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Journal articles on the topic 'Folk literature, Latin American'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Morinaka, Eliza Mitiyo. "Agnes Blake Poor e os poemas Pan-American." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 2 (May 31, 2019): 127–52. http://dx.doi.org/10.5007/2175-8026.2019v72n2p127.

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The considerations and arguments of this article were developed based on the information printed in Diário de Notícias, a newspaper from Salvador, Bahia, in Brazil, which states that Agnes Blake Poor was the first North-American woman to translate Brazilian literature into English. Poor edited the anthology Pan-American Poems (1918) that brought a collection of Latin-American poems in English translation. Brazil is represented by Gonçalves Dias, Bruno Seabra, the Portuguese Francisco Manuel de Nascimento, and a gypsy folk-song. Using the theoretical and methodological tools from Descriptive Translation Studies, the objective of this article is to analyse the political and literary dimensions in which the anthology was published in the United States and compare the source and target poems to pinpoint the translational norms. The results show that the governmental translation project was aimed to foster Pan-Americanism and to unite the Americas during war time, which was key to determine the choice of the poems and the translation norms.

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2

Kaup, Monika. "“¡Vaya Papaya!”: Cuban Baroque and Visual Culture in Alejo Carpentier, Ricardo Porro, and Ramón Alejandro." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 156–71. http://dx.doi.org/10.1632/pmla.2009.124.1.156.

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Cuba assumes a special place in the genealogy of the latin American Baroque and its twentieth-century recuperation, ongoing in our twenty-first century—the neobaroque. As Alejo Carpentier has pointed out (and as architectural critics confirm), the Caribbean lacks a monumental architectural baroque heritage comparable with that of the mainland, such as the hyperornate Churrigueresque ultrabaroque of central Mexico and Peru (fig. 1). Nevertheless, it was two Cuban intellectuals, Alejo Carpentier and José Lezama Lima, who spearheaded a new turn in neobaroque discourse after World War II by popularizing the notion of an insurgent, mestizo New World baroque unique to the Americas. Carpentier and Lezama Lima are the key authors of the notion of a decolonizing American baroque, a baroque that expressed contraconquista (counterconquest), as Lezama punned, countering the familiar identification of the baroque with the repressive ideology of the Counter-Reformation and its allies, the imperial Catholic Iberian states (80). Lezama and Carpentier argue that the imported Iberian state baroque was transformed into the transculturated, syncretic New World baroque at the hands of the (often anonymous) native artisans who continued to work under the Europeans, grafting their own indigenous traditions onto the iconography of the Catholic baroque style. The New World baroque is a product of the confluence (however unequal) of Iberian, pre-Columbian, and African cultures during the peaceful seventeenth century and into the eighteenth in Spain's and Portugal's territories in the New World. The examples studied by Lezama and Carpentier are all from the monumental baroque sculpture and architecture of Mexico, the Andes, and Brazil's Minas Gerais province: the work of the Brazilian mulatto artist O Aleijadinho (Antônio Francisco Lisboa [1738–1814]; see fig. 2 in Zamora in this issue) and the indigenous Andean artist José Kondori (dates unknown; see fig. 1 in Zamora), central Mexico's Church of San Francisco Xavier Tepotzotlán (fig. 1), and the folk baroque Church of Santa María Tonantzintla (see fig. 3 in Zamora), to mention a few landmarks and names.

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3

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.

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4

Dewan, Michael C., Abbas Rattani, Rania Mekary, Laurence J. Glancz, Ismaeel Yunusa, Ronnie E. Baticulon, Graham Fieggen, John C. Wellons, Kee B. Park, and Benjamin C. Warf. "Global hydrocephalus epidemiology and incidence: systematic review and meta-analysis." Journal of Neurosurgery 130, no. 4 (April 2019): 1065–79. http://dx.doi.org/10.3171/2017.10.jns17439.

