OS JINGLES ELEITORAIS NAS CAMPANHAS PRESIDENCIAIS BRASILEIRAS

O objetivo deste trabalho é resgatar os principais jingles utilizados nas campanhas eleitorais presidenciais com voto direto no Brasil, sob a ótica da propaganda e do marketing político-eleitoral e dentro do contexto social de cada época, procurando descobrir o que eles apresentam em comum. A ideia é descrever as letras das músicas eleitorais e como estas foram usadas como peças publicitárias nas campanhas eleitorais. Para tanto, será efetuado um levantamento e análise em peças de áudio na história fonográfica, na história do rádio e da TV, em busca dessas músicas (jingles), contextualizando e relatando as estratégias utilizadas com essas peças. Uma pesquisa bibliográfica será efetuada com o intuito de conhecer o contexto social e político de cada época, para comparar a letra e o ritmo utilizado em cada jingle.(AU)

Dulce Maria Loynaz' Jardin: Subversive tropological discourse

The purpose of this dissertation is to analyze how the tropes or figurative discourse in Loynaz’s novel, Jardín, becomes a means by which she involves the reader within a text that subverts socio-cultural conventions. Through textual analysis, it explains how the poet communicates her views of the world as a conflictive space where existence is the will to live, life being a human construction like a garden, and a woman’s decision –often frustrated by men– to seek self-realization.^ By tracing some critical studies focused on polarities allegedly present in Jardín, such as: poetry/prose, lyric poetry/novel, word/silence, life/death, character novel/space novel, civilization/barbarism, posmodernismo/vanguardismo, and femininity/feminism, this essay explores Loynaz’s esthetic and ideological codes to demonstrate how opposition can be seen in her novel as part of her arrangement of an artistic philosophy.^ This research refers to three main sources: the semiotician Umberto Eco’s notion of the text’s indeterminacy as an opera aperta, reception theory, and Mikhail Bakhtin’s concept of dialogism. By applying these theories to the analysis of this novel, I seek to show Loynaz’s literary modus (tropological language) and ideological dictum , which correlate oppositions and transform them as a point of departure to reconsider civilized life. The poet is presented as an esthetic force that compels the reader to question some false values, by creating an implicit but intelligent dialogue between him/her and a lyrical text. To describe such literary procedure, I coin in this study the term dialirismo (dialyricism). ^ My essay is centered on the tropes through which Loynaz creates her dialyrical text. By focusing on metaphor, symbol, synecdoche, and metonymy, I examine Jardín as a convergence of the following conceptual aspects: intertextuality, primitivism, and feminist discourse. I argue that Loynaz’s novel is a creative response to the literary tradition, as well as a proposal to understand writing –and reading– as an open, interactive process in search not only of artistic values but also of critical knowledge.^ This exploration shows how the novelist faces a so-called civilized world through the eyes of her fictional character, Bárbara, who confronts patriarchal discourse. It celebrates Loynaz’s poetic representation of this inquisitive woman, in her fenced garden, as a human being who can see, above and beyond an iron curtain, the possibility to overcome an aggressive male-centered civilization.^

Grey Slate

GREY SLATE is a collection of poems that focuses on the natural world in order to explore the mysteries of life with the intent to create a meditation on what it means to be a human being interacting with this world. Inspired by John Keats’ theory of Negative Capability, GREY SLATE does not seek to explain, but to dwell in the mysteries it explores. The poems are tied together through similar images or ideas in order to mimic the way the mind works as it jumps from thought to thought. GREY SLATE also mixes different types of poems: from haiku to sonnet to paradelle, and from lyric to narrative to prose poem. GREY SLATE hopes to inspire readers to take a break from searching for truths and indulge in the beautiful mystery that is life with no need for answers.

