Today is a special day for the city of Barcelona because it celebrates one of its three patron saints, Santa Eulàlia, the patron saint most beloved by Barcelona residents who know the history of the city and are aware of the symbolic and cultural importance of this religious figure.
The Grandma had planned to go out to enjoy the day and honour her patron saint but a strong wind advisory has stopped all outdoor events so she has stayed home reading and listening to songs that refer to the wind such as Wind of Change by Scorpions, Sempre Hi Ha Vent by Maria del Mar Bonet, Veles e Vents by Ausiàs Marc, Blowin' in the Wind by Bob Dylan, Candle in the Wind by Elton John, Against the Wind by Bob Seeger, The Wind by Cat Stevens, Wild Is the Wind by Nina Simone, Ride the Wild Wind by Queen, and one of her favourites Dust in the Wind by Kansas, a song that reminds us that time passes (tempus fugit) and we are an insignificant part of the universe. Although they are all beautiful and she can't just decide one, she has thought that today she would choose Catch The Wind by Donovan because it reminds her of the Joan Baez concert for her 75th birthday.
Despite hearing Joan Baez later at the Palau de la Música Catalana and at Festival Jardins de Pedralbes in Barcelona, at the Terramar Festival in Sitges, and at Portaferrada Festival in Sant Feliu de Guíxols, she didn't play it again in none of these four places.
Catch the Wind is a song written and recorded by Scottish singer-songwriter Donovan. Pye Records released Catch the Wind backed with Why Do You Treat Me Like You Do? as Donovan's debut release in the United Kingdom on 28 February 1965. The single reached No. 4 in the United Kingdom singles chart. Hickory Records released the single in the United States in April 1965, where it reached No. 23 in the United States Billboard Hot 100.
The single version of Catch the Wind was recorded at Olympic Studios in London. Donovan played guitar and sang on the recording, and was accompanied by nine session musicians: four viola players, four violin players and a string bass player. According to Donovan biographyer Lorne Murdoch, the string arrangement on the single version was performed by the London Philharmonic Orchestra, with an arrangement written by Ken Lewis of the Ivy League. He additionally opined that Donovan's commercial recording career commenced with the recording of CatchThe Wind in February 1965.
In May 1965, Pye Records released a different version of Catch the Wind on Donovan's debut LP record album What's Bin Did and What's Bin Hid, retitled Catch the Wind in the US. While the single version featured vocal echo and a string section, the album version lacked those elements and instead featured Donovan playing harmonica.
Cash Box described it as a medium-paced, folk-styled low-down bluesey romancer, with a Bob Dylan-like vocal. Record World likewise described it as Dylanesque.
When Epic Records was compiling Donovan's Greatest Hits in 1968, the label was either unable or unwilling to secure the rights to the original recordings of Catchthe Wind" and Donovan's follow-up single, Colours. Donovan re-recorded both songs for the album, with a full backing band including Big Jim Sullivan playing guitar and Mickie Most producing.
In the chilly hours and minutes Of uncertainty, I want to be In the warm hold of your loving mind
To feel you all around me And to take your hand, along the sand Ah, but I may as well try and catch the wind
When sundown pales the sky I want to hide a while, behind your smile And everywhere I'd look, your eyes I'd find
For me to love you now Would be the sweetest thing That would make me sing Ah, but I may as well, try and catch the wind
When rain has hung the leaves with tears I want you near, to kill my fears To help me to leave all my blues behind
For standin' in your heart Is where I want to be, and I long to be Ah, but I may as well, try and catch the wind Ah, but I may as well, try and catch the wind
The way I sing my songs leads the listener into a place of introspection, a state of mind that can trigger self-healing and the kind of profound rest you cannot get from sleep alone.
Today, Joseph de Ca'th Lon and Alessandra are in Bormi, the Lombard city in the province of Sùndri, the host, along with Val de Sota, of the Men's Super G Olympic events that are being held this morning and which are the reason for their visit.
