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ID |
Nickname |
Country / City |
Languages |
Taxonomies |
Comment |
Project / Group |
Map |
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135893
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Laura_Pizarro_Jacinto
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Spain
Cáceres
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Spanish :
“Asociación Nacional de Negocios Turísticos y Souvenirs” (National Association of Tourist and Souvenir Businesses)
“asociado nº 447” (member no. 447)
Spanish is the main language
Souvenirs is a loanword: originally French, borrowed into both English and Spanish with the same meaning (a keepsake, typically from travel) This makes the sticker monolingual Spanish in structure, but with a lexical borrowing that is international.
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PALRA
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136149
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Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
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PALRA
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135894
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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136150
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
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This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
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PALRA
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135895
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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Main languages present:
Spanish : Almost all posters are in Spanish (concerts, cultural events, excursions, rentals, etc.).
English : Appears in some brand names and event titles:
"DECATHLON" (store name in background)
Concert poster: Bee Jinx (band name, English words)
"Rock", "Festival" (international terms, often borrowed).
Commercial: Travel agencies, excursion offers, rental ads, restaurants.
Cultural: Festivals (guitar, music, rock concerts, local fairs).
Entertainment: Posters for concerts, DJs, shows.
Housing: “SE ALQUILA” (For Rent).
Activism/Associations: One small poster mentions a manifestation (protest).
Strong use of visual variety : colorful posters, different fonts, images to attract attention. Youth culture (music, festivals), local economy (excursions, rentals), and globalization (English in band names and events).
Multilingualism is minimal : English is not for communication but for symbolic prestige (cool, modern, international).
The board acts as a community communication space : locals, businesses, and cultural groups all compete for visibility. This reflects Spanish monolingual dominance with selective English borrowing.
In Extremadura (border with Portugal), one might expect some Portuguese, but here it seems absent: suggests a more local + national Spanish orientation rather than cross-border.
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PALRA
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136151
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
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The three panels, placed side by side, are dedicated to the Christian towers of Cáceres. Each one blends historical explanation, multilingual texts, Braille transcription, images, and diagrams.
Left panel – “Así es una torre Cristiana”
Explains the architectural features of a typical Christian tower.
Includes diagrams showing structural elements, such as battlements and defensive details.
Contains a comparative section “Diferencias entre las torres” highlighting contrasts with Islamic towers.
Includes multilingual translations (English, Portuguese, German, French) and Braille at the center.
Photographs of surviving towers illustrate the points.
Central panel – “Torres Cristianas en la ciudad”
Focuses on the distribution of Christian towers across Cáceres, with a map marking their locations.
Provides details on the Torre de Bujaco, one of the city’s most emblematic defensive towers.
Texts in five languages (Spanish, English, Portuguese, German, French), with Braille transcription in the middle section.
Several photographs show towers in different states of preservation, making visible the contrast between intact and truncated examples.
Right panel – “El Desmoche de la Reina Isabel”
Already described in detail in the previous entries. It explains the truncation of noble towers ordered by Isabella I of Castile after the succession conflict against Juana la Beltraneja.
Contains a genealogical chart, portraits, a battle illustration, Braille transcription, and a closing reflection titled “El perfil imposible de Cáceres”.
Thematic Unity: The three panels together form a coherent narrative: from the architecture of a typical Christian tower (left), to their urban presence in Cáceres (center), and finally to their political transformation through truncation (right).
Multilingualism: As with the previous panels, each includes sections in English, Portuguese, German, French, and Spanish, reflecting the city’s openness to international visitors.
Accessibility: All three panels include Braille transcriptions, a consistent design choice that foregrounds inclusivity in the museum’s interpretive strategy.
Multimodality: Visual diagrams (architectural schematics, maps, genealogies) help simplify complex concepts. Photographs provide evidence of surviving towers. Illustrations (battles, heraldic motifs) add narrative and symbolic depth.
Place Identity: The panels emphasize that Cáceres’ current urban profile — with its truncated towers — is not a neutral architectural accident, but the direct result of dynastic struggles and royal authority. This situates the built environment as a text, readable through language, images, and history.
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PALRA
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81367
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Espanha
Cáceres
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—
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135896
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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136152
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This interpretive panel, titled “Torres Cristianas en la ciudad”, is part of the exhibition inside the Museo de Semana Santa de Cáceres. It focuses on the Christian towers of Cáceres, with particular emphasis on the Torre de Bujaco, one of the city’s most emblematic defensive structures.
Upper Section:
The heading “Torres Cristianas en la ciudad” introduces the theme.
A map of the historic center marks the locations of Christian towers and palaces, visually situating them within the walled city.
Around the map, several photographs (such as the Torre de las Cigüeñas, Torre de los Púlpitos, and Torre de Bujaco) provide visual references to surviving towers.
A numbered legend lists the sites (e.g., Torre de Bujaco, Torre de los Púlpitos, Torre del Horno, Torre de Mérida, and associated palaces).
Middle Section:
The focus shifts to the Torre de Bujaco, described as a quadrangular tower of Islamic origin later reused and modified in Christian times.
The text explains how, during the 14th and 15th centuries, the tower was transformed by the addition of machicolations and battlements, creating its current profile.
