La poesía no es en la investigación académica actual un territorio predilecto para el análisis intelectual de los sentimientos. El estudio de qué y cómo siente el ser humano ha sido una labor ...fundamentalmente afrontada desde los paradigmas de la Psicología, la Psiquiatría y la Filosofía. Esta tesis, sin embargo, propone la necesidad y la utilidad de analizarlos desde cómo los refleja el lenguaje, una herramienta humana con amplia experiencia en su expresión. Desde esta perspectiva emprendemos un ejercicio filológico que descubre el lenguaje poético como una poderosa fuente de reflexión intelectual en torno a un sentimiento complejo, la nostalgia, y a las impresiones que se perciben como inefables.Nuestro estudio desentraña las claves principales del vínculo entre poesía y nostalgia identificando y analizando los tipos de discurso y la retórica de los innumerables poemas impulsados por ella a lo largo de los últimos cien años en la poesía anglo-norteamericana de Canadá y Estados Unidos. El campo de estudio, por tanto, es lo suficientemente amplio como para alumbrar resultados esclarecedores en torno a varias cuestiones de relevancia, tales como los modos en que la nostalgia gestiona la ausencia y la pérdida, su capacidad para construir relatos consistentes sobre la memoria y el pasado, sobre el territorio y el sentimiento de pertenencia, y también sobre la identidad propia. Asimismo descubrimos la poesía de nostalgia como un corpus esencial de reflexión en torno a la percepción humana ante la ausencia, la pérdida y lo imposible, y acerca de las posibilidades del lenguaje al enfrentarse a cuestiones que se le resisten, bien por ser muy difíciles de concretar dentro de los límites de lo conceptual o bien porque expresarlas mediante la palabra se percibe como insatisfactorio. A la luz de la poesía de nostalgia observamos, además, cómo el lenguaje metafórico se consolida como una herramienta eficaz para incrementar la capacidad expresiva del lenguaje y, a la vez, como mecanismo que permite que la realidad extienda sus límites y posibilidades.
Leonard Cohen Live in London Terrio, Robert D.
Music Library Association. Notes,
03/2010, Letnik:
66, Številka:
3
Book Review, Journal Article
Recenzirano
Odprti dostop
With these words, Leonard Cohen sets the tone for his London concert with humorous acknowledgment of the low points in his life, and uplifting hope for those issues he has worked through over many ...years. While the songs are no less sad or depressing, Cohen seems to have assimilated the severity of his lyrics with genuine reverence for his audience, his band, and his life.
I am a beginning poet, and these are my beginning poems. Indeed, I am not Lorca. However, I do believe that his spirit of duende is visible in my work.There is the visible anguish of desire in these ...poems (just to name a few): the desire to receive a father's love, the desire to be the human animal, the desire to find truth, and a parent's desire to protect her children. It is a longing, a melancholic desire, tinged and/or consumed with the knowledge of death and loss. There is the desire for lost lovers and lost children, the desire for lost selves—past and future.
