|
ID |
Nickname |
Country / City |
Languages |
Taxonomies |
Comment |
Project / Group |
Map |
|
135906
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135905
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135904
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135903
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135902
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135901
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135900
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135899
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135898
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135897
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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).
|
PALRA
|
|
|
135896
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135895
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135894
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135893
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135892
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135891
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
graffiti and tagging (grassroots, informal).
Languages present:
Spanish
“busco novi@” : means “looking for a boyfriend/girlfriend”.
“Luzia Urdalaz” (likely a personal name, stylized).
English influence (in style, not full words): some tags use letterforms typical of English hip-hop/graffiti culture (blocky, stylized, unreadable signatures).
Symbolic scripts : most are tags (nicknames/signatures), functioning as identity markers rather than meaningful language.
Identity & subculture : Tags (e.g. "YESBAN", "WONE", "TSAH") are graffiti names/pseudonyms. They mark territory, presence, or identity in urban space. The language isn’t about communication but visibility, rebellion, and belonging to urban/street culture.
Multimodal writing : use of color (red, blue, silver, black), overlapping tags, stylized letterforms.
Code-switching potential : Spanish for direct communication, English-style forms for global graffiti identity.
Individual vs collective : unlike posters (public, institutional), graffiti is personal/anonymous expression.
Orthographic creativity : “novi@” uses @ as a gender-neutral ending, which shows digital language influence in graffiti.
Graffiti here contributes as bottom-up language use (vs. top-down advertising and cultural posters). It shows how youth identity, urban art, and language intersect. The mixture of Spanish (for communication) + English-inspired graffiti style (for prestige/subcultural belonging) reflects global-local interplay.
|
PALRA
|
|
|
135890
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Languages present:
Spanish (dominant)
“SE ALQUILA ESTE LOCAL” (This premises for rent) : functional, commercial use.
Concert posters: “El Duende Callejero”, “Sábado 16 Agosto”, “Navalmoral de la Mata” (place name).
English
Stickers: “DEPT” : short for department, common in streetwear branding.
Poster: “Derby Motoreta’s Burrito Kachimba” (band name mixing English + Spanish slang).
Tags often resemble English word-forms, even if unreadable.
Hybrid
Band names, graffiti tags, and branding often blur English/Spanish boundaries (e.g., "Sizer StorK" sticker).
This doorway becomes a multilingual, multi-actor palimpsest:
Top-down Spanish (functional: “Se alquila”)
Spanish + English mix (youth culture, concerts, band names)
Graffiti tags in English-style script (symbolic subcultural identity)
It reflects how urban space is negotiated: official notices get “colonized” by countercultural graffiti, while music/culture posters mediate between both. The symbolic capital of English shows in music and subcultural identity, but Spanish remains the communicative backbone.
|
PALRA
|
|
|
135889
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Text & Language
BOTANICC: looks like English, based on botanic, but with an extra “C.” Possibly a branding choice to appear unique or upscale.
GRAND CAFÉ:
Grand is an English word, but also exists in French (meaning great/large).
Café is French, widely borrowed into English, Spanish, and other languages. In Spanish, café is the everyday word for “coffee” and “coffeehouse.”
Overall: a hybrid international style using English and French borrowings, but recognizable across many languages. Here, the language functions less as communication and more as branding and symbolic capital: it suggests sophistication and global modernity. The choice of English and French borrowings demonstrates how the tourism and hospitality sector in Cáceres taps into international prestige languages, rather than the national language.
|
PALRA
|
|
|
135888
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Language:
English:
Band names: The Holy Divers, The Bee Jinx. English chosen for global appeal and subcultural identity (rock/metal).
Spanish:
en concierto (in concert)
Cáceres, Jueves 26 Junio 2025, Entrada 3€, 20.00h
Legal disclaimer at the bottom (access, minors, rights reserved).
|
PALRA
|
|
|
135887
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Spanish :
“Versarte” (play on verso = verse + arte = art)
“Poesía, música, acción y micro libre”
“Miércoles 30 Julio – 20:00 H, Auditorio Parque del Príncipe”
Organizers: Espacio de Arte y Acción, Diputación de Cáceres, Ayuntamiento de Cáceres.
The title “Versarte” is a triple wordplay in Spanish:
verso + arte: "verse + art" : poetry as art.
versarte (verb form): could be read as “to turn you into verse.”
sounds like “besarte”: “to kiss you” : adds an emotional, romantic connotation, fitting with poetry and performance.
This shows how local linguistic creativity in the Cáceres landscape differs from the English borrowing trend in concerts, cafés, and graffiti. Instead of importing global words, this poster plays within Spanish morphology and phonetics to make it memorable.
|
PALRA
|
|
Lingscape
