Manuela, la impensable: un diálogo entre Amor y gloria: el romance de Manuela Sáenz y el Libertador Simón Bolívar (1952), de María Jesús Alvarado, y Manuela Sáenz, la divina loca (195?), de Olga Briceño (Estudios)

En este artículo se analiza el diálogo que establecen las intelectuales latinoamericanas con la Historia oficial por medio de determinadas ficciones de archivo publicadas en la década de 1950. Al respecto, es importante tener en cuenta que tras la adquisición de derechos civiles por parte de las mujeres latinoamericanas en las décadas de 1930 y 1940 –cuando conquistaron el derecho al voto, ingresaron masivamente a las universidades y se erigieron como posibles representantes de los intereses públicos–, las intelectuales del continente demandaron la adscripción a alguna genealogía histórica que les proporcionara coherencia y profundidad identitaria. En muchas ocasiones debieron echar mano del discurso literario para negociar su existencia presente con el pasado histórico y ampliar los límites de la fundación continental con la visibilización de las voces y subjetividades femeninas. En este marco se publican los dos libros que componen el corpus: Manuela Sáenz, la divina loca (195?), de la venezolana Olga Briceño, y Amor y gloria: el romance de Manuela Sáenz y el Libertador Simón Bolívar (1952), de la peruana María Jesús Alvarado. Estas lecturas permitirán reflexionar en torno al proceso de historización de la alteridad demandado por las nuevas ciudadanas del continente, determinar sus alcances y la subjetividad resultante de este enfrentamiento.

The interannual variability of energy transports within and over the Atlantic Ocean in a coupled climate model

To gain a new perspective on the interaction of the Atlantic Ocean and the atmosphere, the relationship between the atmospheric and oceanic meridional energy transports is studied in a version of HadCM3, the U.K. Hadley Centre's coupled climate model. The correlation structure of the energy transports in the atmosphere and Atlantic Ocean as a function of latitude, and the cross correlation between the two systems are analyzed. The processes that give rise to the correlations are then elucidated using regression analyses. In northern midlatitudes, the interannual variability of the Atlantic Ocean energy transport is dominated by Ekman processes. Anticorrelated zonal winds in the subtropics and midlatitudes, particularly associated with the North Atlantic Oscillation (NAO), drive anticorrelated meridional Ekman transports. Variability in the atmospheric energy transport is associated with changes in the stationary waves, but is only weakly related to the NAO. Nevertheless, atmospheric driving of the oceanic Ekman transports is responsible for a bipolar pattern in the correlation between the atmosphere and Atlantic Ocean energy transports. In the Tropics, the interannual variability of the Atlantic Ocean energy transport is dominated by an adjustment of the tropical ocean to coastal upwelling induced along the Venezuelan coast by a strengthening of the easterly trade winds. Variability in the atmospheric energy transport is associated with a cross-equatorial meridional overturning circulation that is only weakly associated with variability in the trade winds along the Venezuelan coast. In consequence, there is only very limited correlation between the atmosphere and Atlantic Ocean energy transports in the Tropics of HadCM3

Ted Hughes: the development of a children's poet

This article looks at how Ted Hughes' poetry for children developed over more than 30 years of publication. It traces the movement from his earlier, more conventional rhyming poems, such as Meet My Folks! (1961) and Nessie the Mannerless Monster (1964), to the mature, free verse "animal poems" for older readers of Season Songs (1976c), Under the North Star (1981) and the "farmyard fable" What is the Truth? (1984). The article argues that the later lyrical poems for younger readers where Hughes returned to rhyme, The Cat and the Cuckoo (1987) and The Mermaid's Purse (1993), represent an undervalued final phase of Hughes' work for children which is rarely discussed by critics. The discussion considers Hughes' changing attitude to the concept of the "children's poet" at different periods of his career. Reference is made throughout to Hughes' own writing about children and poetry, such as Poetry in the Making (1967), and to parallel developments in his poetry for adults.

WE

Inspired by the dystopian fiction of Yevgeny Zamyatin and the minimal synthesiser music of the early 80s, London-based artist duo Pil and Galia Kollectiv are joined by Victor M. Jakeman and Ruth Angel Edwards to present popular chart hits in new versions, turning songs about 'me' and 'you' into songs about 'us', and replacing the individual 'I' with the collective 'WE'. The performance WE reveals the latent politics of the love song by annihilating its liberal subject; through the simple substitution of the plural for the singular, intimacy becomes a form of collective action and the unique the universal. Sonically, WE follows in the footsteps of bands like The Better Beatles, who sought to improve on the canon of popular music by stripping it bare, even. WE, performed at Kunsthall Oslo, Royal Standard Liverpool and ICA London, is also released on a 10" vinyl record and accompanied by a music video commissioned by Tate Britain for Tate Shots.