O presente trabalho tem como objetivo desenvolver uma investigação sobre o poder revolucionário da linguagem. Para esse efeito, partimos dos escritos do filósofo alemão Wilhelm von Humboldt, que, ...tendo-se dedicado à análise linguística na última fase da sua vida, deixou contributos muito relevantes para o domínio da linguagem. Enquadrando Humboldt naquilo a que Charles Taylor designa como tradição H-H-H, defendemos que o filósofo alemão contribuiu para formular, na transição do século XVIII para o século XIX, aquilo que poderemos designar como a linguistic turn continental, que promove o abandono da filosofia da consciência. O que este novo paradigma linguístico destaca é a relação inextricável entre pensamento e linguagem, na medida em que aquele só acontece fazendo uso desta. Aceitar este pressuposto implica que não existe pensamento pré-linguístico e que a linguagem condiciona, em maior ou menor grau, o modo como pensamos, a partir da sua dimensão enquanto língua materna. Ao contrário do que pretendem os racionalistas e kantianos mais puristas, não há algo como uma razão ou pensamento puro – todo o pensamento é já determinado por uma língua concreta, que é um produto contingente e historicamente determinado.Wilhelm von Humboldt, para além de trabalhar sobre este pressuposto constitutivo da linguagem, analisaa nas suas várias manifestações, conferindo-nos a possibilidade de, a partir da leitura dos seus escritos, encontrar quatro definições da essência da linguagem. Essas quatro definições passam por considerar a linguagem ou como capacidade universal, ou como língua materna, ou como língua falada ou como diálogo. Os nossos esforços centraram-se na terceira daquelas definições, aquilo que designamos, utilizando vocabulário saussuriano e na esteira da investigação que tem sido desenvolvida por Bernhard Sylla, como a definição da linguagem como parole. Considerar a linguagem a partir desta dimensão implica ter em conta os dois elementos da dialética que subjaz à linguagem como parole: por um lado, esta dimensão concebe a língua materna como fonte de opressão na medida em que estabelece a priori as condições de fala do falante (quer em termos de estrutura gramatical, vocabulário que compõe a língua, bagagem histórica que cada conceito carrega, etc.), podendo ser perspetivada, neste sentido, como uma força, um poder que se impõe ao falante – utilizaremos o termo alemão Macht para significar este elemento; por outro lado, o falante, consciente desta força opressora da langue, tenta responder-lhe de forma igualmente violenta, tentando encontrar na própria língua estratégias de resistência, subversão e modificação – e, na medida em que a resposta do falante se reveste de um caráter violento, utilizaremos para o efeito o vocábulo alemão Gewalt.É a partir desta estrutura que defenderemos a possibilidade de delinear uma tradição da parole violenta, composta por vários autores, usualmente considerados como fazendo parte da chamada filosofia continental. Escolhemos para alvo do nosso trabalho o pensamento do filósofo alemão Martin Heidegger, do autor francês Roland Barthes e do filósofo norte-americano Richard Rorty, consistindo a nossa exposição em modos de justificar a pertença destes autores àquela tradição. Se a exposição apresenta um caráter mais sinóptico no que a Heidegger e Barthes diz respeito, será especialmente aprofundada quanto a Richard Rorty, a quem dedicamos toda a segunda parte.
This work explores a set of discursive practices throughout the eighteenth century in which indigenous nobility, in colonial Peru, produce cultural texts that are crucial in understanding Andean ...subjectivity in its relationship to imperial politics. My research examines those texts that describe official celebrations (fiestas oficiales) honoring the King of Spain in which, after 1722, indigenous participation was an important part of its development. In these rituals of colonial power, the indigenous nobility performed dressed as Incas to renew the pacts of loyalty with the King and to consolidate the imperial hegemony. My dissertation also explores the writing of the history of the Incas by the creole letrado Pedro de Peralta y Barnuevo, included in Júbilos de Lima (1723), one of the first texts that describe the presence of indigenous noblemen in fiestas oficiales. Reading Inca Garcilaso’s Royal Commentaries and following the Ciceronian topic of Historia Magistra Vitae, Peralta uses the history of the Incas as a pedagogical device to offer to the Spanish King a lesson in the art of ruling and good governance. Thus, I argue that both the history of the Incas by Peralta and the indigenous intervention in the fiesta itself are decisive in the genealogy of the Inca nationalism during this time. Finally, I explore the writing of indigenous memoriales to observe the gradual constitution of a political subject that advances the common interests of the República de Indios. This political subject forges a sense of community that might make possible collective claims against abusive colonial authorities (such as Corregidores) or the lack of access to the High Clergy or higher education (such as Colegios Mayores). In this dramatic trajectory, indigenous subjects imagine a way to escape from the colonial condition: that the Pope send a ‘Patriarch of the Indies’ with the power to appoint bishops and patriarchs among indigenous nobility, without any intervention of the Spanish crown. My dissertation proposes that these discourses of the indigenous nobility constitute an agency, because through them indigenous subjects seek to intervene in the domain of sovereignty.