The Road from Emmaus

THE ROAD FROM EMMAUS is a collection of 20 personal and lyric essays that explores the narrator’s role as mother and daughter through a close look at significant life events, including her parents’ divorce, a high-risk pregnancy, the death of her father, talking to her daughter for the first time about sex, and accompanying her daughter to the DMV for a learner’s permit. Through examining familial roles and relationships, the narrator’s longing for home emerges as a unifying theme. The essays in THE ROAD FROM EMMAUS vary in style and tone, from light and funny to serious and probing. The collection is divided into five sections, each highlighting a different aspect of the narrator’s life as she evolves from a child, to a young adult, a mother, and a daughter who must help take care of her aging parents.

Asterisms

ASTERISMS is a collection of lyric poetry that seeks to express a sense of awe for the natural world by exploring themes of science, art, and the self. By combining physics and metaphysics, scientific terminology and musings on love, ASTERISMS argues that these seemingly-disparate fields of knowledge can harmonize in unexpected ways. In its style, the collection draws from the works of Dorianne Laux, Pablo Neruda, and Annie Dillard. Most of the poems are written in free-version and are tied together by images of astronomy and wilderness, both modern and prehistoric. Poems about classical music appear as interludes meant to complement others concerned with science and technology, as music too has its own invented language. Like asterisms - ancient inventions meant to personalize the expansive mystery of the night sky - this collection seeks to admire, if not completely understand, our place in the natural world and cosmos beyond.

Okay Cool No Smoking Love Pony

This poetry collection moves from the narrator’s childhood in the marshes of Canada to her coming of age in a new, southern swamp in South Florida. Many of the poems use free verse as well as fairly recent poetic forms like the Golden Shovel and the Pecha Kucha. Others rely on wordplay and nonce forms. Influenced by Hector Veil Temperly, Matthew Zapruder, Dorothea Lasky, Laura Kasischke and Anne Carson, the poems often employ simple language in stream of consciousness, and oscillate between lyric and narrative. These poems are feverish creations inspired by the oracular tradition and induced by the psychic crush of modern life: depression of the body and mind, cultural paranoia, and the decline of nature. The reader is privy not only to the personal biography of the narrator, but also to the inner workings of the narrator’s mind as it encounters and interprets the world.

Firefly curios and sundry lights

Firefly Curios and Sundry Lights contains 33 poems and 55 pages, mostly free verse lyric narratives issuing from various geographic, emotional, and temporal landscapes. The book is divided into four sections which might roughly be titled: "before," examining themes of childhood and death: "on-the-road," relaying the compulsion to travel, "odd-and- ends-limbo," including pieces which have no context within the time line; and "in-one- place-for-now," reflecting modes of communication, ordering, and longing. Other concerns include speculations about existence, observations of nature, and the importance of science as a means of apprehending the world. The work reveals a belief in the interconnectedness of mind and matter, combines seriousness and humor, and displays a sonic sensibility. These poems of solitude and observation are themselves vehicles, their motion a means of dislocation in order to find the self. Firefly Curios and Sundry Lights is smaller than a bread box and you can dance to it.

Chords

CHORDS is a collection of diverse lyric and narrative poems. The book is primarily composed of free verse in the colloquial tradition of James Wright. CHORDS employs the Romantic device of a strong narrative "I," and utilizes four thematic sections, each named after a specific musical chord, which correspond to four periods in the narrator's life. Section one, "Suspended," follows the young narrator through a tumultuous childhood, underscored by family loss and the disruption of a move from Miami to rural Kentucky; section two, "Diminished," details his adolescence and young adulthood, a period of rebellion and confusion; section three, "Augmented," finds the adult narrator contemplating several life-changing events-marriage, the break-up of his rock and roll band, and the dedication of his life to Christ; finally, in "Resolved," the narrator comes to accept the complexities of his life, and to build, from its dissonant notes, a final chord of resolution.