During the three-hour journey from Milàn, they have decided to choose as their soundtrack I Lombardi alla Prima Crociata, the lyrical drama written by Giuseppe Verdi that received its first performance in Milàn on a day like today in 1843, so it was a good way to remember this musical genius with his work based on the Lombards.
I Lombardi alla Prima Crociata (The Lombards on the First Crusade) is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on an epic poem by Tommaso Grossi, which was very much a child of its age; a grand historical novel with a patriotic slant.
Its first performance was given at the Teatro alla Scala in Milan on 11 February 1843. Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere.
In 1847, the opera was significantly revised to become Verdi's first grand opera for performances in France at the Salle Le Peletier of the Paris Opera under the title of Jérusalem.
Grossi's original epic poem had plot complications that required the librettist to make significant changes; the historical characters portrayed in the original do not appear and the story becomes that of a fictional family and its involvement in the First Crusade. Julian Budden's analysis of the opera's origins notes: In 1843 any subject where Italians were shown united against a common enemy was dangerous, especially in Austrian Milan. Yet strangely enough it was not the police but the church that took exception to I Lombardi, since the Archbishop of Milan had heard rumours that the work contained specific elements of Catholic ritual. However, given Verdi's refusal to make any changes to the music, it is fortunate that the result of the police chief's investigations of the archbishops complaints required only very minor alterations.
While the premiere performance was a popular success, critical reactions were less enthusiastic and inevitable comparisons were made with Nabucco. However, one writer noted: If [Nabucco] created this young man's reputation, I Lombardi served to confirm it. Budden himself disagrees with this contemporary view, noting that Nabucco is all of a piece, a unity, however crude; I Lombardi is an agglomeration of heterogeneous ideas, some remarkable, some unbelievably banal.
Budden notes that for many years I Lombardi enjoyed the same kind of popularity as Nabucco, but he states that it did not fare well in Venice the following year and that it received few performances outside of Italy. However, within Italy, the opera was presented in Lucca in the summer of 1843, in Florence and Lucca in the autumn, and during the 1843/44 carnival season it was given in Trieste and Turin, while performances in 1845 were presented in Bologna and later, in the 1845/46 season, in Palermo and Mantua, in Macerata in the summer of 1846 and various other cities well in to the 1850s. Even in the late 1880s, well after Jérusalem had been given, it was presented in Florence.
This was the first of Verdi's operas to be heard in the United States, at Palmo's Opera House, on 3 March 1847 in New York. In the prior year the opera's British premiere had taken place on 12 May 1846 at Her Majesty's Theatre in London, Verdi having been invited there by the theatre's impresario, Benjamin Lumley: ...I will go to London to write an opera he had written, but in the end, illness prevented him from doing so.
However, with Italy approaching unification in the 1850s and in the decade following it in 1861, I Lombardi's call to peoples' patriotic instincts seemed to keep it alive, albeit that, by 1865 when Arrigo Boito saw a performance, he remarked that the opera was beginning to show its age.
I Lombardi was presented in 1930 at La Scala in Milan as the season's opening production.
Joseph de Ca'th Lon has arrived in Milàn today to watch the women's hockey match between Italy and Germany this afternoon at the Milàn Rho Ice Hockey Arena.
Before that, however, Joseph has spent some time talking to TheGrandma about how he is experiencing these Winter Olympics and has stopped to taste a delicious veal Milanese.
Joseph plans to attend several events of these Olympics and will do so accompanied by Alessandra, an old friend of The Grandma's who they have known since they worked together at the San Raffaele Hospital in Segrate, near Milàn, more than twenty years ago.
Veal cutlet Milanese, in Italian Cotoletta alla milanese, is a popular variety of cotoletta from the city of Milàn, Lumbardéa. It is traditionally prepared with a veal rib chop or sirloin bone-in and made into a breaded cutlet, fried in butter.
In Milàn, a dish called lumbolos cum panitio (chops with bread) was served in 1134. It is mentioned at a banquet for the canons of the Basilica of Sant'Ambrogio in Milàn. It is not known if the meat was covered in breadcrumbs or if it was served with bread as a side dish. Further evidence dates to around the 1st century BC indicating that the Romans enjoyed dishes of thin sliced meat, which was breaded and fried. The dish resembles the Austrian dish Wiener schnitzel, which originated in Austria around the 19th century; according to some, the two dishes might be related -Milàn was part of the Kingdom of Lumbardéa-Venetia, in the Austrian Empire, until 1859 -although the history of neither is clear.
