Mujer y poesía:la inscripción de la subjetividad femenina y la conciencia creativa del lenguaje poético

This article explores the place of Spanish women poets within the Spanish cultural space at the end of the 20th century. In clear opposition to the arguments presented by the editors and many of the articles included in this volume, Raquel Medina sees in the most recent poetry written by women an evolution towards a new and independent female poetic voice which clearly fights against the supremacy of male poetic voices and their manipulative poetic language. No longer stealing the male poetic word is necessary for the last generation of Spanish women poets. On the contrary, these women poets create their own language, their own poetic universe, and demolish a long tradition of male poetry which situated the female subject as a dead object of male poetry.

Tradition versus technology:careers fairs in the 21st Century

The traditional methods of graduate recruitment do not adequately meet the needs of the changing profile of students and graduates. As industry becomes internationalized, the needs of employers are also changing. Graduate recruitment is in response to short term needs and varying levels of experience are required. A case study method was used in Dublin Institute of Technology to evaluate effectiveness of a virtual careers fair in providing greater access to job opportunities for students and graduates. Access by employers to potential employees was also measured. Findings showed that while access improved, other issues requiring attention emerged.

Tradition, innovation and reform in local development. Conference proceedings

Understanding Local Development as the interaction of a complex mosaic of measures, resources and actors requires having an interdisciplinary perspective.‘Local’ means small-scale, focused, and within reach - one would suggest -, while comparing or understanding inter-regional dynamics (putting what we mean by ‘locality’ on the global map) is what brings into sight traits, which can be treated as universal, typical or individual. The sections of the conference tackled this kaleidoscope of themes that has evolved around tradition, innovation and reform, with roots in both academia and policy-making connected to entrepreneurship, governance, economic and social structure, the labor market and human capital.

Alberto Girri, or poetry as hermeneutic reason

One of the main factors that makes the poetry of the Argentine Alberto Girri (1919–1991) a whole world of its own is my argument that in a fragmentary world like the present, poets search for a formal integrity which in the act of reading creates not only their own inner world but also the readers'. It is important to insist on this turning point in which most of the Symbolist work is circumscribed. Later, this would be of capital importance for the avant-garde as well as for the post-avant-garde: Mallarmé's Un coup de dés jamais n'abolira le hasard would make poetry something absolutely modern. An original distribution of the white and black opened a new space for the text, shifting the then dominant phonocentrism. My close reading of this author as well as the given theoretical frame avoids the failure into an instrumental use either of the page or of the writing but ignoring physical reciprocity. What follows is, that this “shift” privileged heightened vision over audition of the “musical score”. Thus, an intense materialization of the language is achieved that increases the anonymity of the text. ^ Following this new arrangement of words, so to speak, Girri's poetic work now drives deeply inside words in order to lend them dignity from meaning. I conclude that the best way to “render” this poetry with religious aim (L. “re-ligare” to bind the fragmented) is by way of the philosophy of language. I also propose that Girri's task as a translator, mainly from English poetry, represented—with Jorge Luis Borges—a paradigmatic shift in the Spanish American horizon which had been under “logocentric” French rule since the time of Independence. This seismic change of perspective in late Modernism and post-Modernism is represented by a radical screening of Romance rhetoric, it was a shift not only over the inherited mother tongue but over his own work which was increasingly moving towards transcendent and/or metaphysical poetry. ^ Therefore, I did find that Girri's poem was constructed as a mirror closely related to that which was represented in the angelological tradition. ^

La ciudad, el poeta y su familia melancolica (Poesia Chilena de los ultimos 50 anos)