City of a hundred fires

These poems capture the "coming of age" experiences encountered by a Cuban-American narrator in the United States and in Cuba. The poems in the book appear chronologically, that is to say, not in the order they were written, but according to the age of the poet-speaker, ranging from early adolescence to young adulthood. The poems in Part I reveal the fragmented traditions and heritage inherited by a first generation Cuban-American, while questioning the complex merging of the two cultures encountered by the poet-speaker. In Part II, the majority of the poems are set in Cuba, as the poet-speaker travels through the living history of his "homeland" to explore the cultural roots discovered in its landscapes, traditions, relatives and towns, like Cienfuegos-"the city of a hundred fires". The style and language of the poetry become unique to the poet-speaker's own cultural vision, the Cuban-American experience transformed to lyric poetry.

Dar a ver Sertão e Sevilha: matizes hispânicas na poética de João Cabral de Melo Neto

Dar a ver Sertão e Sevilha: matizes hispânicas na poética cabralina is a study on the lyric reading possibilities of Cabralian poetry, from the work of the poet from Pernambuco, that shows the intercultural dialogue and the Spanish poetical approach absorbed by João Cabral de Melo Neto during his Andalusian experience. Hispanic interfaces incorporated by the Cabralian poetry through literature or through the direct contact with the culture are registered on the 133 poems that have Spain as theme, in which we can see the matrix of Hispanic tradition, rich in its diversity, was the preponderant element for the poet João Cabral to discover the core of his lyric backwards. From Hispanic corpus, it will be explored the aesthetical assimilation of Spanish poetry in the work of João Cabral de Melo Neto, with the objective of demystifying the issues of lyrical dullness and anti musicality on Cabralian poetics in which, from the appropriation of Hispanic elements investigated as a signal of lyrics and musicality, originates a reading unattached from the constructivist signal, tessitura evidenced by the critic Antonio Candido since the origin of JCMN poetry with the poem Pedra do sono (1942). The mentioned aesthetics was adopted later on by the literary critics that named it as “brain poetry” for its hermetical configuration, tessitura of rigor, concreteness of language and stiff metrics. The results obtained from this study aim to induce a reading that favors the lyrical acoustic of the Cabralian poetry in the effort to ease the aspects of the arid construction.