A Braille transcription band runs across the panel, ensuring accessibility for visually impaired visitors.
Lower Section:
Additional photographs and illustrations highlight architectural details of the Torre de Bujaco, including its battlements and defensive features.
Multilingual descriptions (Spanish, English, Portuguese, German, and French) are included at the bottom, each marked with a colored circle (s, e, p, d, f). These provide translations of the historical and architectural information for international visitors.
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PALRA
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135897
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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Languages present
French:
Croissanterie (borrowed from croissant + suffix, common in France). Suggests tradition, authenticity, or prestige associated with French bakery culture.
Roquefort (French cheese).
Spanish :
Menu items: bocatas, jamón serrano, queso, lomo fresco, pollo, roquefort, ensalada, salsa yogurt, serranito.
Pricing: 3,50€, 4€, 4,50€, salsa extra 0,50€.
English loanword (influenced): Bacon (not translated, reflects globalized food vocabulary).
Other languages as culinary references:
Kebab, yogurt (Middle Eastern/Mediterranean influences).
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PALRA
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136153
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
|
PALRA
|
|
|
135898
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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136154
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
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This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
|
PALRA
|
|
|
135899
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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Spanish:
Headings: Servicios, Manicura, Pedicura, Depilación, Tratamientos Corporales.
Service details: Manicura tradicional, pedicura, cejas, cuerpo entero, maquillaje, masajes relajantes.
English (minor presence, branding): The business name AM Beauty is in English, which is common in the beauty/cosmetics industry to add prestige and global appeal.
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PALRA
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136155
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This image captures a set of three vertical interpretive panels from the Museo de Semana Santa de Cáceres, grouped under the theme “Patrimonio Oculto” (Hidden Heritage). Together, they explore aspects of the city’s subterranean and little-known heritage, blending archaeology, architecture, and local legend.
Left panel – “Las construcciones ocultas” (Hidden Constructions):
Explains the presence of underground structures in Cáceres, such as basements, cisterns, and passageways. Includes a map marking sites beneath the Plaza Mayor and other areas. Photographs and diagrams illustrate how these hidden spaces were integrated into the urban fabric.
A Braille transcription band runs across the middle, ensuring accessibility.
Central panel – “Elementos singulares” (Unique Features):
Focuses on particular underground sites, such as the Mezquita, the Forjados, and the Crypt of San Francisco Javier. Includes detailed architectural diagrams of these spaces, particularly the crypt, showing their structure and use. Photographs complement the descriptions, creating a multimodal resource for visitors.
Multilingual explanations are provided in Spanish, English, Portuguese, German, and French, each marked by a colored circle.
Right panel – “Leyendas e historia” (Legends and History):
Narrates stories and traditions linked to Cáceres’ underground heritage, blending myth and historical memory. Highlights local legends such as La leyenda de San Jorge (St. George), La leyenda del Moro, and others tied to hidden spaces. Includes illustrations and photographs that visually anchor the narratives.
Braille transcription continues, reinforcing the inclusive design.
The panels are consistently presented in five languages (Spanish, English, Portuguese, German, French), with clear colored markers for each, plus Braille transcription. This reflects the museum’s commitment to accessibility and its recognition of Cáceres as a site of international tourism and heritage.
Multimodal Communication: Each panel integrates maps, photographs, architectural diagrams, legends, and textual explanation, creating a layered semiotic resource where history is communicated visually and linguistically.
The focus on “hidden” spaces situates Cáceres’ heritage not only in its visible monuments (towers, palaces, plazas) but also in the invisible or underground layers of the city, linking archaeology with myth.
By combining scientific information (maps, architectural analysis) with oral traditions (legends, myths), the signage presents Cáceres as a city of both material heritage and intangible cultural memory.
This strengthens its identity as a World Heritage city where history is read not only on the surface but also in what lies beneath.
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PALRA
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135900
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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135901
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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Spanish:
Institutional: Ayuntamiento Cáceres, Cáceres patrimonio de la humanidad, Calle Paneras.
Commercial: Artesanía el Anta, Los Ibéricos, Mármoles Vivas, Mercería Maeva, Moda, Vaqueros Sol.
English (minor, visual):
Parking 80m., Moda could be read as Italian/Spanish but internationally linked to “fashion”; graffiti tags sometimes use English letters or neutral global hip-hop styles.
Multimodal protest language: Sticker “No a la mina – ¡Defiende Cáceres!” (Spanish, activist discourse).
Heritage vs. commerce: Signboard originally designed to guide visitors in the historic city (UNESCO site), blending cultural identity (Cáceres as heritage city) with everyday commerce.
Resistance discourse: “No a la mina” sticker transforms the commercial/official board into a site of political struggle, connecting local economy with environmental defense.
Semiotic battle: Graffiti tags partially obscure shop names : reflects youth/street culture presence challenging institutional order.
Spatial hierarchy: Official/municipal logos sit on top; grassroots layers accumulate below and across, literally overwriting heritage and commerce narratives.
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PALRA
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136157
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
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This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
|
PALRA
|
|
|
135902
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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136158
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
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This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
|
PALRA
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|
Lingscape
