La lírica románica medieval y renacentista en la formación en Letras : El caso de la UNLP (1900-1990)

Propuesta de investigación enmarcada en la postulación para las Becas de Investigación. Estado de la cuestión y primeras aproximaciones para la revisión de la formación en Letras en torno a los estudios sobre lírica románica medieval y renacentista

La lírica románica medieval y renacentista en la formación en Letras : El caso de la UNLP (1900-1990)

Propuesta de investigación enmarcada en la postulación para las Becas de Investigación. Estado de la cuestión y primeras aproximaciones para la revisión de la formación en Letras en torno a los estudios sobre lírica románica medieval y renacentista

La lírica románica medieval y renacentista en la formación en Letras : El caso de la UNLP (1900-1990)

Propuesta de investigación enmarcada en la postulación para las Becas de Investigación. Estado de la cuestión y primeras aproximaciones para la revisión de la formación en Letras en torno a los estudios sobre lírica románica medieval y renacentista

David and Esther : from Julius Nathanson's production "David and Esther" ; a musical romance ; as sung by Julius Nathanson and Ola Lillith

music by Illia Trilling. Lyrics by Chaim Tauber. Libretto by Louis Freiman

Romance and Reconciliation : The secret life of indigenous sexuality on Australian television drama

This article examines the representation of Indigenous sexuality on Australian television drama since the 1970s, suggesting the political importance of such representations. In 1976 Justine Saunders became the first regular Indigenous character on an Australian television drama series, as the hairdresser Rhonda Jackson in Number 96. She was presented as sexually attractive, but this was expressed through a rape scene after a party. Twenty five years later, Deborah Mailman starred in The Secret Life of Us, as Kelly, who is also presented as sexually attractive. But her character can be seen in many romantic relationships. The article explores changing representations that moved us from Number 96 to The Secret Life of Us, via The Flying Doctors and Heartland. It suggests that in representations of intimate and loving relationships on screen it has only recently become possible to see hopeful models for interaction between Indigenous and non-Indigenous Australians.

Workshop on HCI and game interfaces : a long romance

This full day workshop invites participants to consider the nexus where the interests of game design, the expectations of play and HCI meet: the game interface. Game interfaces seem different to the interface to other software and there have been a number of observations. Shneiderman famously noticed that while most software designers are intent on following the tenets of the “invisible computer” and making access easy for the user, games inter-faces are made for players: they embed challenge. Schell discusses a “strange” relationship between the player and the game enabled by the interface and user interface designers frequently opine that much can be learned from the design of game interfaces. So where does the game interface actually sit? Even more interesting is the question as to whether the history of the relationship and sub-sequent expectations are now limiting the potential of game design as an expressive form. Recent innovations in I/O design such as Nintendo’s Wii, Sony’s Move and Microsoft's Kinect seem to usher in an age of physical player-enabled interaction, experience and embodied, engaged design. This workshop intends to cast light on this often mentioned and sporadically examined area and to establish a platform for new and innovative design in the field.

When There's Love

This work is an installation featuring three video projections, music and mirror balls. The three projections fill the walls with scrolling text borrowed from love song lyrics. Headphones in the gallery space allow you to hear a male voice sing the same words to an impromptu tune. Mirror balls send fragments of light spinning around the room while The Righteous Brothers’ Unchained Melody plays on repeat. This work emphasizes fragmentary, repetitious and spatio-temporal experiences of language in order to question the symbolic conventions of romance. By exaggerating and mixing hackneyed symbolic elements, this work extends on some of Nicolas Bourriaud’s theoretical insights into the creative and critical strategies of ‘postproduction’. In particular, it toys with the intersections between popular culture and inter-subjective experiences.

Cougars, grannies, evil stepmothers, and menopausal hot flashers : roles, representations of age and the non-traditional romance heroine

Cougars, Grannies, Evil Stepmothers, and Menopausal Hot Flashers: Roles, Representations of Age and the Non-traditional Romance Heroine is an examination of the stereotyped roles of age and the under-representation of women over forty as worthy protagonists in romance fiction.

Love hurts: The costly reality of online romance fraud

Online dating and romance scams continue to lure in Australians with figures this week showing people have lost more than A$23 million this year alone, with average individual losses at A$21,000 – three times higher than other types of fraud. The Australian Competition and Consumer Commission (ACCC) set up the Scam Disruption Project in August to help target those it believes have been caught in such scams. Over three months it sent 1,500 letters to potential victims in New South Wales and the Australian Capital Territory. The figures released this week show that 50 people have been scammed, losing a total A$1.7 million – that’s an average of A$34,000 per victim. Almost three quarters of the scams were dating and romance related, which saw it evolve into the number one category of fraud victimisation. Romance scams continue to pose a problem – despite the efforts of the police and ACCC – so why is it that people continue to fall for them?

Happily ever after: Romance, gender and the building blocks of domestic violence

My sister describes the state of something being a psychological or personal 'issue' - such as a trauma, compulsion, phobia, or obsession - as having 'brain spaghetti'. For example, apparently she has spaghetti about me pinning her down as a child and tickling her until she screamed for mercy. She knows this because when her spouse tried to do the same, the experience she had as a child came flooding back as a complex tangle of fears, feelings, and mental images. Notwithstanding the trauma inflicted on a sibling in my youth, the spaghetti metaphor is a simple but useful tool for explaining how complex our experiences are, and I bring it up here because I believe a lot of people have spaghetti about love. So much so, that often love becomes distorted, sometimes to the point of making one completely blind to manipulation and abuse. Part of the blame for 'love spaghetti' can be allotted to media depictions of romance and gender, which helps entrench and maintain our deeply held beliefs about what relationships should look like.