Spic'ing into Existence: Epitaph, Epithet, and the Ethnopoetic Imagination

Quién Es, Quién Somos? Spic’ing into Existence claims a four-fold close-reading: first, analysis of texts: from theoretical meditations to (prison) memoir and film. Second, a half dozen central figures appear, largely Latinx and black American. They cut across a score of registers, socio-economics, ideological reservations, but all are, as Carl Carlton sang, poetry in motion. Writers, poets, theologians, pathologists, artists, comedians, actors, students whose vocation is invocation, the inner surge of their calling. Third, the manuscript draws from a series of historical moments—from radical liberation of the late 60s, to contemporary student activism. Finally, this body of work is movement, in all its social, gestural, and kinesthetic viscera. From this last heading, we peel away layers of what I call the ethnopoet, the fascia undoing that reveals its bio-political anatomy, dressing its bare life with kinship speech. First, the social revolutions of the Civil Rights, Black Power, abolitionism, the Black Panthers and Young Lords, boycotts and jarring artistic performances. These events are superficial not in vain sense, but key epicenters of underground murmurings, the workings of a cunning assailant. She robs not lavish estates, but another day to breathe. Gesturally, as perhaps the interlocutor, lies this author, interspersing his own diatribes to conjure her presence. The final branch is admittedly the most intangible. Kinesthetically, we map the nimbleness, footwork lígera of what I call the ethnopoet. Ethnopoet is no mere aggregate of ethnicity and poetry, but like chemical reaction, the descriptor for its behavior under certain pressures, temperatures, and elements. Elusive and resisting confinement, and therefore definition, the ethnopoet is a shapeshifting figure of how racialized bodies [people of color] respond to hegemonic powers. She is, at bottom, however, a native translator, the plural-lensed subject whose loyalty is only to the imagination of a different world, one whose survival is not contingent upon her exploitation. The native translator’s constant re-calibrations of oppressive power apparatuses seem taxing at best, and near-impossible, at worst. To effectively navigate through these polarized loci, she must identify ideologies that in turn seek “affective liberatory sances” in relation to the dominant social order (43). In a kind of performative contradiction, she must marshall the knowledge necessary to “break with ideology” while speaking within it. Chicana Studies scholar, Chela Sandoval, describes this dual movement as “meta-ideologizing”: the appropriation of hegemonic ideological forms in order to transform them (82). Nuestros padres se subieron encima de La Bestia, y por eso somos pasageros a ese tren. Y ya, dentro su pansa, tenemos que ser vigilantes cuando plantamos las bombas. In Methodology of the Oppressed, Sandoval schematizes this oppositional consciousness around five principle categories: “equal rights,” “revolutionary,” “supremacist,” “separatist,” and “differential.” Taken by themselves, the first four modes appear mutually exclusive, incapable of occupying the same plane, until a fifth pillar emerges. Cinematographic in nature, differential consciousness, as Sandoval defines it, is “a kinetic motion that maneuvers, poetically transfigures, and orchestrates while demanding alienation, perversion, and reformation in both spectators and practitioners” (44). For Sandoval, then, differential consciousness is a methodology that privileges an incredible sense mobility, one reaching artistic sensibilities. Our fourth and final analytic of movement serves an apt example of this dual meaning. Lexically speaking, ‘movement’ may be regarded as a political mobilization of aggrieved populations (through sustained efforts), or the process of moving objects (people or otherwise) from one location to another. Praxis-wise, it is both action and ideal, content and form. Thus, an ethnic poetics must be regarded less as a series of stanzas, shortened lyric, or even arrangement of language, but as a lens through which peripheralized peoples kaleidecope ideological positions in an “original, eccentric, and queer sight” (43). Taking note of the advantages of postponing identifications, the thesis stands its ground on the term ethnopoet. Its abstraction is not dewey-eyed philosophy, but an anticipation of poetic justice, of what’s to come from callused hands. This thesis is divided into 7.5 chapters. The first maps out the ethnopoet’s cartographies of struggle. By revisiting that alleged Tío Tomas, Richard Rodriguez, we unearth the tensions that negatively, deny citizenship to one silo, but on the flipside, engender manifold ways of seeing, hearing, and moving . The second, through George Jackson’s prison memoirs, pans out from this ethnography of power, groping for an apparatus that feigns an impervious prestige: ‘the aesthetic regime of coercion.’ In half-way cut, the thesis sidesteps to spic into existence, formally announcing, through Aime Cesaire, myself, and Pedro Pietri, the poeticization of trauma. Such uplift denies New Age transcendence of self, but a rehearsal of our entrapment in these mortal envelopes. Thirdly, conscious of the bleeding ethnic body, we cut open the incipient corpse to observe her pathologist. Her native autopsies offer the ethnic body’s posthumous recognition, the ethnopoetics ability to speak for and through the dead. Chapter five examines prolific black artists—Beyonce and Kendrick Lamar—to elide the circumvention of their consumption via invoking radical black hi/her-stories, ones fragmenting the black body. Sixth, the paper compares the Black Power Salute of the 1968 Mexico City Olympics to Duke’s Mi Gente Boycott of their Latino Student Recruitment Weekend. Both wielded “silent gestures,” that shrewdly interfered with white noise of numbed negligence. Finally, ‘taking the mask off’ that are her functionalities, the CODA expounds on ethnopoet’s interiority, particularly after the rapid re-calibration of her politics. Through a rerun of El Chavo del Ocho, one of Mexican television’s most cherished shows, we tune into the heart-breaking indigence of barrio residents, only to marvel at the power of humor to, as Friday’s John Witherspoon put it, “fight another day.” This thesis is the tip of my tongue. Y por una vez, déjala que cante.

