For the first time in Publication, a Retrospective of the Acclaimed Catalan Artist. Francesc Torres [born in Barcelona, 1948] produces most of his work between Spain and the United States. Torres explores the relationships between artistic practice and political analysis in recent history and the present. This is a groundbreaking collection of socially and politically charged art.

This volume presents current work on a topic in Romance linguistics that still informs linguistic theory to this day: metaphony in the languages of Italy. Papers discuss fundamental research topics such as phonological opacity in the light of chain shifts, post-tonic harmony and consonant transparency, the role of morphosyntax in the typology of metaphony, the explanatory adequacy of feature-based versus element-based analyses, and the locus of metaphony in grammar. Other chapters present new experimental data, thus building a more accurate empirical foundation for the study of metaphony. We envision the volume to become a reference book not only for an updated descriptive survey of metaphonic patterns in Italy but also a thorough discussion of the challenges that metaphony poses for different (morpho)phonological theories. The book bridges the gap between descriptive works and theoretical thinking in the study of metaphony.

Barcelona-born, New York-based artist Francesc Torres (born 1948), a pioneer of installation art, is one of the most important European artists of his generation. In What Does History Know of Nail-Biting, which borrows its subtitle from Arthur Koestler's Darkness at Noon, the artist explores a body of work made by Harry Randall, a photographer and filmmaker who was one of 3,500 Americans who joined the International Brigades to fight in the Spanish Civil War. Many of the so-called Abraham Lincoln Brigade did not make it home, but Randall did. Forty-five minutes of 16mm film, shot by Randall between 1937 and 1938, becomes the material for Torres' new limited-edition artist's book, which explores what history looks like outside of concrete historical events, trying to capture the fragmentation and confusion that silently seeps through the official narratives of history.