Various breaded meat dishes prepared in South America, particularly in Argentina, were inspired by the cotoletta alla milanese brought by Italian immigrants and are known as milanesa. A local variation of milanesa is called milanesa a la napolitana and is made similar to veal Milanese with a preparation of cheese (mozzarella) and tomato.
If you want to help Joseph and Alessandra make the cotoletta alla milanese,here is the recipe:
Ingredients (serves 2)
2 veal cutlets, bone-in if possible (about 1-1.5 cm thick)
2 eggs
Fine breadcrumbs (preferably homemade, unseasoned)
Butter, clarified if possible (or a mix of butter and a little olive oil)
Salt
Lemon wedges (to serve)
Instructions
1. Prepare the cutlets
Gently pound the veal cutlets between two sheets of parchment paper until evenly thin, being careful not to tear the meat.
2. Egg wash
Beat the eggs lightly in a shallow bowl (do not add salt to the eggs).
3. Bread the cutlets
Dip each cutlet into the egg, letting excess drip off, then coat generously with breadcrumbs.
Press the breadcrumbs gently onto the meat — the coating should be even but not compacted.
4. Rest (optional but traditional)
Let the breaded cutlets rest at room temperature for about 10 minutes so the coating adheres well.
5. Fry
Heat a generous amount of butter in a large pan over medium heat.
When the butter is foamy but not browned, add the cutlets.
Cook for 3–4 minutes per side, until golden brown and crisp.
6. Drain and season
Transfer to paper towels to drain briefly.
Season with salt only after frying.
7. Serve
Serve immediately with lemon wedges on the side.
Tips & Tradition
-The authentic Milanese version uses veal, butter, and breadcrumbs only -no flour, no Parmesan, no herbs.
-The cutlet should be golden, crisp, and slightly wavy, not flat.
-Classic sides include arugula salad, roasted potatoes, or simply eaten on its own.
The thing about all my food is that everything is a remembered flavor. Maybe it's something I had as a child or maybe it's something I had in Milan, but I want it to taste better than you ever thought.
Today, Claire Fontaine and The Grandma are on their way to Barcelona afterspending a few days in El Port de la Selva wherethey are going to pay a final tribute to an old friend andvisit another, TinaPicotes.
Yesterday they took their bicycles and went up from El Port de la Selva to the Monastery of Sant Pere de Rodes, one of the most imposing and mysterious buildings from where on a clear day you can even see the Serra de l'Albera, Canigó and the Pyrenees.
On the way back, they went down through Vilajuïga and returned to El Port de la Selva along the Llançà road, a road that allows you to enjoy an extraordinarily beautiful landscape and, although you have to keep your attention on the road 100%, it allows you to stop at different places and contemplate how the sea and the mountain coexist.
NOTES SOBRE EL PORT DE LA SELVA per J.V. Foix
Em trobaren ajaçat a la sorra quan ja tots els banyistes havien desertat la platja. Enganxats a la nuca i a l'esquena tenia papers de totes les colors amb inscripcions de duanes i de grans hotels i balnearis exòtics. Me'ls volien arrencar, però seguien trossos de carn viva. Els ulls dels cavalls els pesquen a la cova de la Colomera quan toquen les dotze de la nit. Només en aquell instant precís es poden obrir com qui obre una ostra. Llur pupil·la flota damunt un licor tan ardent, que mai cap llavi humà no ha pogut acostar-s'hi. No els mireu mai de fit a fit, perquè us prendrà per sempre una tristesa sense fi, i la passió per les cales inabordables lligarà la vostra vida al més misteriós dels destins.