Metáforas del amor en la poesía de la Grecia antigua (I): la épica y la lírica arcaicas

Partiendo del concepto de metáfora cognitiva, que complementa al más conocido de metáfora literaria, y analizando la base conceptual que a ambas subyace, pretendemos un cuidadoso análisis de los textos de poesía épica y lírica arcaicas, sin olvidar la importancia fundamental del contexto cultural en que estos surgen, para obtener una mejor comprensión de la forma en que los griegos conceptualizaban el sentimiento amoroso.

Leopoldo María Panero e Lois Pereiro: poéticas da transgresió

En este artículo nos aproximaremos a dos poéticas que comparten trazos muy similares entre sí: la de Leopoldo María Panero y la del escritor gallego Lois Pereiro, dos figuras que renuevan la lírica del último cuarto del siglo XX. Este estudio no se centrará exclusivamente en las similitudes entre las poéticas, sino que abordará también la biografía de los dos autores, muy presente en sus creaciones literarias.

Reassembled, Slightly Askew:Composition & Sound Design

Reassembled, Slightly Askew is an autobiographical, immersive audio-based artwork based on Shannon Sickels’ experience of falling critically ill with a rare brain infection and her journey of rehabilitation with an acquired brain injury. Audience members experience Reassembled individually, listening to the audio via headphones while lying on a bed. The piece makes use of binaural microphone technology and spatial sound design techniques, causing listeners to feel they are inside Shannon’s head, viscerally experiencing her descent into coma, brain surgeries, early days in the hospital, and re-integration into the world with a hidden disability. It is a new kind of storytelling, never done before about this topic, that places the listener safely in the first-person perspective with the aim of increasing empathy and understanding. Reassembled… was made through a 5-year collaboration with an interdisciplinary team of artists led by Shannon Sickels (writer & performer), Paul Stapleton (composer & sound designer), Anna Newell (director), Hanna Slattne (dramaturgy), Stevie Prickett (choreography), and Shannon’s consultant neurosurgeon and head injury nurse. It’s development and production has been made possible with the support of a Wellcome Trust Arts Award, the Arts Council NI, Sonic Arts Research Centre, Belfast's Metropolitan Arts Centre, and grants from the Arts & Disability Award Ireland scheme. In its 2015 premiere year, Reassembled had 99 shows across Northern Ireland, including at the Cathedral Quarter Arts Festival (the MAC, Belfast) and BOUNCE Arts & Disability Forum Festival (Lyric Theatre, Belfast). It was awarded 5 stars in the Stage, a Hospital Club h100 Theatre & Performance Award, and been shared at medical conferences and trainings across the UK. It continues to be presented in diverse artistic and educational contexts, including as part of A Nation’s Theatre Festival in 2016 at Battersea Arts Centre in London where it was given 4 star reviews in the Guardian, Time Out London and the Evening Standard. "A real-life ordeal, captured by a daring, disorientating artistic collaboration, which works brilliantly on so many levels…It should be available on prescription.” — The Stage ★★★★★ www.reassembled.co.uk Audio clips and documentary footage available here: http://www.paulstapleton.net/portfolio/reassembled-slightly-askew

Popsongs im Deutschunterricht : Wie man schwedische Schüler und Schülerinnen durch deutsche Popsongs für Lyrik interessieren kann

It can be hard to inspire teens for poetry and Lyric. Especially when it is to be performed in a foreign language. I am thinking of myself at that age. German was absolutely not my favorite subject. It was far too theoretic and I often did not get through the grammar. I have often thought about how I would have managed the subject of German, if the lessons had been designed in a different way. At the age of 16, I decided to end my German studies, since they impaired the rest of my grades. What did excite me at the age of 13-18 years? Love was of paramount importance. And what touched the most about Love? For me it was the music, and I think that is the same for many other teenagers. Would it be possible to achieve a different result by the processing of German lyrics in the classroom, than my teacher did? If so, how can we design the teaching, so that it serves its purpose, and follows the curriculum?