Journal articles on the topic 'Poets, Dominican'

Scholars have typically studied Chicanas/Latinas in the US and African American women separately. However, this paper explores both the cultural appropriation of Afro-Latinas’ bodies in the US and the strategies they employed to reclaim their bodies and agencies through Elizabeth Acevedo’s novel, The Poet X. The protagonist’s body is simultaneously and paradoxically hyper-sexualized by racist discourses, and called to chastity by the patriarchal Catholic doctrine presiding over her Dominican community. Nevertheless, I argue that the protagonist makes her body a site of activism as she re-appropriates the agency over her body by moving from a self-imposed invisibility and silence in order to try to avoid the hyper-sexualization of her incipient curves, to a non-objectified visible position through her sexual desire, self-representative embodied narrative, and performance of her slam poetry.

Lo primero que hacemos en el presente trabajo es abordar el problema conceptual y metodológico en torno a los intelectuales y el poder. Para el caso nos valimos de un enfoque que sobre los mismos elaboró Michel Foucault, el cual consideramos acertado. Lo segundo, es un análisis natatorio sobre las ponencias del libro Los Intelectuales y el Poder, del escritor y poeta Guillermo Piña Contreras.

En 1618 Lope de Vega publicaba El triunfo de la fe en los reinos del Japón, una historia de mártires inspirada en la relación de un misionero dominico en aquellas lejanas tierras. El propio poeta confiesa que le fue enviada desde Manila, pero no aporta más detalles. Ahora, por primera vez, todo el proceso de encargo se desvela: qué frailes participaron, cómo le convencieron y por qué necesitaron de la ayuda de un poeta de vida y ejemplo no precisamente piadoso.

Inspirados en la obra de Vicente Huidobro, y especialmente en Altazor, poema paracaidista, Estefaní­a Calderón y el poeta dominicano Frank Báez examinan en esta entrevista las relaciones e influencias de los movimientos vanguardistas históricos en la actualidad poética de Latinoamérica y el Caribe, y se preguntan si se refleja en ella aún un espí­ritu aviador. Simultáneamente, abordan temas tan urgentes como la migración y la exploración de nuevos territorios digitales en los espacios de difusión cultural y literaria.

El artículo presenta una reflexión sobre la categoría ‘escritor afrohispano’ y las tensiones que involucra. En la primera parte se discute sobre el surgimiento, las utilizaciones y apropiaciones que intelectuales afrodescendientes han hecho de este concepto desde fines de los años ochenta. En la segunda parte se analiza el principal dilema de estos escritores en torno a las posibilidaddes de expresar una identidad específica,la de los afrodescendientes en la América de habla hispana,desde la lengua del colonizador, a través de las reflexiones y propuestas contenidas en la producción ensayística del poeta dominicano Blas Jiménez y del narrador costarricense Quince Duncan.

O francês Antonin Artaud, poeta, ator, roteirista e diretor de teatro, segundo o escritor espanhol Enrique Vila-Matas, completaria 99 anos em 4 de dezembro de 1995, sendo o primeiro "resgatado", em artigo, na coluna dominical do Diário 16, de Madri. Compõe, com outros 51 textos-nomes, num pretenso avesso das homenagens, um mosaico de referências que é posteriormente transformado em livro: Para acabar con los números redondos, 1997. Na proposta jornalística inicial, de subverter datas e cânones, o que se destaca em Vila-Matas é o gesto performático e anacrônico de evocar uma potência política a partir de suporte alternativo e de cruzamentos an-estéticos com o surrealismo, permitindo ler a poética do presente em suas múltiplas relações disjuntivas.

The devastating impacts of Hurricanes Irma and Maria across the Caribbean (especially in Barbuda, Dominica, Puerto Rico, St Martin/St Maarten, and parts of the British and US Virgin Islands) are haunting harbingers of a world of climate disaster, halting recovery, and impossible futures. Being at the leading edge of the global capitalist exploitation of people and other living and non-living beings in a world-spanning system of vast inequity and severe injustice, Caribbean thinkers, writers, poets, philosophers, activists, and artists have long lived with, dwelt upon, and offered answers to the problem of being human after Man, as Sylvia Wynter puts it. This reflection on island futuring and defuturing offers a critical analysis of Caribbean “disaster recovery” and “climate adaptation” based on an understanding of the disjuncture between three uneven spatio-temporal realities: (1) the decelerating “islanding effects” of debt, foreign aid, and austerity; (2) the accelerating mobilities of the “offshore” and extended operational landscapes of “planetary urbanization”; and (3) the durational im/mobilities of Amerindian survival, Maroon escape, and Black/Indigenous cultural endurance of alternative ontologies.