Down, You Vagabond of a Heart! : Romance and Created Personas in the Journals of L. M. Montgomery

Kanadalainen kirjailija L. M. (Ludy Maud) Montgomery (1874-1942) tunnetaan parhaiten lasten ja nuorten kirjallisuudestaan, erityisesti Anne of Green Gables -romaanistaan (suom. Annan nuoruusvuodet). Graduni tutkii kuitenkin Montgomeryn vähemmän tunnettua omaelämäkerrallista tuotantoa, hänen päiväkirjojaan, jotka on julkaistu viidessä osassa (1985-2004). Keskityn romanssin kuvaukseen Montgomeryn päiväkirjojen ensimmäisessä osassa ja tutkin, millaisia tekstuaalisia persoonia (personas) kertoja luo autobiografisessa prosessissa. Tähän narratiiviseen prosessiin vaikuttavat erityisesti päiväkirjan yleisö tai lukijat (audience), samoin kuin fiktiiviset esikuvat ja fiktiivisesti kirjoittaminen (fictionalisation) sekä kysymys päiväkirjan kertovasta ja kerrotusta minästä (narrated and narrating I). Romanssi on pääosassa Montgomeryn päiväkirjojen ensimmäisessä julkaistussa osassa, joka kuvaa hänen teini- ja varhaisaikuisuusvuosiaan. Väitän, että vaikka päiväkirjateksti saattaa vaikuttaa rehelliseltä ja todenmukaiselta kuvaukselta elämästä, varsinkin Montgomeryn tapauksessa kyseessä on silti läpikotaisin editoitu ja muokattu teksti, jota päiväkirjan tekijä hallitsee rautaisella otteella ja joka käyttää hyväkseen fiktiivisiä keinoja. Aineistonani käytän sekä Montgomeryn julkaistuja että julkaisemattomia päiväkirjoja, joita säilytetään University of Guelphin arkistoissa, Kanadan Ontariossa. Päiväkirjat ovat moneen kertaan sekä Montgomeryn että julkaistujen päiväkirjojen editoijien muokkaamia, joten niiden tutkiminen lähilukemalla (close-reading) ja eri versioita vertaillen on erityisen tärkeää. Teorian osalta keskityn lähinnä Pohjois-Amerikassa kirjoitettuun autobiografia- ja (naisten) päiväkirjatutkimukseen. Väitän gradussani, että Montgomeryn kuvaus heteroseksuaalisesta romanssista välttää tarjoamasta lukijalle romanssijuonen tyypillistä katharsista. Montgomeryn romanttiset persoonat ovat yllättävän epäromanttisia ja ristiriidassa keskenään. Romantiikan traditiolle tyypillistä kieltä ja personifikaatiota käytetään joko korostetun liioitellusti tai humoristisesti ja parodioiden.

El Libro del caballero Zifar entre la literatura ejemplar y el romance caballeresco

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII: Actas de las IX Jornadas Internacionales de Literatura Española Medieval, 2008, y de Homenaje al Quinto Centenario de Amadis de Gaula

Flores de l. anneo seneca : traduzidas de latin en romance castellano por Iuan Martin Cordeiro Valenciano, Y dirigidas al Muy Magnifico Senor Martin Lopez

Compõe-se de trechos selecionados da obra de Sêneca e traz uma pequena biografia do filósofo, além de partes das cento e vinte quatro "epístolas" dirigidas a seu amigo Lucílio. Constituem, na realidade, ensaios morais sobre vários aspectos da vida. Foi editado pelo célebre impressor francês Critóvão Plantin (ou Plantino), radicado na Bélgica, que notabilizou-se pela preciosidade de seu trabalho tipográfico, o que lhe valeu o título de "Grande Impressor", atribuído por Filipe II, rei da Espanha (Filipe I de Portugal).

Romance policial, psicanálise e cultura contemporânea em Luiz Alfredo Garcia-Roza e Dennis Lehane

Esta tese traça um estudo comparativo entre o Romance policial contemporâneo e o discurso psicanalítico na produção ficcional de Luiz Alfredo Garcia-Roza (1936-) e Dennis Lehane (1963-), tomando, por base, relações de aproximação entre os métodos investigativos na literatura e na psicanálise. Para isso, o corpus constitui-se dos romances O silêncio da chuva (1996) e Espinosa sem saída (2006), ambos do escritor brasileiro e Sagrado [Sacred] (2004) e Paciente 67 [Shttter Island] (2005), do ficcionista norte-americano. A análise destas narrativas revela pontos de aproximação entre os dois discursos inseridos no cenário cultural caótico e desajustado. E questiona a emergência deste novo contexto sociocultural, onde personagens sem identidade definida, sendo o principal deles, o detetive, realizam sua flânerie através de deslocamentos constantes associados à paisagem e em busca do desvendamento do crime urbano. Como seres de ficção perdidos, estes private eyes precisam encontrar os desajustes psíquicos de toda espécie de criminosos daí a representação da cidade, que ora se converte no solo para a flânerie dos investigadores, ora contribui para o apagamento e/ou ocultamento das subjetividades criminais. A relação entre os discursos policial e psicanalítico aponta para a associação entre a obscuridade do texto literário e o da cultura onde estamos inseridos sem falar do mal-estar de um e de outro campo, que tem a ver com as transformações da esfera da sociedade contemporânea