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OBJECTIVEHydrocephalus is one of the most common brain disorders, yet a reliable assessment of the global burden of disease is lacking. The authors sought a reliable estimate of the prevalence and annual incidence of hydrocephalus worldwide.METHODSThe authors performed a systematic literature review and meta-analysis to estimate the incidence of congenital hydrocephalus by WHO region and World Bank income level using the MEDLINE/PubMed and Cochrane Database of Systematic Reviews databases. A global estimate of pediatric hydrocephalus was obtained by adding acquired forms of childhood hydrocephalus to the baseline congenital figures using neural tube defect (NTD) registry data and known proportions of posthemorrhagic and postinfectious cases. Adult forms of hydrocephalus were also examined qualitatively.RESULTSSeventy-eight articles were included from the systematic review, representative of all WHO regions and each income level. The pooled incidence of congenital hydrocephalus was highest in Africa and Latin America (145 and 316 per 100,000 births, respectively) and lowest in the United States/Canada (68 per 100,000 births) (p for interaction < 0.1). The incidence was higher in low- and middle-income countries (123 per 100,000 births; 95% CI 98–152 births) than in high-income countries (79 per 100,000 births; 95% CI 68–90 births) (p for interaction < 0.01). While likely representing an underestimate, this model predicts that each year, nearly 400,000 new cases of pediatric hydrocephalus will develop worldwide. The greatest burden of disease falls on the African, Latin American, and Southeast Asian regions, accounting for three-quarters of the total volume of new cases. The high crude birth rate, greater proportion of patients with postinfectious etiology, and higher incidence of NTDs all contribute to a case volume in low- and middle-income countries that outweighs that in high-income countries by more than 20-fold. Global estimates of adult and other forms of acquired hydrocephalus are lacking.CONCLUSIONSFor the first time in a global model, the annual incidence of pediatric hydrocephalus is estimated. Low- and middle-income countries incur the greatest burden of disease, particularly those within the African and Latin American regions. Reliable incidence and burden figures for adult forms of hydrocephalus are absent in the literature and warrant specific investigation. A global effort to address hydrocephalus in regions with the greatest demand is imperative to reduce disease incidence, morbidity, mortality, and disparities of access to treatment.

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5

Salas, Daniel A., Paulina Criollo, and Angel D. Ramirez. "The Role of Higher Education Institutions in the Implementation of Circular Economy in Latin America." Sustainability 13, no. 17 (August 31, 2021): 9805. http://dx.doi.org/10.3390/su13179805.

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Circular economy (CE) describes a sustainable alternative approach to the current linear economy system. It is a growing topic among scholars, practitioners, and decisionmakers; it encompasses several concepts related to sustainability and requires the synergy of multiple actors for success, including higher education institutions (HEIs) as one of the most relevant ones. Current CE is based mostly on experiences in Global North developed countries, where the concept has gained great attention and has already influenced policies and strategies. However, CE in Latin American countries (LA countries) have not yet received such attention. Thus, some “unique problems” may remain unattended, and efforts to attain a CE are more likely to fail. Likewise, the study shows how the role of HEIs in CE in LA countries has not yet been fully explored, as the literature on this topic is scarce. This paper aims to address the main research question: what is the role of HEIs in the transition to a CE in Latin American countries? For this, a two-fold methodology was performed: (i) a systematic review which allows understanding of the trends of CE research in LA and the extent of the HEIs involvement; and (ii) a narrative review, which provides insights into the state of the art of CE research (gaps, drivers, and barriers) in LA countries and how this relates to HEIs. This approach drew implications for the role of HEIs in the implementation of CE in LA countries. HEIs are key actors in this transition, contributing in several ways to the CE by collaborating with industry, assisting policy makers, building human and intellectual capital, supporting community engagement projects, influencing campus culture, linking with international CE networks, and promoting an inclusive CE discourse. This research contributes to the CE body of knowledge from a Latin-American Global South perspective by discussing the factors that aim to define the role of HEIs in the CE transition in LA countries.