AbstractThe Free Port Act of 1766 was an important reform in British political economy during the so-called imperial crisis between the Seven Years’ War (1756–1763) and the American Revolution (1775–1783). In an explicit break from the letter if not the spirit of the Navigation Acts, the act opened six British ports in the West Indies (two in Dominica and four in Jamaica) to foreign merchants trading in a highly regulated number of goods subject to various duties. Largely understudied, this legislation has been characterized in most previous work on the subject as a fundamental break from British mercantile policies and meant to benefit North American colonial merchants. This article proposes a different interpretation. Based on the wider context of other imperial free port models, the loss of conquests such as French Guadeloupe and Martinique and Spanish Havana in the 1763 Paris Peace Treaty, a postwar downturn in Anglo-Spanish trade, and convincing testimonies by merchants and colonial observers, policy makers in London conceived of free ports primarily as a means of extending Britain's commercial empire. The free port system was designed to ruin the rival Dutch trade economically and shackle Spanish and French colonists to Britain's mercantile, manufacturing, and slaving economies. The reform marks a key moment in the evolution of British free trade imperial designs that became prevalent in the nineteenth century and beyond.

Resum: El manuscrit que ens disposem a donar a conèixer és un tresor documental interessantíssim per abordar l’estudi dels usos poètics de les dones d’època moderna als territoris de parla catalana, no només pel nombre de composicions recuperades d’una mateixa autora (un total de 53 poesies espirituals, no catalogades i desconegudes fins ara) sinó perquè es tracta d’un dels pocs autògrafs femenins accessibles per a la recerca. La inexistència de treballs dedicats exclusivament a la poesia femenina d’època moderna al panorama català, ens obliga necessàriament a iniciar el treball amb una primera part introductòria dedicada a qu?estions relatives als usos poètics de les dones dels segles XVI-XVIII, tot centrant-nos en algunes autores de l’àmbit conventual, al qual pertany el manuscrit objecte d’estudi. En la segona part del treball, ens centrem particularment en l’anàlisi i estudi del manuscrit. Així doncs, en una primera aproximació, descrivim el contingut del quadern, íntegrament en castellà, que recull composicions de caire espiritual i devot, i esbossem les dades biogràfiques de l’autora, la religiosa dominica sor Eulària Teixidor. Tot partint dels interessants estudis apareguts en els darrers anys sobre la literatura conventual femenina, intentem vincular aquest manuscrit amb la variada producció monàstica escrita per nombroses religioses de l’època sota manament del confessor.Paraules clau: Estudis de gènere; Literatura femenina conventual; Poesia religiosa; Eulària Teixidor; ManuscritAbstract: The manuscript that we are presenting is a fascinating and highly valuable document to study the catalan women poetry in the Modern Age, not only because of the number of recovered pieces from the same author (53 unknown spiritual poems not yet catalogued), but also because it is one of the few feminine manuscripts accessible for research. The lack of works exclusively dedicated to the feminine poetry in the Catalan-speaking countries in the Modern Age compels us to start the work with some general considerations concerning poetical works of women in the 16th-18th centuries, focusing on the conventual literature, which the manuscript belongs to. As a first approximation, we describe the content of the manuscript, which is entirely written in Spanish, that includes spiritual and pious compositions and we provide some biographical information of the author, the dominican Sister Eulària Teixidor, so far undiscovered. Relying on the recent interesting studies published on Women’s Monastic Literature, we try to establish connections between this manuscript and the varied monastic literature, produced by numerous nuns in this period under the order of the confessor.Key words: Gender Studies; Women’s Monastic Literature; Religious Poetry; Eulària Teixidor; Manuscript