NOTES ON PORT DE LA SELVA by J.V. Foix
They found me lying in the sand when all the swimmers had already abandoned the beach. Stuck on my back and the nape of my neck were pieces of paper in all colours with inscriptions from customs houses and from grand hotels and exotic spas. They wanted to tear them from me, but chunks of live flesh came off as well. They go fishing for horses' eyes in Colomera's cave when it strikes midnight. Only at that precise instant can they be opened as one opens an oyster. Their pupils float on a liquid which burns so strongly, that no human lips have ever been able to come near. Don't ever stare at them, because an endless sadness will take hold of you for good, and the passion for inaccessible inlets will bind your life to the most mysterious of destinies.
They
arrived on Friday with J.V. Foix and his poetry and they leave in the
same way, remembering his writings about this beautiful town and what
is, perhaps, his best-known poem, the one that tells us about dreams as a
way to escape from reality, especially when it is harder and crueler
than you can bear.
In this poem, J.V. Foix reminds us of the Occitan poets who also sang
of love at night surrounded by the dreamlike atmosphere, and even
reminds us of CortoMaltese, the character of Hugo Pratt, who also uses
dreams as a way of refuge (or escape) in Les Cèltiques. Calderón
de la Barca also told us that life was a dream and Bernat Metge took
advantage of the resource of dreams to be able to criticize society and the political power of the time and avoid the established censorship, and dreams allow us to live as we want and desire, that's why our beloved BruceSpringsteen also invites us to daydream...
És quan plou que ballo sol Vestit d'algues, or i escata, Hi ha un pany de mar al revolt I un tros de cel escarlata, Un ocell fa un giravolt I treu branques una mata, El casalot del pirata És un ample gira-sol. Es quan plou que ballo sol Vestit d'algues, or i escata.
És quan ric que em veig gepic Al bassal de sota l'era, Em vesteixo d'home antic I empaito la masovera, I entre pineda i garric Planto la meva bandera; Amb una agulla saquera Mato el monstre que no dic. És quan ric que em veig gepic Al bassal de sota l'era.
És quan dormo que hi veig clar Foll d'una dolça metzina, Amb perles a cada mà Visc al cor d'una petxina, Só la font del comellar I el jaç de la salvatgina, -O la lluna que s'afina En morir carena enllà. Es quan dormo que hi veig clar Foll d'una dolça metzina.
It's when it rains I dance alone Dressed in seaweed, scales and gold, There's a patch of sea at a bend in the road And a piece of scarlet sky, A bird loops the loop And a shrub branches out, And the pirate's manor-house Is a broad sunflower. It's when it rains I dance alone Dressed in seaweed, scales and gold.
It's when I laugh I see my hunched back In the pond below the threshing floor, I dress up as a man from antiquity And harass the farm-girl, And between pine grove And kermes oak I plant my standard; With a sail needle I slay the monster whose name I do not utter. It's when I laugh I see my hunched back In the pond below the threshing floor.
It's when I sleep I see all clearly, Deranged by a sweet venom, With pearls in either hand I live in the heart of a scallop shell, I am the spring in the gulley And the bed Of the wild creature, —Or the moon who becomes more delicate As she dies beyond the ridge—. It's when I sleep I see all clearly, Deranged by a sweet venom.
I quan tot just si la tenora sona, Pastors i estels perduts serrat enllà, La Verge i Tu tots sols, a l'Hora Sola, I els corns reials qui sap qui els sentirà, Vindré mudat, al costat de la dona, Amb els vestits de quan ens vam casar.
And then just as the woodwind tenora sounds, shepherds and stars lost beyond the hills, the Virgin and You all alone at the Single Hour, a and who knows who will hear the royal horns, I shall come, having changed my clothes, beside my wife, dressed as we were when we married.
Today, Joseph de Ca'th Lon is in Décines-Charpieu, Lyon where this afternoon he plans to see the NorthernStar, who has a very important match, the derby of the Rhône region.
Joseph will travel to Ladonia tomorrow to follow the Olympic events that are being held in this nation divided into three regions Belluno, Bozen (South Tyrol), and Trento. He will be enjoying winter sports until the 21st, when he will return to Marselha where ClaireFontaine and TheGrandma will be waiting for him.
