Word order in Yiddish narrative discourse

Based on data from spoken narrative discourse in Yiddish, this paper analyses two structures common in Yiddish narrations: The placement of the finite verb in the first position of a declarative sentence, and topicalization.Like German, Yiddish word order is generally centered around a verb-second rule. However, both Yiddish and spoken German show configurations of word order that go against the rule, where the finite verb occupies the first position of the utterance. From a functional-pragmatic point of view, these structures can be said to serve special purposes in the interaction between speaker and listener, sometimes in particular discourse types.Differences and similarities in word order between Yiddish and German enable us to comment on the relationship between these two closely related languages.

Poetry + Electricity = Rock’n’Roll:Über Lyrik, Songtexte und Musikerromane

Uwe Schütte über Lyrik, Songtexte und Musikerromane im Zeitalter der Popkultur

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. ^

Women defending themselves: Cuban Romantic feminine voices (poetry and short stories)

Throughout history, women have played an important role in literature. Nevertheless, since Sappho's poetry until now, feminine voices have had to struggle for recognition of their works. ^ Before the nineteenth century, women were almost ignored in Spanish literature. Society kept them as “ángeles de la familia,” taking care of their homes, husbands, and children. Some of them, such as María de Zayas y Sotomayor in Spain and Sor Juana Inés de la Cruz in Mexico, complained about their situation in their writings. However, they expressed their fight not as a generation but as individuals. ^ In the nineteenth century, the ideas and ideals of Romanticism, were brought to Latin America from Europe. Cuba was among those countries where the new movement took roots. Initiated by Gertrudis Gómez de Avellaneda, a group of women began to participate in literary reunions, and to found newspapers and magazines where works authored by women, dedicated to feminist ideas, were published. They indeed through literature started to live out womanhood in order to intellectually leave the ideological prisons where society had been keeping them. ^ This study scans the literary works of all Romantic women writers in Cuba. It specifically analyzes poetry and short stories, and investigates how these authors expressed themselves in their works against the patriarchal society, where they lived and wrote their books. An eclectic critical method has been used. ^ Findings were very revealing. Only three of the fourteen writers studied in my dissertation had been previously mentioned by major critics. Most of them had been ignored. However, the greatest discovery was that they prompted something new: For the first time they projected themselves as a group, as a collective consciousness, and this fact established a difference with former women writers in Cuban literature before Romanticism. In other words, they produced a “Renaissance” in Cuba's literature. In spite of how they lived between 1820 and 1900, their struggles for women's rights have linked them to our current times. ^

The Cuban Poetry of Alfonso Camín, Father of Afro-Cuban Poetry : Lecture by Victor Puertodan

This flyer promotes the event "The Cuban Poetry of Alfonso Camín, Father of Afro-Cuban Poetry : Lecture by Victor Puertodan" cosponsored by the FlU Initiative for Spanish and Mediterranean Studies.

Virgilio Piñera: Poetry, Nation, and Differences, Book Presentation by Author Jesús E. Jambrina

This flyer promotes the event "Virgilio Piñera: Poetry, Nation, and Differences, Book Presentation by Author Jesús E. Jambrina" and is part of the SIPA at Books & Books series. Hosted at Books & Books in Coral Gables.

Constructing desire : Alfred Tennyson, Walt Whitman and the development of homoerotic desire in elegiac poetry

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

Constructing desire : Alfred Tennyson, Walt Whitman and the development of homoerotic desire in elegiac poetry

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

The silent statue theme: complex imitation and Neo-Latin poetry

This paper analyses how the topic of the silent statue is dealt with in Neo-Latin literature. The subject matter comes from the epigrams about Pythagoras of the Palatine Anthology. There are numerous Neo-Latin imitations of this topic that are complex as various sources are used at the same time. The authors focus on an active reading of the epigrams of their predecessors, applying the traditional motive to new subjects and adapting it to the religious theme.