Allaeotes niger He, Zhang and Pelsue, a weevil hitherto known only from the type series collected in China, is for the first time reported from Cuba. In addition to three historical Cuban specimens, approximately one hundred adults were observed in 2018 under bark of fallen logs at a plantation of (likely non-native) pines in westernmost Pinar del Río province. This is the only New World record of a member of the monophyletic core of the tribe Stromboscerini, otherwise distributed in a triangle delimited by Japan, Sri Lanka and northern Australia (plus a single mysterious record from Uganda). Phylogenetic analysis of one mitochondrial (COI) and two nuclear (ITS2 and 28S) markers recovered the Cuban specimens nested within the tribe, but not in a clade with two unnamed congeners from Vietnam. Adults of all four known Allaeotes species are illustrated, including both named ones. Remarkably, both Cuban and Ugandan records of extraterritorial Stromboscerini pertain to species associated with dead wood, a biological trait possibly facilitating human-assisted transoceanic dispersal. Cuban populations of A. niger are interpreted as a pre-1990 human-mediated introduction. Two additional specimens of A. niger intercepted at US ports of entry arriving from China and the Dominican Republic, respectively, corroborate this hypothesis and suggest China as a likely origin of the Cuban introduction. All data used herein (specimen images, geographical localities, DNA sequences) are available online in a public dataset dx.doi.org/10.5883/DS-VGDS012.

São pouco conhecidos os discursos e atuações da escrita militante de Mario Faustino, como jornalista entre os anos de 1956 a 1959, na página do Jornal do Brasil, conhecida como “Poesia-Experiência”. Os textos publicados nesse período revelam um Mário Faustino que estabelece diálogos vívidos com a marginalidade contestatória trazida pela Vanguarda poética, ao tempo em que criticava os poetas consagrados de seu tempo. Problematizando as repercussões da página “Poesia-Experiência” e sua originalidade dialógica na intertextualidade poética-histórica, este trabalho pretende discutir a perspectiva pedagógica de Mário Faustino tanto como jornalista quanto como crítico literário, ressaltando, por outro lado, as suas discordâncias com o conservadorismo poético, na situação do intelectual brasileiro no pós-guerra, na figura de Meireles, Bandeira e Drummond. Cada momento de sua trajetória na imprensa revela, ainda, as várias identidades intelectuais assumidas por Mário Faustino, do seu início, na imprensa do Pará, em 1948, que vai culminar, mais tarde, na sua empreitada mais original no suplemento encartado no Suplemento Dominical do Jornal do Brasil (SDJB). Este trabalho utiliza-se da revisão crítica e dialética como metodologia, usando de fontes secundárias. Assim, o objeto de estudo foi investigado por meio da análise bibliográfica, discutindo teorias que abordam campos como a historiografia e a crítica literária no segmento do jornalismo cultural brasileiro dos anos de 1950, gerando assim uma compreensão dialética do tema. (Imagem Mario Faustino Youtube)

The 13th century in the Piast Poland was marked by a feudal fragmentation of the Polish Kingdom and was heavily burdened with the deepening political disruption of the country resulting in economic and military weakening of the component principalities (dukedoms) of the country. This, in the next century, eventually led to some of the provinces falling into dependencies upon the Kingdom of Bohemia. However, what was destructive and divisive from the perspective of political history, offered a stimulating dimension for the history of culture and education, for the period in question was characterized by a multiplication of chanceries throughout the whole of the century, which, as a result, increased a demand for literate individuals. Colonization based on the Magdeburg Law (a set of German town laws) and the influx of foreigners into Polish lands: chief settlers (German: der Lokator), friars and monks from newly established Cistercian, Dominican and Franciscan orders as well as knights in service of ducal courts or representing military orders, in short, people deeply rooted in Western legal tradition, capable of making use of documents or written legal codification, boosted the phenomenon even more. The development of towns, trade relations between the principalities as well as international trade facilitated the emergence of capital that, alternatively, could also be used in founding schools of all kind. A considerable influence upon the following leaping increase in the number of schools and the quality of teaching standards in the country came from ecclesiastical synods and councils whose legislation regulated many relevant activities and issues related to management of schools, levels of education for applicants for teaching posts, or, more broadly, created appropriate intellectual climate favourable for further development of the schooling system. A number of the above factors, as well as other factors discussed in the body of the article, were decisive in making the thirteenth century a particularly significant period in the historical process of the development of Polish literary and educational culture.