Margaret Atwood’s Survival: a thematic guide to Canadian literature was originally published by House of Anansi Press in Toronto in 1972. In spite of the mixed reception, Survival became a key text ...in the study of Canadian Literature. Although it is now taught as a historical curiosity, it is possible to trace the ideas in it, and their reconfigured functions, through contemporary Canadian short fiction.It is my contention that the ideas and themes which Atwood describes have rooted themselves in the Canadian imaginary, and that they have taken on a truth value which was originally disputed. Thus it is relatively easy to trace the continuing life of, for example, ‘Settlers and Explorers’ {Survival, Chapter 5) in contemporary Canadian short fiction. This is a synchronic study, not merely tracing the appearances of Atwood’s themes, but looking at how they are refigured in the later twentieth and early twenty-first centuries, using stories published since 1972 to illustrate the argument.The potential impact of the research will be the re-evaluation of Atwood’s forty-year old text, which with Frye’s The Bush Garden were the ‘parents of CanLit’ (Fee, 2013, pers.comm.), and the exposure of the continuing arguments in literature in Canada about national identity, in the light of an increasingly multicultural population, and the growing neo-colonial awareness of the ‘behemoth to the South’ (Chilton, 2003). It will also bring a neglected body of work to international attention, and most particularly to the UK. Although Atwood, Alice Munro, and to a lesser extent, Alistair MacLeod are known both inside Canada and abroad, Mark Anthony Jarman, Thomas Wharton, Hiromi Goto, Lisa Moore, Joseph Boyden, Lynn Coady, Patricia Young, Lauren B. Davis, Diane Schoemperlen, Matt Cohen, D. W. Wilson and Leon Rooke are known only to dedicated readers of the short form, and these are the writers I have chosen to focus on here.
This project makes the case for the narrative usefulness and importance of imperfection, by exploring the relationship between saints and heroes in late medieval English writing. It is easy to find ...examples of saints who are heroes (St. George slaying the dragon) and of heroes who become saints (Malory’s Lancelot dies with sweet smells emanating from his corpse, a sign of sanctity). But my project looks behind simple narrative and character function to address a deeper issue: what kind of hero/saint (or saint/hero) emerges from the later Middle Ages' pervasive skepticism about human perfectibility? Given that every medieval Christian was expected to grapple with knowledge of eternal accountability for sin, what are the limits of individual “greatness” and how are the saintly heroic and heroically saintly intertwined? My dissertation moves from knightly chivalry in the courtly romances Sir Gawain and the Green Knight and Malory’s Le Morte Darthur, to the daringly nonconformist spirituality of a laywoman in The Book of Margery Kempe, to the feats of the folk anti-hero Robin Hood, celebrated in popular ballads, in order to trace the ways in which the heroic interpenetrates literary and religious writing. I argue that the late medieval heroic is characterized simultaneously by unity and rupture: it strives toward transcendent wholeness yet derives its vitality from a sense of fragmentation and frailty.
"Between the lips and the voice, something goes dying," wrote Pablo Neruda. It is true, isn't it? Perhaps many ‘somethings,’ in fact, go dying within that tiny, enormous space. And yet many ...'somethings' are also being born at any moment? Kolot ("voices" in Hebrew) is designed as something of a journey within that space; no more than a dip of a toe into the seemingly boundless wilderness between lips, voices, voicelessnesses, silences, ears. Seventeen short text fragments (all excerpted from much longer texts), in ten languages, lead the way (using words, of all things). And still, at its core, this space seems helplessly, magnificently uncharted. So how come it also feels so familiar it hurts? "Something with the wings of a bird,” continued Neruda, “the way nets cannot hold water.” The piece is scored for three female voices, a string quartet, flute, clarinet and two percussion players. Each of Kolot’s fifteen sections aims to explore a somewhat different vocal technique or performance style, as well as a variety of relationships and textures within the instrumental ensemble. However, the distinct sections also offer various potential glimpses of the piece’s musical backbone, as key motivic, harmonic and rhythmic grains are re-arranged, recontextualized and varied throughout its length. Fragments of texts are by (in order of appearance): Jorge Luis Borges, Rainer Maria Rilke, Orhan Veli Kanik, Mahmoud Darwish, Avraham Halfi, Shuntaro Tanikawa, Pablo Neruda, James Jeremiah Murphy (LCD Soundsystem), Fernando Pessoa, Almog Behar, Zelda, Roland Barthes, Paul Celan, Wislawa Szymborska, Forough Farrokhazad, Yuval Ido Tal, Leonard Cohen.