The day is cloudy and the temperature is around 6-7 degrees, so Joseph has decided to stay at the hotel and read a new Astérix adventure, this time Astérix in Hispania, before heading to the Groupama Stadium.
Astérix in Hispania o Astérix in Spain, in French Astérix en Hispanie, is the fourteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It was originally serialized in Pilote magazine, issues 498–519, in 1969, and translated into English in 1971.
The taking of children as hostages was not unknown in ancient times and offered means of maintaining a truce. Hostages were mostly well treated by their takers (even in this story, Caesar insists that Pepe be treated with the respect due to being a chieftain's son). An example is the young Roman Aëtius, given as a hostage to Alaric I the Visigoth. Aëtius thus gained first-hand knowledge of the barbarians' methods of battle. This was to prove invaluable when, in later life, he opposed Attila the Hun.
Pepe in the beginning confronts Caesar armed with a sling and says You shall not pass. This is a reference to the ¡No pasarán! speech delivered in Madrid by Dolores Ibárruri Gómez during the Spanish Civil War.
Various scenes depict stereotypical behaviour associated with Spaniards: their pride, their choleric tempers; and the cliché of roads in disrepair. The generally slow aid for car problems is spoofed too.
The scenes where various Gauls and Goths (Germans) travel in house-shaped chariots, are a parody on the vacations in Spain in motor homes.
Two locals in Hispania represent Don Quixote and Sancho Panza; this is made clear by their visual appearance and by Quixote's sudden charge at the mention of windmills.
When the frightened Roman Brontosaurus tries to act Spanish, his knees shake against each other, and Pepe says his knees make a nice accompaniment; this is a reference to castanets which make a similar sound when used while singing.
The travelers witness nocturnal processions of druids, a very clear reference to the religious processions associated with later Spanish people; one such procession places the druids in capirotes recalling those of a Spanish priesthood.
The conductor in the arena is a caricature of French conductor Gérard Calvi. He composed music for three Astérix films: Astérix the Gaul, Astérix andCleopatra and The Twelve Tasks of Astérix.
The final scenes are a fictional depiction of the origin of bull fighting, a tradition in Spain. However, the comic features an Aurochs instead of a bull, an extinct cattle species.
The line A fish, a fish, my kingdom for a fish on the last page, is a reference to William Shakespeare's play Richard III, wherein Richard demands a horse in the same words. The line is also referenced with Astérix in Britain's Chief Mykingdomforanos, a dialect form of My kingdom for a horse.
Although the Iberian peninsula had long been controlled by Rome, this album mentions the Battle of Munda, which took place in 45 BC, five years after the alleged time of all the albums.
This was the first book in the series to feature Unhygienix the fishmonger and his wife Bacteria. It is also the first to feature a fight between the villagers, started by Unhygenix's fish.
Pepe's skill with the sling may be a historical nod to the ancient slingers of the Balearic Islands, famous for their skill with this weapon. The Carthaginian general Hannibal, and later the Romans, made extensive use of their skill in their armies.
Today, Claire Fontaineand TheGrandma have got up early again to prepare a special and emotional day of diving.
While Tina Picotes has stayed at home having breakfast and reading, Claire and The Grandma have gone to pay tribute to Pepita, who left us last Monday the 2nd after a life full of incredible experiences and leaving a unique and personal scientific legacy.
So, after checking the state of the sea; planning the entry and exit point; reviewing the equipment and doing the buddy check, they have calmly entered while checking their buoyancy before going down in a sad, but at the same time emotional dive, which has helped them remember the moments shared and, above all, to leave them there so that the sea will take them to new ports, and, if possible, reach her beloved Antarctica.
It has been a dive that they have shared with posidonias, corals, cystoseiras, gorgonians; but also octopuses, breams, rays, cuttlefish, sponges, anemones, small corals and countless starfish. One even has accompanied them to take a photo when they have returned to the shore, and then they have returned it to the sea.
And throughout the dive they have had the company of a manta ray, which they have respected the distance between them, but which has been a pleasure to see swimming and unfolding on this seabed where we all mourn your absence today, from your beloved Barcelona and Castelldefels to the great love of your life: Antarctica.