-Peter Hulme, Simon Gikandi, Writing in limbo: Modernism and Caribbean literature. Ithaca: Cornell University Press, 1992. x + 260 pp.-Charles V. Carnegie, Alistair Hennessy, Intellectuals in the twentieth-century Caribbean (Volume 1 - Spectre of the new class: The Commonwealth Caribbean). London: Macmillan, 1992. xvii 204 pp.-Nigel Rigby, Anne Walmsley, The Caribbean artists movement, 1966-1972: A literary and cultural history. London: New Beacon Books, 1992. xx + 356 pp.-Carl Pedersen, Tyrone Tillery, Claude McKay: A black poet's struggle for identity. Amherst: University of Massachusetts Press, 1992. xii + 235 pp.-Simone Dreyfus, Irving Rouse, The Tainos: Rise and decline of the people who greeted Columbus. New Haven: Yale University Press, 1992. xii + 211 pp.-Louis Allaire, Antonio M. Stevens-Arroyo, Cave of the Jagua: The mythological world of the Taino. Alburquerque: University of New Mexico Press, 1988. xiii + 282 pp.-Irving Rouse, William F. Keegan, The people who discovered Columbus: The prehistory of the Bahamas. Gainesville: University of Florida Press, 1992. xx + 279 pp.-Neil L. Whitehead, Philip P. Boucher, Cannibal encounters: Europeans and Island Caribs, 1492-1763. Baltimore: John Hopkins University Press, 1992. xii + 217 pp.-Peter Kloos, Kaliña, des amérindiens à Paris: Photographies du prince Roland. Présentées par Gérard Collomb. Paris: Créaphis, 1992. 119 pp.-Maureen Warner-Lewis, Alan Gregor Cobley ,The African-Caribbean connection: Historical and cultural perspectives. Bridgetown, Barbados: Department of History, University of the West Indies, Cave Hill, 1990. viii + 171 pp., Alvin Thompson (eds)-H. Hoetink, Jean-Luc Bonniol, La couleur comme maléfice: une illustration créole de la généalogie des 'Blancs' et des 'Noirs'. Paris: Albin Michel, 1992. 304 pp.-Michael Aceto, Richard Price ,Two evenings in Saramaka. Chicago and London: University of Chicago Press, 1991. xvi + 417 pp., Sally Price (eds)-Jorge Pérez Rolón, Vernon W. Boggs, Salsiology: Afro-Cuban music and the evolution of Salsa in New York City. New York: Greenwood, 1992. xvii + 387 pp.-Martin F. Murphy, Sherri Grasmuck ,Between two islands: Dominican international migration. Berkeley: University of California Press, 1991. xviii + 247 pp., Patricia R. Pessar (eds)-Rosario Espinal, Richard S. Hillman ,Distant neighbors in the Caribbean: The Dominican Republic and Jamaica in comparative perspective. New York: Praeger, 1992. xviii + 199 pp., Thomas D'Agostino (eds)-Svend E. Holsoe, Neville A.T. Hall, Slave society in the Danish West Indies: St. Thomas, St. John and St. Croix. Edited by B.W. Higman. Mona, Jamaica: University of the West Indies Press, 1992. xxiv + 287 pp.-Light Townsend Cummins, Francisco Morales Padrón, The journal of Don Francisco Saavedra de Sangronis 1780-1783. Translated by Aileen Moore Topping. Gainesville: University of Florida Press, 1989. xxxvii + 380 pp.-Francisco A. Scarano, Laird W. Bergad, Cuban rural society in the nineteenth century: The social and economic history of monoculture in Matanzas. Princeton: Princeton University Press, 1990. xxi + 425 pp.-Robert L. Paquette, Larry R. Jensen, Children of colonial despotism: Press, politics, and culture in Cuba, 1790-1840. Tampa: University of South Florida Press, 1988. xviii + 211 pp.-Robert L. Paquette, Anton L. Allahar, Class, politics, and sugar in colonial Cuba. Lewiston NY; The Edwin Mellen Press, 1990. xi + 217 pp.-Aline Helg, Josef Opatrny, U.S. Expansionism and Cuban annexationism in the 1850s. Prague: Charles University, 1990. 271 pp.-Rita Giacalone, Humberto García Muñiz ,Bibliografía militar del Caribe. Río Piedras PR: Centro de Investigaciones Históricas, Universidad de Puerto Rico, 1992. 177 pp., Betsaida Vélez Natal (eds)-Carlos E. Santiago, Irma Tirado de Alonso, Trade issues in the Caribbean. Philadelphia: Gordon & Breach, 1992. xv + 231 pp.-Drexel G. Woodson, Frantz Pratt, Haiti: Guide to the periodical literature in English, 1800-1990. Westport CT: Greenwood, 1991. xiv + 313 pp.-Gary Brana-Shute, Livio Sansone, Hangen boven de oceaan: het gewone overleven van Creoolse jongeren in Paramaribo. Amsterdam: Het Spinhuis, 1992. 58 pp.-Ronald Gill, Dolf Huijgers ,Landhuizen van Curacao en Bonaire. Amsterdam: Persimmons Management. 1991. 286 pp., Lucky Ezechiëls (eds)-Alex van Stipriaan, Waldo Heilbron, Colonial transformations and the decomposition of Dutch plantation slavery in Surinam. Amsterdam: Amsterdam centre for Caribbean studies (AWIC), University of Amsterdam, 1992. 133 pp.-Rosemarijn Hoefte, Bea Lalmahomed, Hindostaanse vrouwen: de geschiedenis van zes generaties. Utrecht: Jan van Arkel, 1992. 159 pp.-Aart G. Broek, Peter Hoefnagels ,Antilliaans spreekwoordenboek. Amsterdam: Thomas Rap, 1991. 92 pp., Shon Wé Hoogenbergen (eds)