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Ptashenko, Serhii. "Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 67–82. http://dx.doi.org/10.34064/khnum1-59.05.

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Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.

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7

Standish, Peter, and Verity Smith. "Encyclopedia of Latin American Literature." Modern Language Review 93, no. 3 (July 1998): 866. http://dx.doi.org/10.2307/3736587.

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Woods, Richard D., and Verity Smith. "Encyclopedia of Latin American Literature." Hispania 81, no. 1 (March 1998): 107. http://dx.doi.org/10.2307/345475.

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Woodbridge, Hensley C., and David William Foster. "Handbook of Latin American Literature." Hispania 71, no. 1 (March 1988): 96. http://dx.doi.org/10.2307/343218.

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J.E.H. "Latin American Literature and Art." Americas 44, no. 2 (October 1987): 234. http://dx.doi.org/10.1017/s0003161500073879.

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Dinneen, Mark. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 57, no. 1 (January 2, 1995): 428–32. http://dx.doi.org/10.1163/2222-4297-90000755.

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Dinneen, Mark. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 58, no. 1 (December 22, 1996): 462–69. http://dx.doi.org/10.1163/22224297-90000120.

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Dinneen, Mark. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 59, no. 1 (December 20, 1997): 461–68. http://dx.doi.org/10.1163/22224297-90000187.

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Dinneen, Mark. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 60, no. 1 (December 20, 1998): 341–48. http://dx.doi.org/10.1163/22224297-90000246.

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Dinneen, Mark. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 61, no. 1 (December 20, 1999): 366–72. http://dx.doi.org/10.1163/22224297-90000307.

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GLEDSON, JOHN. "LATIN-AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 48, no. 1 (March 13, 1987): 491–98. http://dx.doi.org/10.1163/22224297-90002810.

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GLEDSON, JOHN. "LATIN-AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 50, no. 1 (March 13, 1989): 459–66. http://dx.doi.org/10.1163/22224297-90002960.

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BROOKSHAW, DAVID. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 52, no. 1 (March 13, 1991): 426–30. http://dx.doi.org/10.1163/22224297-90003111.

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DINNEEN, MARK. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 54, no. 1 (March 13, 1993): 407–13. http://dx.doi.org/10.1163/22224297-90003257.

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DINNEEN, MARK. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 55, no. 1 (March 13, 1994): 471–76. http://dx.doi.org/10.1163/22224297-90003331.

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DINNEEN, MARK. "LATIN AMERICAN STUDIES: BRAZILIAN LITERATURE." Year’s Work in Modern Language Studies 56, no. 1 (March 13, 1995): 494–99. http://dx.doi.org/10.1163/22224297-90003409.

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Ghosh, Ritwik. "Marxism and Latin American Literature." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 208. http://dx.doi.org/10.24113/ijellh.v8i4.10539.

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In the aftermath of the collapse of the U.S.S.R Marxism remains a viable and flourishing tradition of literary and cultural criticism. Marx believed economic and social forces shape human consciousness, and that the internal contradictions in capitalism would lead to its demise.[i] Marxist analyses can show how class interests operate through cultural forms.[ii] Marxist interpretations of cultural life have been done by critics such as C.L.R James and Raymond Williams.[iii]

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McMurray, George R., David William Foster, and David William Foster. "Handbook of Latin American Literature." Chasqui 23, no. 2 (1994): 176. http://dx.doi.org/10.2307/29741154.

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Lindell, Kristina, Johannes Wilbert, and Karin Simoneau. "Indexing Folk Literature of South American Indians." Asian Folklore Studies 54, no. 1 (1995): 119. http://dx.doi.org/10.2307/1178221.

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Layera, Ramón. "Latin American Literature in English Translation in the Latin American Literary Review." Translation Review 36-37, no. 1 (March 1991): 60–66. http://dx.doi.org/10.1080/07374836.1991.10523519.

