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In her article "Catalan and Galician Literatures in Iberian and European Contexts" Olivia Rodríguez González investigates the problematics of canon formation and proposes an approach within which the formation of a multi-system canon is possible. Reflections on the constitution of a European canon that would be the result of a proportional or market-driven combination of national literary canons leads to the conclusion that, with respect to the multicultural Spanish state, what will succeed in getting into the European canon will do so as a consequence of one of two processes. The first depends on what each literary system does to project itself to the outside world. The second refers to any planning that may be implemented by the Spanish (i.e., Iberian) interliterary system as an indirect route for projecting each of the peninsular literatures: Castilian, Basque, Catalan, Galician, and even Portuguese literature. Olivia Rodríguez Gonzáles, "Catalan and Galician Literatures in Iberian and European Contexts" page 2 of 8 CLCWeb: Comparative Literature and Culture 13.5 (2011):  Special issue New Trends Iberian Galician Comparative Literature. Ed. M.T. Vilariño Picos and A. Abuín González Olivia RODRÍGUEZ GONZÁLEZ Catalan and Galician Literatures in Iberian and European Contexts The literary canon represents a struggle for power, and sometimes for survival, by producers of culture who compete within the field of cultural consumption. Within the political shaping of the European Union, the development of which many readers will have witnessed first-hand, the literature that Europe has produced in the past and is producing now occupies a place in the "sociosphere" of its culture, as it was understood by Juri Lotman. Now is a good time to contribute to the conscious formation of a European canon that will reflect the cultural diversity of the continent, the complexity of which is reflected in the hard struggle on the part of all concerned to get through the selection procedure. What is meant here, of course, is a contribution from mediation, consisting of a theoretical and comparativist analysis of the processes of canon formation, with empirical data to prevent any slide into unhelpful idealizations. In Europe cultural canons are arising in the powerful countries that speak English, German, French, and perhaps Spanish. Alongside them there is a host of smaller cultures, no less worthy, deserving a proportional space in this canon. If it is agreed that this should contain literatures that combine aesthetic strength (to use Harold Bloom's expression from his The Anxiety of Influence) with politico-economic market strength (Bourdieu qtd. in Guillory 5-6), now is the time to offer interesting products from all parts of the Europe and so on equal terms. Reflections on the constitution of a European canon that would be the result of a proportional or market-driven combination of national literary canons leads to the conclusion that, with respect to the multicultural Spanish state, what will succeed in getting into the European canon will do so as a consequence of one of two processes. The first depends upon what each literary system does to project itself to the outside world. The second refers to any planning that may be implemented by the Spanish (or even the Iberian) interliterary system, as an indirect route for projecting each of the peninsular literatures: Castilian, Basque, Catalan, Galician, and even Portuguese literature. These two possibilities are put forward according to concepts of Dion!z "uri#in's framework of the interliterary system and Itamar Even-Zohar's framework of the polysystem (for the frameworks' application in the Iberian context, see, e.g., Cabo; Casas). Thanks to translations, book fairs, or meetings between publishers, such as the yearly Frankfurt Book Fair or the Guadalajara International Book Fair held in Mexico (not far behind the former in impact); thanks to regular exchange visits to universities, involving funding for lecturers and language assistants or lectors, and also to the holding of congresses and seminars, each Iberian literature is working on its projection to the outside world. This is one of the mediations which reinforces systemic strength, something which cannot be achieved through mere self-sufficiency at a survival level in the cultural sociosphere (see, e.g., Schmidt). As an example, I refer to the Asociación Internacional de Estudos Galegos which has already organized eight triennial congresses aimed at encouraging research into Galician culture around the world. However, since the "spreading" of an ethnic minority culture is a question of European cultural policy, it must be handled according to the relevant rules of the game, on the assumption that consensus about a constitution is finally reached. In this case, since direct political representation of European nations not having their own state or sharing a state with other nations will not be possible, it is clear that this level of representation will have to be channelled through the mediation of the cultural policies of the Kingdom of Spain. Tasks of direct projection will then remain for other types of subsidiary labour. These tasks should by no means be given up, just as they were not abandoned in the past, when these literatures were completely unsupported, despite their repercussions within the Castilian literary system. For example, among the minority literatures concerned here, Catalan literature maintained a strategic position, both geographically and economically, in a fluid dialogue with European cultures, especially the French. Likewise, Galician literature undertook a programme towards the start of the twentieth century, just after the First World War, which was intended to create a dialogue with universal culture, without passing through the Spanish gateway of expression in Castilian. These direct efforts should be focussed on maintaining a niche in the Spanish canon. It should not be forgotten, either, that these literatures in minority languages were the target of persecution under the Franco dictatorship. In an attempt to communicate this situation to outside Olivia Rodríguez Gonzáles, "Catalan and Galician Literatures in Iberian and European Contexts" page 3 of 8 CLCWeb: Comparative Literature and Culture 13.5 (2011):  Special issue New Trends Iberian Galician Comparative Literature. Ed. M.T. Vilariño Picos and A. Abuín González observers, recourse was made to UNESCO at its meeting at Montevideo in Uruguay in 1954 (see Alonso). Here the representatives of participating European countries were able to learn that these cultures were surviving despite attempts to crush them and that Spanish culture was neither unitary nor monolingual, as the Spanish authorities of the day tried to convey to the rest of the world. More than seventy years later, the consequences of this repression are still to be seen. To sum up, if an international presence is sought, an internal presence must first be achieved. This must go beyond the traditional contributions by the various Iberian literatures to the hegemonic system, arriving as cultural "impacts" that are simply absorbed, at best, into the Spanish system. It is now a question of creating a canon that is truly inter-systemic, with original contributions from literature in Castilian and from the minority literatures. The expression "minority" must not be eschewed under the pressure of political correctness, which tars it with the brush of pejorative connotations, in a rather perverse interpretation of the concept of democracy. The emergence of the Western canon similar to local canons developed over time in a process of cultural memory and a result of various systemic factors. Some of these would fall under the heading of what in Even-Zohar's framework is called institution, a set of factors involved in the control of culture (producers, critics, educational institutions, publishers, the press, teachers, and so forth. The fact that there are various co-existing canonical repertoires in a polysystem and that cultural agents can have an influence over their construction and destruction, is obvious. The nineteenth-century Catalan project for the revitalization of its own system through the medieval-style Jocs Florals is worthy of note. The originals were festivals in medieval courts where the splendour of Catalan troubadour poetry became known, in close connection with Provençal poetry. The creation of the avant-garde art industry in Catalonia just after the turn of the century should be kept in mind, as should the politico-cultural project of Noucentisme (new century movement) during the 1920s, to which so much is owed by Spanish literary historiography. This is one of the few instances when this historiography has decided to import a term from Catalan approaches in order to divide literature into periods that are strongly identified with the Catalan movement, always looked down upon by centralizing Castilian culture. The same thing occurred with respect to Galician, where this term appeared once more in the Historia da Literatura Contemporánea (1963) by Ricardo Carballo Calero applied to the history of Galician literature. In recent years, however, the latest Catalan views on division into periods have completely rejected the labels "Disaster of 1898" or "Generation of 1898," seeing them as associated with an aspect of the policies of the centralizing State and with a group marked ideologically by a Castilian-centric worldview. Parallel to this change, histories of Spanish literature have been gradually abandoning the expression Novecentismo, the translation of the Catalan word. At a more recent period of time it is worth considering the creation of the Valencian language. This was the outcome of a modification of language history, encouraged by the cultural separatism of the Partido Unión Valenciana, whose policies were later taken on board by the Partido Popular (a