-Gesa Mackenthun, Stephen Greenblatt, Marvelous Possessions: The wonder of the New World. Chicago: University of Chicago Press, 1991. ix + 202 pp.-Peter Redfield, Peter Hulme ,Wild majesty: Encounters with Caribs from Columbus to the present day. An Anthology. Oxford: Oxford University Press, 1992. x + 369 pp., Neil L. Whitehead (eds)-Michel R. Doortmont, Philip D. Curtin, The rise and fall of the plantation complex: Essays in Atlantic history. New York: Cambridge University Press, 1990. xi + 222 pp.-Roderick A. McDonald, Hilary McD.Beckles, A history of Barbados: From Amerindian settlement to nation-state. Cambridge: Cambridge University Press, 1990. xv + 224 pp.-Gertrude J. Fraser, Hilary McD.Beckles, Natural rebels; A social history of enslaved black women in Barbados. New Brunswick NJ and London: Rutgers University Press and Zed Books, 1990 and 1989. ix + 197 pp.-Bridget Brereton, Thomas C. Holt, The problem of freedom: Race, labor, and politics in Jamaica and Britain, 1832-1938. Baltimore: John Hopkins University Press, 1991. xxxi + 517 pp.-Peter C. Emmer, A. Meredith John, The plantation slaves of Trinidad, 1783-1816: A mathematical and demographic inquiry. Cambridge: Cambridge University Press, 1988. xvi + 259 pp.-Richard Price, Robert Cohen, Jews in another environment: Surinam in the second half of the eighteenth century. Leiden: E.J. Brill, 1991. xv + 350 pp.-Russell R. Menard, Nigel Tattersfield, The forgotten trade: comprising the log of the Daniel and Henry of 1700 and accounts of the slave trade from the minor ports of England, 1698-1725. London: Jonathan Cape, 1991. ixx + 460 pp.-John D. Garrigus, James E. McClellan III, Colonialism and science: Saint Domingue in the old regime. Baltimore: John Hopkins University Press, 1992. xviii + 393 pp.-Lowell Gudmundson, Richard H. Collin, Theodore Roosevelt's Caribbean: The Panama canal, the Monroe doctrine, and the Latin American context. Baton Rouge: Louisiana State University Press, 1990. xviii + 598 pp.-Andrés Serbin, Ivelaw L. Griffith, Strategy and security in the Caribbean. New York : Praeger, 1991. xv + 208 pp.-W.E. Renkema, M.J. van den Blink, Olie op de golven: de betrekkingen tussen Nederland/Curacao en Venezuela gedurende de eerste helft van de twintigste eeuw. Amsterdam: De Bataafsche Leeuw, 1989. 119 pp.-Horatio Williams, Obika Gray, Radicalism and social change in Jamaica, 1960-1972. Knoxville: University of Tennessee Press, 1991. xiv + 289 pp.-Daniel A. Segal, Brackette F. Williams, Stains on my name, war in my veins: Guyana and the politics of cultural struggle. Durham: Duke University Press, 1991. xix + 322 pp.-A. Lynn Bolles, Olive Senior, Working miracles: Women's lives in the English-speaking Caribbean. Bloomington: Indiana University Press (and Bridgetown, Barbados: ISER),1991. xiii + 210 pp.-Teresita Martínez Vergne, Margarita Ostolaza Bey, Política sexual en Puerto Rico. Río Piedras PR: Ediciones Huracán, 1989. 203 pp.