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Lyon, Ted, and David W. Foster. "A Handbook of Latin American Literature." Rocky Mountain Review of Language and Literature 42, no. 1/2 (1988): 83. http://dx.doi.org/10.2307/1347444.

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March, Kathleen N., and Naomi Lindstrom. "Women's Voice in Latin American Literature." World Literature Today 64, no. 4 (1990): 616. http://dx.doi.org/10.2307/40146907.

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Salper, Roberta L. "Women's Voice in Latin American Literature." Revista Iberoamericana 57, no. 154 (March 3, 1991): 413–15. http://dx.doi.org/10.5195/reviberoamer.1991.4899.

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Liscano, Juan, Jorge Luis Borges, and Juan Liscano. "National Identity in Latin-American Literature." Diogenes 35, no. 138 (June 1987): 41–60. http://dx.doi.org/10.1177/039219218703513803.

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Johnson, Harvey L., and Naomi Lindstrom. "Women's Voice in Latin American Literature." Hispania 74, no. 2 (May 1991): 328. http://dx.doi.org/10.2307/344833.

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Lindstrom, Naomi, and David William Foster. "Cultural Diversity in Latin American Literature." World Literature Today 68, no. 3 (1994): 541. http://dx.doi.org/10.2307/40150402.

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Ferreira-Pinto, Cristina, David William Foster, David William Foster, David William Foster, and David William Foster. "Cultural Diversity in Latin American Literature." Revista de Crítica Literaria Latinoamericana 23, no. 45 (1997): 214. http://dx.doi.org/10.2307/4530905.

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Seminet, G. "Imagining Globalization Through Latin American Literature." Arts and Humanities in Higher Education 8, no. 1 (February 1, 2009): 86–98. http://dx.doi.org/10.1177/1474022208098304.

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Freeland, Gregory. "The Latinization of Latin American literature." History of European Ideas 20, no. 1-3 (January 1995): 61–69. http://dx.doi.org/10.1016/0191-6599(95)92925-k.

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López-Calvo, Ignacio. "Asian Religiosity in Latin American Literature." International Journal of Latin American Religions 2, no. 1 (February 9, 2018): 104–16. http://dx.doi.org/10.1007/s41603-018-0034-9.

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BRADLEY, PETER T. "LATIN-AMERICAN STUDIES: SPANISH-AMERICAN LITERATURE: THE COLONIAL PERIOD." Year’s Work in Modern Language Studies 46, no. 1 (March 13, 1985): 424–27. http://dx.doi.org/10.1163/22224297-90002651.

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BRADLEY, PETER T. "LATIN-AMERICAN STUDIES: SPANISH-AMERICAN LITERATURE THE COLONIAL PERIOD." Year’s Work in Modern Language Studies 48, no. 1 (March 13, 1987): 473–76. http://dx.doi.org/10.1163/22224297-90002807.

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BRADLEY, PETER T. "LATIN-AMERICAN STUDIES: SPANISH-AMERICAN LITERATURE THE COLONIAL PERIOD." Year’s Work in Modern Language Studies 49, no. 1 (March 13, 1988): 409–12. http://dx.doi.org/10.1163/22224297-90002883.

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BRADLEY, PETER T. "LATIN-AMERICAN STUDIES: SPANISH-AMERICAN LITERATURE: THE COLONIAL PERIOD." Year’s Work in Modern Language Studies 50, no. 1 (March 13, 1989): 439–42. http://dx.doi.org/10.1163/22224297-90002957.

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BRADLEY, PETER T. "LATIN-AMERICAN STUDIES: SPANISH-AMERICAN LITERATURE THE COLONIAL PERIOD." Year’s Work in Modern Language Studies 51, no. 1 (March 13, 1990): 408–11. http://dx.doi.org/10.1163/22224297-90003033.

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BRADLEY, PETER T. "LATIN AMERICAN STUDIES: SPANISH-AMERICAN LITERATURE THE COLONIAL PERIOD." Year’s Work in Modern Language Studies 52, no. 1 (March 13, 1991): 408–11. http://dx.doi.org/10.1163/22224297-90003108.

