00c1vila Laurel, the playwright and theater director Manuel-\u00c1ngel Conejero, the humorist Forges, the singer-songwriter and actor Llu\u00eds Forn\u00e9s, the pornofeminist director Annie Sprinkle, and the African-American playwright Adrienne Kennedy, among others.<\/p>\n
From 1997 to 2003, he was the assistant director of the Valencia Third Millennium-Unesco Foundation. Between 1998 and 2015, he served as the editor-in-chief of the magazine Debats<\/em>, published by the Institution Alfons el Magn\u00e0nim in Valencia.<\/p>\nIn the academic field, Josep Carles La\u00ednez holds a degree in Hispanic Philology from the University of Valencia, and a degree in Theology from the Protestant Theological Faculty-Seminary of Evangelical Theology in Madrid. He was a visiting professor at the National Autonomous University of Mexico within the “Masters of Spanish Exile” chair and has given courses and lectures on literatures in minoritized languages at Hofstra University in New York, Komazawa University in Tokyo, Lund University, the Catalan Summer University, Jaume I University, as well as on literature and metapolitics at the University of Tirana, the University of Puerto Rico, the University of Castilla-La Mancha, the University of Valencia, the International Men\u00e9ndez Pelayo University, the Castilian-Leonese Institute of Language, the Club of Rome, and the Daedalos Institute of Geopolitics in Cyprus…<\/p>\n
He is a member of the Consello d’a Fabla Aragonesa, the International Centre for Scientific Research and Occitan Studies, and the Andorran Society of Sciences.<\/p>\n\t\t\t\t\t
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\n \n\t\t\t\t\t\n\t\n\t\n\t\t\t\tVIDEOS\n\t\t\t<\/h2>\n\t