Svetlana

Svetlana is a series of photographs documenting rehearsals for an opera that was never performed. Written by Waw Pierogi, founder of the 1980s group Xex, little is known of the opera, only that it was inspired by Svetlana, a character from one of their songs and the daughter of Stalin, who defected from the Soviet Union twice. A fictional Svetlana and a bogus Leon Theremin - inventor of the eponymous hands-free electronic musical instrument who was later kidnapped by the KGB - inhabit an archive of photographs from a session of stage rehearsals and location shots. Combining Svetlana’s narrative with a conspiracy to create sound weapons, this documentation of theatre workshops, styled after Bauhaus drama class exercises, produces an entirely spurious story of espionage, sonic weaponry and the clash between love and ideology. The performers sport geometric military costumes, brandishing sculptural forms fashioned after the acoustic locators that preceded radar technology. These redundant locators were still kept in use as props, concealing the introduction of radar from the Germans. They perfectly capture the theatricality of military might and suggest the rhetorical force of sound or even the political power of art. Svetlana was originally produced as part of a residency at S1 Artspace, Sheffield, and was later shown at Tatty Devine, alongside a special capsule collection of jewellery made by Tatty Devine.

What An Collins was reading

An Collins’s 1653 collection of poems, Divine Songs and Meditacions, contain all that we know about the writer. But in these poems she tells us much about the books that she had read, and about her indebtedness to the catechetical works of the Elizabethan puritan theologian William Perkins in particular.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Storytelling in song: television music, narrative and allusion in 'The O.C.'

Television’s long-form storytelling has the potential to allow the rippling of music across episodes and seasons in interesting ways. In the integration of narrative, music and meaning found in The O.C. (Fox, FOX 2003-7), popular song’s allusive and referential qualities are drawn upon to particularly televisual ends. At times embracing its ‘disruptive’ presence, at others suturing popular music into narrative, at times doing both at once. With television studies largely lacking theories of music, this chapter draws on film music theory and close textual analysis to analyse some of the programme's music moments in detail. In particular it considers the series-spanning use of Jeff Buckley’s cover of ‘Hallelujah’ (and its subsequent oppressive presence across multiple televisual texts), the end of episode musical montage and the use of recurring song fragments as theme within single episodes. In doing so it highlights music's role in the fragmentation and flow of the television aesthetic and popular song’s structural presence in television narrative. Illustrating the multiplicity of popular song’s use in television, these moments demonstrate song’s ability to provide narrative commentary, yet also make particular use of what Ian Garwood describes as the ability of ‘a non-diegetic song to exceed the emotional range displayed by diegetic characters’ (2003:115), to ‘speak’ for characters or to their feelings, contributing to both teen TV’s melodramatic affect and narrative expression.

80,000,000 hooligans. Discourses of resistance to racism and xenophobia in German punk lyrics 1991-1994

The late eighties and early nineties in Germany were not only marked by the fall of the Wall and German unification, but also by the dramatization of the political issue of asylum, resulting in outbreaks of xenophobic violence. In the context of the asylum debate of the early nineties, a number of punk bands produced songs between 1991 and 1994 which criticise the xenophobic climate created by the asylum debate and undermine an exculpatory official discourse about the violent attacks. The lyrics of these songs will be analysed as instances of counter-discourse emerging from a subcultural sphere that nurtures a critical distance towards hegemonic public and political discourse, arguing that Critical Discourse Analysis should pay more attention to defiance of hegemonic discourse.

Is there a Rhythm Of The Rain? An analysis of weather in popular music

Weather is frequently used in music to frame events and emotions, yet quantitative analyses are rare. From a collated base set of 759 weather-related songs, 419 were analysed based on listings from a karaoke database. This article analyses the 20 weather types described, frequency of occurrence, genre, keys, mimicry, lyrics and songwriters. Vocals were the principal means of communicating weather: sunshine was the most common, followed by rain, with weather depictions linked to the emotions of the song. Bob Dylan, John Lennon and Paul McCartney wrote the most weather-related songs, partly following their experiences at the time of writing.

“Les petits renards qui détruisent la Vigne du Seigneur Sabaoth”. Innocent III et le Cantique des cantiques

This article examines medieval interpretations of the Song of Songs and their appearance in the correspondence of one of the greatest popes of the High Middle Ages: Innocent III (1198-1216). Innocent III’s depiction of heretics in the south of France as ‘the little foxes which destroy the vineyard of the Lord of Hosts’ was not unprecedented: decades earlier Saint Bernard of Clairvaux had also likened the ‘little foxes’ to heretics in his sermons. Bernard’s renown both as mystical theologian and tireless political advocate of the papacy meant that Innocent is likely to have drawn on such sermons for inspiration when composing his correspondence to the Christian faithful. Innocent’s references to the Song of Songs also provide conclusive evidence that a significant number of his letters have a highly personal flavour and that we really can discern a pope’s own ‘voice’ through his correspondence.