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BRADLEY, PETER T. "LATIN AMERICAN STUDIES: SPANISH-AMERICAN LITERATURE THE COLONIAL PERIOD." Year’s Work in Modern Language Studies 53, no. 1 (March 13, 1992): 406–9. http://dx.doi.org/10.1163/22224297-90003183.

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Manuel, Peter. "From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics." Journal of the American Musicological Society 55, no. 2 (2002): 311–36. http://dx.doi.org/10.1525/jams.2002.55.2.311.

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Abstract This essay explores the sense of dual tonicity evident in a set of interrelated Spanish and Latin American music genres. These genres include seventeenth-century Spanish keyboard and vihuela fandangos, and diverse folk genres of the Hispanic Caribbean Basin, including the Venezuelan galerón and the Cuban punto, zapateo, and guajira. Songs in these genres oscillate between apparent “tonic” and “dominant” chords, yet conclude on the latter chord and bear internal features that render such terminology inapplicable. Rather, such ostinatos should be understood as oscillating in a pendular fashion between two tonal centers of relatively equal stability. The ambiguous tonicity is related to the Moorish-influenced modal harmony of flamenco and Andalusian folk music; it can also be seen to have informed the modern Cuban son and the music of twentieth-century Cuban composer Amadeo Roldán.

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Moncada Linares, Sthephanny, and Xin Zhi-Ying. "Representations of Christmastide in Latin American Christmas Folk Songs: A Transitivity Analysis." Language Circle: Journal of Language and Literature 15, no. 1 (October 21, 2020): 59–66. http://dx.doi.org/10.15294/lc.v15i1.25903.

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Considered as the universal language, music has been historically a means of communication and personal expression about the inner and outer world of its creator, it is present in almost every social activity of human beings as in the habitual religious celebration of Christmas across the largely Catholic countries. Therefore, the present paper will provide a descriptive text analysis of ten traditional Latin American Christmas folk songs on the base of the transitivity system informed by the Hallidayan Systemic Functional Linguistics theory. To reach this goal, both a quantitative and qualitative research method approach was applied. Findings indicated that among the six analyzed transitivity process types, the material processes (32%) dominate the construal of the musical pieces, followed by the mental (23%), behavioral (18%), and relational realizations (13%) whereas the verbal and existential processes are relatively low all together representing an overall frequency of 14%. This reveals the singers’ attempt to represent the Christmas season as a nostalgic time leap, an immediate enjoyment, and a rewarding exchange.

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Stephens, Thomas M., and John M. Lipski. "Latin American Spanish." Hispanic Review 64, no. 1 (1996): 125. http://dx.doi.org/10.2307/475058.

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Hood, Edward Waters, Roberto González Echevarría, and Enrique Pupo-Walker. "The Cambridge History of Latin American Literature." World Literature Today 73, no. 2 (1999): 310. http://dx.doi.org/10.2307/40154719.

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Davies, Catherine, Roberto Gonzalez Echevarria, and Enrique Pupo-Walker. "The Cambridge History of Latin American Literature." Modern Language Review 93, no. 4 (October 1998): 1137. http://dx.doi.org/10.2307/3736336.

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Lepeley, Cynthia, and Amy Fass Emery. "The Anthropological Imagination in Latin American Literature." Hispania 81, no. 1 (March 1998): 100. http://dx.doi.org/10.2307/345469.

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Braham, Persephone, Roberto Gonzalez Echevarria, and Enrique Pupo-Walker. "The Cambridge History of Latin American Literature." Hispanic Review 66, no. 1 (1998): 110. http://dx.doi.org/10.2307/474792.

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Slatta, Richard W. "Recent Literature on the Latin American Military." Military Affairs 51, no. 2 (April 1987): 75. http://dx.doi.org/10.2307/1987582.

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