Mobilising of the German 1848 Protest Song Tradition in the Context of International Twentieth Century Folk Revivals

The rediscovery of democratic traditions of folk song in Germany after the Second World War was not just the counter-reaction of singers and academics to the misuse of German folk song by the Nazis. Such a shift to a more ‘progressive’ interpretation and promotion of folk tradition at that time was not distinct to Germany and had already taken place in other parts of the Western world. After firstly examining the relationship between folk song and national ideologies in the nineteenth century, this article will focus on the democratic ideological basis on which the 1848 revolutionary song tradition was reconstructed after the Third Reich. It will look at how the New Social Movements of West Germany and the folk scene of the GDR functioned in providing channels of transmission for this, and how in this process a collective cultural memory was created whereby lost songs – such as those of the 1848 Revolution – could be awakened from extinction. These processes will be illustrated by textual and musical adaptations of key 1848 songs such as ‘Badisches Wiegenlied’ (Baden Lullaby), ‘Das Blutgericht’ (The Blood Court) and ‘Trotz alledem’ (For all that) within the context of the West German folk movement and its counterpart in the GDR.

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.

Sexual behavior: Ultrasonic postejaculatory song of the male rat

During the refractory period that follows ejaculation, the male rat regularly emits 22-kilohertz vocalizations. These cease after about three-fourths of the total period has elapsed, and this corresponds to an "absolute refractory period" during which the male cannot spontaneously initiate copulation. Similar 22-kilohertz vocalizations occur in other social contexts, and in general they appear to be desist-contact signals.

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.

ORIENTALIZATION AND SYNTHESIS IN THE HELENA KOLODY AND ALICE RUIZ S’S LYRIC

RESUMO: A lírica de Helena Kolody e Alice Ruiz S contribuem para propor (re)significações à obra kolodyana no contexto da Literatura Brasileira. Os temas recorrentes na lírica de Kolody e Ruiz S são o tempo, a solidão, a memória, a efemeridade e permanência, a viagem, entre outros. Com vários livros publicados, antologias e obras completas, Helena Kolody e Alice Ruiz S realizam um fazer poético enquanto busca da síntese, projetada nas formas escolhidas e no enxugamento dos textos. Os poemas sintéticos, tais como os dísticos, tercetos, quadras, epigramas, tankas e haicais (poesia de origem japonesa), são formas poéticas escolhidas pelas poetas. PALAVRAS-CHAVE: Poesia; Síntese; Helena Kolody; Alice Ruiz S; “tankas e haicais” (Poesia Japonesa).  http://dx.doi.org/10.5935/1981-4755.20160007  

BETWEEN THE SONG AND THE TALE: EYE EYE FOR EYE OF CHICO BUARQUE NUS: EYES BY MIA COUTO

This paper proposes a reflection on the lyrics Eye to eye, written by Chico Buarque, and the tale nude Eyes: Eye of the Mozambican writer Mia Couto, writing to compose the collection This story is different: for ten thousand songs by Chico Buarque, organized by journalist Ronaldo Bressane in 2010. this book ten writers recreate Songbook carioca composer, with total freedom to reinvent prose the song they chose. In the work there are tales that are based on stories faithfully to music by Chico Buarque, others use them as soundtrack, scenery, atmosphere, some of the songs lend their structures and there are those who only use it as a theme. This paper then turns to the relationship built between fiction and music, watching the narrative dialogue established between the lyrics by Chico Buarque and the short story by Mia Couto, the fidelity pact established with the source text and the whole narrative structure that comes to life under the eye of Mia Couto. Finally, throughout the article we use the theoretical assumptions discussed as Silviano Santiago, Umberto Eco, Costa Lima, Leonor Arfuch among others so as to exploit the full context of this engaging narrative.

THE MINIMUM VOICE: FEMININE MODES OF SUBJECTIVITY IN THE SONG

This paper  analyses  the relation of feminine voice performance  in the years of radio age and the way the brazilians singers sings today.  The goal is to analyze enunciative traces of a singular subjectivity anchored in the singing voice. The paper focus the moment, since the years of 1980, when the feminine voice no longer sounds like the  singers of the  gold radio time. In this period, to display a dramatic mark  in the voice was the production conditions of the singing woman. In the area of ​​the French school of discourse analysis, this paper is a part of a larger research in progress. We intend to describe the certain mode of feminine subjectivity acting  in the voice as an act of enonciation.

THE GALICIAN-PORTUGUESE LYRIC AND THE 17TH-CENTURY LOVE POETRY: ARTS OF LOVE, SONGS AND WRITTEN SONGS

In this paper, we discuss important echoes of Galician-Portuguese lyric that remain in the 17th-century love lyric poetry produced in Portugal. In order to achieve this main objective, we highlight some specificities of the troubadours’ lyric and of the 17th-century poetry, particularly the fundamentally musical character of the troubadours’ songs as opposed to the fundamentally written character of the 17th-century poems. This contrast indicates that they are compositions from different times (predominantly the 13th and the 17th centuries) and produced according to distinct poetic conceptions. However, they are compositions which are also similar in many ways, and whose similarities, especially regarding the lyrical genre, point to similar quests for perfect practice of love, outlining “arts of love” understood as unsystematic precepts of loving which are practiced in poetry. In this article, we intend to show that these poetic loves are technically conceived and, as historical constructs, they differ from each other, since they are characterized by their peculiar moments of achievement. However, they are not isolated in the time. As mentioned above, the troubadours’ songs are essentially musical while the 17th-century poems, as indicated by the prevalent poetic preceptive in their time, are essentially written. Nevertheless, those trobar songs reverberate in these poems (“written songs”) and in both kinds we read and listen to similar precepts of love, as though we were in labyrinths of love echoes with no way out.