T'estimem Pepita.
Has estat una figura clau per al nostre país, per a la ciència mundial, i una divulgadora i mestra que ens ha mostrat a molts de nosaltres el camí a seguir.
No és un adéu perquè ens acompanyaràs sempre en cada immersió.
Josefina Castellví i Piulachs (1 July 1935-2 February 2026) was a Catalan oceanographer, biologist and writer.
Castellvi Peak on Hurd Peninsula, on Livingston Island in Antarctica is named in her honour.
In 1984, she participated in an international expedition to Antarctica. She received her bachelor's degree in 1957 and a PhD in biological sciences at the University of Barcelona in 1969. In 1960 she started working for the Institut de Ciències del Mar in Barcelona. In addition, she conducted research at the CSIC and was a delegate in Catalunya for two years (1984-1986).
Starting in 1984, she participated in the Organization of Research in Antarctica and assisted with the installation of the JCI Antarctic Base on Livingston Island, of which she was the lead oceanographer from 1989 to 1997, replacing Antoni Ballester. From 1989 to 1995 she directed National Program of Antarctic Research, and later, from 1994 to 1995, she directed the Institute of Marine Sciences.
Castellví was awarded, among other prizes like the Gold Medal of the Generalitat of Catalunya in 1994, the Creu de Sant Jordi in 2003, the IEC Environment Prize in 2006 and the CONCA National Award in 2013.
Josefina Castellví was born the daughter of a doctor and housewife inBarcelona during the last few months of the Spanish Republic before the explosive outbreak of the Spanish Civil War (1936-1939). She studied at the Montserrat Institute and in 1957 graduated with a degree in biology from the University of Barcelona. In 1960 she specialized in oceanography from the Sorbonne. In 1969, Josefina got a doctorate in science from the University of Barcelona.
Castellví and her older sister attended school at an exceptionally young age near Eixample, where their family began. Later, they were transferred to a convent school, where they studied until their second year of high school. Ultimately, they completed their basic studies at the Institute Monsterrat, in the neighbourhood of Sant Gervasi, where Josefina prepared to enter university. In spite of living in a postwar period and the immense poverty the country suffered, Josefina's childhood and adolescence were normal; she lived alternately in Barcelona and Castelldefels, where her parents had a house.
In 1953, around the age of 18, Josefina began studying biology at the University of Barcelona. She completed two tracks in one and graduated in 1957, when she was 22 years old. Only two people finished the degree that year: Josefina and a nun. She continued her studies in order to engage more deeply with her research.
After finishing her degree Josefina Castellví traveled to France to study for two years. By 1960, when she specialized and received her PhD in oceanography at the age of 25, she participated in her first oceanographic expeditions on French ships and taught at the Sorbonne. Also starting that year, she began work at the Institute of Marine Sciences as Council Superior of Scientific Research, where she would later assume the role of director from 1994 to 1995 whilst also being a delegate to Catalunya.
In 1984 she was the first Catalan woman to participate in an international expedition in Antarctica; it ought to be noted that she contributed mainly to those expeditions' research, for which she was awarded recognition alongside Antonio Ballester i Nolla. Ballester was recognized as well for his intervention in the installation of the JCI Antarctic Base on Island Livingston, of which Josefina was chief director from 1989 to 1993.
When she returned to Barcelona, Josefina continued her research at the CSIC. The research in Antarctica was both a great learning experience and emotionally validating for her. Antarctica is a natural laboratory; deep in the ice there is written billions of years of Earth's history and knowing how to analyze these ancient writings allows us to share that vast history.
In 1995, after living a few years in Madrid, where she had commissioned the National Research Program Antarctica, Josefina Castellví returned to Barcelona to lead the Institute of Marine Sciences of the CSIC. Throughout her working life, she combined her research with conference work in order to disseminate her findings and her books, one of which was a book published in 1996 titled I Have lived in Antarctica.