This dissertation unites a diverse group of Canadian poets who all fell silent for a prolonged period in the middle of otherwise productive and successful poetic careers: P.K. Page, Phyllis Webb, ...John Newlove, Anne Marriott, and Leonard Cohen. Their "silences" are characterized not by an absence of creative energy or effort, but by the poets' reluctance to publish and their struggles to bring new work to satisfactory completion. The dissertation's four chapters approach the gaps in creative careers from several methodological angles in order to develop a multidimensional definition of "poetic silence," while also offering insight into individual poets and their oeuvres. Part I of the dissertation concerns critical constructions of creative silence, first from the outside looking in—the perspective of critics—and then from the inside looking out—the perspective of poets. "Silence" is a malleable metaphor with both deathly and regenerative connotations, and Chapter One reviews the ways in which critics have seized upon the concept to advance a wide variety of critical and theoretical projects. The poets, meanwhile, have frequently reflected retrospectively on their own fallow periods; Chapter Two surveys the material, psychological, and creative barriers that they have cited as impediments to their progress, and shows that the writers who moved most fully beyond those obstacles also idealized middle silence as a phase of rebirth. Part II of the dissertation narrates the experience of silence as the writers represented and worked through it in their pre- and post-lapsus poetry. Drawing on both published and unpublished, complete and incomplete poetic work, Chapter Three demonstrates that Page, Webb, and Cohen all underwent a crisis of poetic authority in the middle of their careers; when they lost confidence in their mastery as "makers" of artistic order and meaning, "silence," a feeling of impotence that they often expressed through images of excess and disorder, began to invade the poems. Chapter Four, finally, illustrates that once these three writers stopped fighting against silence, they learned to embrace it as a receptive and fertile creative condition. Newlove and Marriott's returns to writing were less dramatic than Page, Webb, or Cohen's because they never fully released the shame and guilt that creative obstruction had initially implied for all five writers. The most innovative and confident post-hiatus poetry was composed by the poets who came to believe that fallow periods were in fact an integral part of their creative careers, and that the most sustainable models of creativity are fuelled by the silences at their core.
The Occupy movement in the U.S. is primarily associated with the occupation of outdoor public space and the iconic tents of the encampments. However, a less mediatized but equally distinctive feature ...of the U.S. Occupy movement is the practice of participants gathering to form deliberative assemblies. As in the occupation and square movements elsewhere, the re - appropriation of public space in the U.S. became a highly influential precondition for an emergent form of public, large-group deliberation. The General Assembly (GA), a regular event at Occupy sites in which participants engaged in forms of direct democratic practice, both produced and reflected attested ideologies of horizontalism and egalitarian decision -making. Direct participatory democracy requires elements of process that are structured and fluid, instructional as well as receptive. In the U.S., the emergent processes of the Occupy General Assembly (GA), a real-time interactive localized event which was a common and central feature across U.S. Occupy sites nationwide, were informed by historical elements of Quaker, anti-war movement, feminist movement, and anti-globalization movement practices, among others. Additionally, U.S. Occupy Facilitation Committees, responsible for agenda setting and group discussion moderation during GAs, worked to facilitate General Assemblies using process suggestions provided on international websites written by participants in related movements outside the U.S. In this way, locally emergent discursive practices were influenced by and then fed back in to ongoing global discourses and decision-making processes. This crosspollination of practice reinforced global solidarity and refined local systems of group communication. Participants developed and adapted specific embodied tools for assembly use, including hand signals and the h uman mic or people's mic, in order to facilitate a discursive praxis of egalitarianism within the context of a speech exchange system suited to a large outdoor deliberative body.