This dissertation explored the relationship among poets, cities, and the construction of nation-ness. It was an interpretive reading of Chilean poetry and Chilean-ness as a way of inventing the nation from its very origins, starting with the colonial epic poem La Araucana and the founding of Santiago, its capital city. In this dissertation, poetry not only dealt with cities or "city poets" but also with the very conception, drafting, and systematic invention of cities as a "dream of order". The construct of a "community" of Chileans has maintained family ties with "Melancholy" in the collective imagination. This structure of melancholy reinforced the idea of "an order and a community" passed along by poets through generations. This dissertation also explored the moment when this melancholic family was fractured, divided, and Santiago was darkened by the events of September 11, 1973 and the rise of dictatorship, brutality, and censorship. ^ The methodology employed to examine different aspects of the construction of the city-nation included theoretical approaches such as Benedict Anderson's idea of nations as "imagined communities," Ángel Rama's analysis of Latin American urban rationality in his book The Lettered City , and the idea of the poet as an urban seer or visionary, the "flâneur" studied by Walter Benjamin in Charles Baudelaire's poetry. A central finding was that this "imagined community" have been severely transformed since 1950. In Chilean poetry, two works served as major referents: Pablo Neruda's Canto General, a totalizing idea of collective identity carved from the stones of the ruins of Machu Picchu, and Nicanor Parra's Poemas y Antipoemas (1954), which begun to illustrate the slow "decomposition" of the "The Lettered City." Among such conflicting images of (post-)modernity, poet Enrique Lihn became the central counter-figure who put an end to a long tradition of producing canonical nation-building cultural artifacts. His book El paseo Ahumada (1983) impacted the new generations of Chilean poets. The conclusion brought together the five-century history and diverse poetic experiences of the traditional Lettered City with the latest currents of marginalized urban poetry (1987-2003), the so-called "barbarians," flâneurs who were (re)inventing Chilean-ness in the globalized, and anti-Utopian city of "Sanhattan." ^

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.^

Ballots for Equality: An Approach to the Radical Tradition in U.S. Electoral Politics

Posing radical challenges to structural inequality is the defining quality of the Left. What role electoral politics might play in such processes is a dilemma of radical politics, the contours of which vary by historical and national contexts. For the U.S. Left there is a distinctive aspect of the dilemma directly related to the failure of a "Left" party of even the most moderate social democratic type to take root, creating a seemingly never ending debate over the value if any of "third party" progressive organizing. This debate is current, as illustrated by three divergent approaches; independent left electoral politics (Socialist Alternative), organizing within the less conservative of the dominant parties (Progressive Democrats of America), and a social movement focus outside the electoral process (Occupy Movement). The present day examples of alternative Left strategies noted here in passing are but three of many such specific organizational options for progressive politics. This article does not seek to advocate for any one of these options to the exclusion of the others but rather seeks to provide historical perspective.

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.

The expression of tradition: perennial gardening in St. John's, Newfoundland

In order to understand the processes which effect the individual realization of garden design, I have studied the practise of perennial gardening in St. John's, Newfoundland. I begin with an examination of the practical constraints on design intentions resulting from difficult growing conditions, and a limited market of plant materials, relevant gardening literature and skilled· garden workers. I establish the local repertoire of design models within which individual gardens are executed. Finally, I record the "text" of six ·perennial gardens and the commentary of their principal designers in order to examine both the implicit and explicit considerations informing the structure of the gardens. A sample of gardens has been examined in order to represent two principal performance contexts -- the public garden and the private garden -- and a characteristic selection of garden style and plant material is observed. The public gardens typically recall the "traditional" use of perennials in Newfoundland gardens through the selection of "old fashioned" plant species and through the overall design of the bed. In contrast, the private gardeners have generally adopted the style of the more recently fashionable "perennial border". However, below the level of design the private gardeners continue to express a sense of tradition in the _repetition of conventions of behaviour and expression among the gardeners' families and friends, in the propagation of individual plants grown by the gardeners' parents, and in the maintenance of a family interest in gardening. This examination of the practise of gardening, thus, leads away from the folklorists' traditional focus on the continuity of the traditional "item" towards an understanding of tradition as an expression of continuity which is given tangible shape according to the avenues of shared communication within particular performance contexts.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.

L'"authenticité" sénégalaise, une dialectique de l'ouvert et du fermé : recension de l'"Avenir de la tradition" de Souleymane Bachir Diagne

Cette note de recherche s’intéresse à l’article de Souleymane Bachir Diagne « L’avenir de la tradition » paru dans l’ouvrage Sénégal. Trajectoires d’un État, dirigé par Momar-Coumba Diop et publié par le Codesria en 1992. Quoique datée, cette étude demeure déterminante pour qui souhaite alimenter une réflexion nuancée sur l’identité collective, au Sénégal tout particulièrement, mais aussi, sur l’ensemble du continent africain trop souvent coincé dans l’antagonisme conceptuel de « la tradition contre la modernité ».

Cosmologie, mythologie et récit historique dans la tradition orale des Algonquins de Kitcisakik

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Le roman de Guillaume d'Orange de la tradition cyclique à la mise en prose

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.