-David J. Dodd, Dora Nevares ,Delinquency in Puerto Rico: The 1970 birth cohort study. With the collaboration of Steven Aurand. Westport CT: Greenwood, 1990. x + 232 pp., Marvin E. Wolfgang, Paul E. Tracy (eds)-Karen E. Richman, Paul Farmer, AIDS and accusation: Haiti and the geography of blame. Berkeley: University of California Press, 1992. xiv + 338 pp.-Alex Stepick, Robert Lawless, Haiti: A research handbook. (With contributions by Ilona Maria Lawless, Paul F. Monaghan, Florence Etienne Sergile & Charles A. Woods). New York: Garland, 1990. ix + 354 pp.-Lucien Taylor, Richard Price ,Equatoria. With sketches by Sally Price. New York & London: Routledge, 1992. 295 pp., Sally Price (eds)-Edward L. Cox, Kai Schoenhals, Grenada. World bibliographical series volume 119. Oxford: Clio Press, 1990. xxxviii + 181 pp.-Henry Wells, Kai Schoenhals, Dominican Republic. World bibliographical series volume 111. Oxford: Clio Press, 1990. xxx + 211 pp.-Stuart H. Surlin, John A. Lent, Mass communications in the Caribbean. Ames: Iowa State University Press. 1990. xviii + 398 pp.-Ellen M. Schnepel, Max Sulty ,La migration de l'Hindouisme vers les Antilles au XIXe siècle, après l'abolition de l'esclavage. Paris: Librairie de l'Inde, 1989. 255 pp., Jocelyn Nagapin (eds)-Viranjini Munasinghe, Steven Vertovec, Hindu Trinidad: Religion, ethnicity and socio-economic change.-Alvina Ruprecht, Selwyn R. Cudjoe, Caribbean women writers: Essays from the first international conference. Amherst: University of Massachusetts Press, 1990. xv + 382 pp.-J. van Donselaar, Michiel van Kempen et al, Nieuwe Surinaamse verhalen. Paramaribo: De Volksboekwinkel, 1986. 202 pp.''Suriname. De Gids 153:791-954. Amsterdam: Meulenhoff, 1990.-J. van Donselaar, Literatuur in Suriname: nieuwe, nog niet eerder gepubliceerde verhalen en gedichten van Surinaamse auteurs. Preludium 5(3): 1-80. Michiel van Kempen (compiler). Breda: Stichting Preludium, 1988.''Verhalen van Surinaamse schrijvers. Michiel van Kempen (compiler). Amsterdam: De Arbeiderspers. 1989. 248 pp.''Hoor die tori! Surinaamse vertellingen. Michiel van Kempen (compiler). Amsterdam: In de Knipscheer, 1990. 267 pp.-Beth Craig, Francis Byrne ,Development and structures of creole languages: Essays in honor of Derek Bickerton. Amsterdam/Philadelphia: John Benjamins, 1991. x + 222 pp., Thom Huebner (eds)-William W. Megenney, John M. Lipski, The speech of the negros congos of Panama. Amsterdam/Philadelphia: John Benjamins, 1989. vii + 159 pp.-Hein D. Vruggink, Clare Wolfowitz, Language, style and social space: Stylistic choice in Suriname Javanese. Champaign; University of Illinois Press, 1992. viii + 265 pp.-Keith A.P. Sandiford, Brian Douglas Tennyson, Canadian-Caribbean relations: Aspects of a relationship. Sydney, Nova Scotia: Centre for international studies, 1990. vii + 379 pp.-Gloria Cumper, Philip Sherlock ,The University of the West Indies: A Caribbean response to the challenge of change. London: Macmillan Caribbean, 1990. viii + 315 pp., Rex Nettleford (eds)