In 1994, she received the Gold Medal of Generalitat of Catalunya and in 2003 she received the Creu de Sant Jordi. The Gold Medal is an honourary distinction awarded annually by the Generalitat of Catalunya to those persons or social entities who on their merits, have provided outstanding services to Catalunya in the defense of her identity, especially at the civic and cultural level. Moreover, it is considered, together with the International Prize of Catalunya, to be one of the most prestigious distinctions granted in Catalunya. From 2010, she was the president of the Summer University of Andorra.
On 8 October 2013, she won the Culture of the Generalitat of Catalunya Award, which distinguishes those people, entities, or institutions in any field that are worthy of institutional recognition for his or her contribution to Catalan culture, with preference for excellence, innovation, trajectory and projection, and bearing in mind their contribution during the year before of the concession. In addition, on 13 May 2013 she received the Catalan of the year Award.
In 2014, she was appointed vice-president of the Consell Assessor per al Desenvolupament Sostenible de Catalunya (Advisory Council for the Sustainable Development of Catalonia) (CADS).
On 5 March 2015, she received the August Pi i Sunyer Medal from the Faculty of Medicine of the University of Barcelona, in commemoration of International Women's Day. Researcher Josefina Castellví was the first woman to receive this medal. Despite her retirement in 2000, Castellví remained active; she continued to collaborate with the Consell Assessor per al Desenvolupament Sostenible de Catalunya. She also continued to give lectures on her work in Antarctica, during which she testified to the importance of this frozen desert. As the coldest place on Earth, she said, it is ideal for studying the capacity to adapt inherent in all organisms, which must change to survive, since, if they do not, they will disappear like the trees and plants that have disappeared from Antarctica.
She was the first Catalan female oceanographer and received many awards in recognition of her research. The difficult part is to receive first prize, here she quoted the scientist Ramon Margalef, because others come such as mimetic actions. Of all the awards that she had, Josefina especially valued two: the Gold Medal of the Generalitat of Catalunya (1994) and the Creu de Sant Jordi (2003), because they represent the homage of her city and country.
Castellví continued to live on the same floor where she was born, a testament to her devotion to origins. She died on 2 February 2026.
Antarctica is the windiest, highest, brightest, most brilliant, driest, and most remote continent on this misnamed Earth, which should be called Ocean, as the writer Arthur C. Clarke requested.
Today, Claire Fontaine and TheGrandma have got up early to drive to ElPortde la Selva where they will meet TinaPicotes this evening.
They have taken their bicycles and their diving wetsuits to enjoy three days of relaxation in a beautiful town that at times like this does not have large crowds, where you can practice different sports in peace and where it seems that time stands still.
On the other hand, Josephde Ca'th Lon who had planned to return to Basel yesterday Thursday has decided to stay a few more days in Lyon enjoying the cultural and sports offer.
El Port de la Selva and the Empordà hide unexpected treasures. A century ago, this fishing village on the Cap de Creus became an important meeting point for Catalan poets, writers, artists and intellectuals, often from Barcelona. An important part of the Catalan artistic creations of the last hundred years have been written, conceived and produced here, such as the famous poem Ho sap tothom, i és profecia, by the poet from Sarrià, J.V. Foix, whom TheGrandma knows well and whose work she greatly appreciates.
Ho sap tothom, i és profecia. La meva mare ho va dir un dia Quan m’acotxava amb blats lleugers; Enllà del somni ho repetia L’aigua dels astres mitjancers I els vidres balbs d'una establia Tot d'arrels, al fosc d’un prat: A cal fuster hi ha novetat.
Els nois que ronden per les cales Hi cullen plomes per les ales I algues de sol, i amb veu d'albat, Criden per l'ull de les escales Que a cal fuster hi ha novetat. Els qui ballaven per les sales Surten i guaiten, des del moll, Un estel nou que passa el coll.
El coraller ho sap pel pirata Que amaga els tints en bucs d'escata Quan crema l'arbre dels escrits; Al capità d'una fragata Li ho diu la rosa de les nits. L'or i l'escuma d'una mata Clamen, somnàmbuls, pel serrat: A cal fuster hi ha novetat.