Five Little Monkeys Jumping on the Bed : En litteraturstudie om hur arbete med sång, rim och ramsor kan främja barns utveckling av engelska som främmande språk i grundskolans tidigare år.

Syftet med litteraturstudien är att undersöka hur arbete med sång, rim och ramsor kan främja yngre elevers språkutveckling i engelska som främmande språk. Detta görs genom att fokusera på främjandet av barns språkinlärning, hur lärare bör arbeta med sång, rim och ramsor inom engelska som främmande språk, samt lärares attityder till ett sådant arbetssätt. Arbetet genomfördes som en systematisk litteraturstudie innehållande en bakgrund med relevant teori, samt analys av fem vetenskapliga studier rörande ämnet. Dessa gav möjlighet till en bred bild av området, då länder och perspektiv varierade. Studierna valdes ut genom sökning i databaser efter relevans och tillförlitlighet. I studiernas resultat framgick att majoriteten av tillfrågade lärare och elever var positivt inställda till arbete med sång och ramsor i engelskundervisning, och den språkutveckling dessa metoder innebar. Genom arbete med läraren som förebild motiverades eleverna. Dock fanns en avsaknad av material och kunskap för att kunna genomföra och bedöma undervisning innehållande sång och ramsor. En avsaknad av rim i de studier som analyserats berörs även i studien, likaså en brist på svenska studier. Sammanfattningsvis verkar sång och ramsor enligt de granskade studierna ha ett värde i engelskundervisning. Dock finns det behov av mer forskning och kunskap för att få starkare underlag för användning av dessa metoder i undervisning.

Sånger, rim och ramsor inom engelskundervisning : Lärares attityder till användning av sånger, rim och ramsor för att gynna elevers engelska språkutveckling i årskurs F-3

Syftet med detta arbete är att få en ökad insikt i vad svenska lärare har för attityder till arbete med sång, rim och ramsor i engelskundervisning för grundskolans tidigare år. Frågeställningarna är: 1. Vad har lärarna i studien för attityder till arbete med sång, rim och ramsor inom engelskundervisning? 2. Hur arbetar lärarna i studien med sång, rim och ramsor inom engelskundervisning? 3. Hur ser lärarna i studien på vikten av sin egen roll i arbetet med sång, rim och ramsor i engelskundervisning? I studien utfördes sex stycken semi-strukturerade intervjuer med lärare som arbetar eller nyligen arbetat med engelskundervisning för årskurserna F-3 i en mellanstor kommun i sydvästra Sverige. I resultatet framkom att det finns betydande skillnader i hur individuella lärare arbetar med och ser på arbete med sång, rim och ramsor. Även flertalet likheter framkom, som i sin tur liknade de resultat från tidigare forskning som tas upp i bakgrunden. Flera lärare har en mycket positiv attityd till arbete med sång, rim och ramsor i engelskundervisningen, men det råder stora skillnader i hur lärarna upplever det faktiska värdet för engelskundervisningen och elevernas språkutveckling. Hur lärarna arbetar med sång, rim och ramsor varierar också stort mellan olika lärare, men återkommande knöt lärarna dessa moment till de teman och övriga ämnen som behandlades i undervisningen. Gemensamt var också en bredd i material och medieringsmetoder, samt ett multimodalt arbete som ofta kombinerade ljud, bild och rörelser. Gällande lärarnas roll var de helt eniga i att lärarens engagemang och deltagande hade en stor inverkan på hur arbetet med sång, rim och ramsor mottogs av eleverna. Enligt intervjusvaren deltog alla lärarna i dessa moment, och lät sig inte hindras av faktorer som självförtroende eller bristande kunskaper. Som vidare forskning föreslås mer djupgående studier i lärares attityder, kombinerat med fältstudier och elevintervjuer, för att på så vis uppnå en mer heltäckande bild av arbete med sång, rim och ramsor i svensk kontext.

The Role of Motivational Strategies in the Upper Elementary Classroom : A systematic literature review about teacher strategies that promote self-confidence, motivation and a conducive learning environment

The aim of this literature review is to investigate which strategies teachers use to motivate pupils to communicate orally in English. The literature review also investigates how these teacher strategies affect pupils. The methodology used for this investigation is a systematic literature review. Various databases have been used when searching for literature. Scientific articles and theses have been searched for. They have also been read and analyzed before they have become a part of this review. The results indicate that some teachers feel insecure when speaking English. Therefore Swedish is spoken in many language classrooms. Teachers speaking in front of the class is the traditional way of teaching, and it does not seem to be a strategy who influences pupils positively. If teachers speak the target language among pupils they often get more motivated and focused pupils who feel comfortable speaking English. Young pupils are fast learners. By exposing them to the English language in early ages they receive great opportunities to learn a foreign language and strengthen their self-confidence. Drama, songs and rhymes are preferable strategies to use when teaching young learners. What position teachers decide to take in the classroom is also a significant element when teaching foreign languages.