El plor dels rics salpa pels aires, I les rialles dels captaires Solquen els glaços del teulat. Un pastor ho conta als vinyataires: A cal fuster hi ha novetat. El roc dels cims escampa flaires, I al Port mateix, amb roig roent, Pinten, pallards, l’Ajuntament.
El jutge crema paperassa Dels anys revolts, a un cap de plaça, I el mestre d'aixa riu tot sol. El fum dels recs ja no escridassa I els pescadors faran un bol. Tot és silenci al ras de raça Quan els ho diu l'autoritat: A cal fuster hi ha novetat.
Els de la Vall i els de Colera Salten contents, a llur manera, I els de la Selva s'han mudat; Amb flors de fenc calquen a l’era: A cal fuster hi ha novetat. De Pau i Palau-saverdera Porten les mels de llur cinglera I omplen els dolls de vi moscat.
Els de Banyuls i els de Portvendres Entren amb llanes de mars tendres I un raig de mots de bon copsar Pels qui, entre vents, saben comprendre's. Els traginers de Perpinyà, Amb sang barrada en drap de cendres, Clamen dels dalts del pic nevat: A cal fuster hi ha novetat.
Res no s'acaba i tot comença. Vénen mecànics de remença Amb olis nous de llibertat; Una Veu canta en recompensa: Que a cal fuster hi ha novetat. Des d’Alacant a la Provença Qui mor no mor, si el son és clar Quan neix la Llum en el quintar.
La gent s'agleva en la nit dura, Tots anuncien la ventura, Les Illes porten el saïm, I els de l'Urgell, farina pura: Qui res no té, clarors del cim. La fe que bull no té captura I no es fa el Pa sense el Llevat: A cal fuster hi ha novetat.
Everyone knows, it's a prophecy. My mother said it one day as she laid me down with gentle wheat; beyond dreams it was repeated by the water of intermediary stars and the raw panes of a stable covered in roots, in the darkness of a meadow: at the carpenter's house there's a new arrival.
The kids who roam around the coves gather feathers for wings and seaweed of the sun, and with an innocent's voice proclaim through the holes in their ladders —at the carpenter's there's a new arrival. Those who were dancing in the halls come out and gaze, from the quay, upon a new star passing over the hill.
The coral fisher has been told by the pirate who hides his dyes in scaly chasms when the tree of letters burns; the captain of a frigate is told by the rose of nights. The gold and foam of a shrub announce, somnambulant, through the hills: at the carpenter's there's a new arrivaL.
The lament of the rich sets sail through the air, and the laughter of beggars furrows the ice on the roof. A shepherd tells the vine growers: at the carpenter's there's a new arrival. The summits' rocks scatter scents, and in the centre of Port de la Selva, in the brightest red, strapping lads paint the Town Hall.
The judge burns dossiers from the insurgent years at one end of the square, and the adze master laughs alone. The smoke of the ditches shrieks no more and the fishermen will cast their nets. All is silence on the people's level when they are told by the authority: at the carpenter's there's a new arrival.
Those from La Vail and those from Colera leap happily, in their own way, the people of La Selva have changed; with hayflower they trace out on the threshing floor: at the carpenter's there's a new arrival. From Pau and and Palau-saverdera they bring the honeys from their cliffs and fill the springs with muscat wine.
Those from Banyuls and those from Portvendres enter wearing woollen wraps from gentle seas and a string of words, well received by those who, amid winds, can understand one another. The hauliers from Perpinyà, with blood striped on a sheet of cinders, exclaim from the heights of the snow-covered peak: at the carpenter's there's a new arrival.
Nothing ends and all begins. Mechanics, bondsmen, come along with new oils of freedom; a Voice sings in return: at the carpenter's there's a new arrival. From Alacant to Provence Whosoever dies does not die, if sleep is clear when the light is born in the ploughland.
Folk gather together in the hard night, all announce the good fortune, the Islands bring lard and those from Urgell pure flour: those who have nothing, brightness of the peaks. The faith that boils cannot be captured and Bread is not made without Yeast: at the carpenter's there's a new arrival.
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