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.

Among the twenty metric Epistles ascribable to Albertino Mussato, a line of scientific texts can be recognised, arising from the occasion of curious natural events that had caught the erudite interest of the Paduan poet or some of his contemporary interlocutors. These five epistles, although drawing inspiration from unusual physical-natural or astronomical phenomena and starting from an occasional pretext, very often open to topics other than the main one: these simple curiosities, as a matter of fact, are the starting point for digressions around the themes that were most traditionally dear to humanistic disputes on poetry, triggering metaliterary considerations by the poet, who exposes and defends his own conception of poetic art on the basis of the model of the ancient poets, of whom he aims to retrace the footsteps with humanistic fidelity. Thus, it may happen to find arguments traditionally developed in the epistles in defence of the veracity of poetry even among the unsuspected zoological ruminations to which the epistle on the birth of a lioness, intended for the Venetian grammar master Giovanni Cassio, is dedicated, or to find programmatic declarations of poetics within an epistle on astronomical questions solicited by a curious Dominican friar from the convent of Sant’Agostino in Padua.

In the second half of the eighteenth century a lot of occasional poems were published in Vilnius. Their authors were often representatives of various orders: the Piarists, the Jesuits, the Basilians, the Dominicans. Name day poems enjoyed great popularity, which was influenced by the intensive development of various forms of social life. Name day poems were part of “home muse” or family poetry. The authors often addressed their works to representatives of the political and official elite of the Grand Duchy of Lithuania, who played an important role in the public and political life of the Grand Duchy of Lithuania and the Polish-Lithuanian Commonwealth. The poems were more often devoted to the representatives of the male lineage due to their social status and functions, although it happened that women, especially representatives of influential families in the Grand Duchy of Lithuania, were also the recipients of these poems. The article discusses an occasional work by a priest Dominik Zabłocki, Dominican friar, devoted to Countess Teresa Barbara Pacowa of the Dukes of Radziwills – a lady of the Austrian Order of the Starry Cross. The poem describes her personal merits, the merits of her husband and family, referring to the rich symbolism of the coat of arms of the Pac, the Radziwill and the Zawisza families from which Teresa Pacowa’s mother was descended. This piece of work undoubtedly belongs to the group of texts that were addressed to a wider audience and performed a political and propaganda function.

Este escrito pretende enseñar cómo la palabra poética puede convertirse en una herramienta eficaz para alcanzar una vehemente defensa del papel de las mujeres y conseguir la creación de nuevas posibilidades que les permitan ser libres de enseñar su valor. Las autoras dominicanas Rosa Silverio y Lourdes Batista-Jakab representan un ejemplo del deseo de que las mujeres salgan de la penumbra; amor, libertad y poesía son sinónimos de denuncia, defensa y salvación. Concretamente, se tomarán en examen las dos obras más representativas con respecto al núcleo central del asunto: Mujer de lámpara encendida (Rosa Silverio) y La mujer desnuda (Lourdes Batista-Jakab), cuyos versos serán objeto de selección, investigación y análisis comparativo. Los sujetos líricos que protagonizan los versos de las dos autoras desempeñan el papel de enfatizar una voz universal para aquellas que quedan en silencio. This article aims to show how poetry can become a useful tool to get a powerful defense of women’s role and to obtain the establishment of new possibilities that let them free to demonstrate their value. The Dominican authors Rosa Silverio and Lourdes Batista-Jakab represent an exemplar model of the wish of women to leave the darkness; love, freedom and poetry are accusation, defense and salvation at the same time. Concretely, this essay focuses on two literary works that can be considered the most representative of the central theme: Mujer de lámpara encendida (Rosa Silverio) and La mujer desnuda (Lourdes Batista-Jakab), whose poems will be the subject of a selection, research and comparative analysis work. The lyrics of the mentioned authors want to generate a universal voice for those who remain silent.

Nunca fiz segredo da admiração que sinto pela cidade de Paris, seja pela sua arquitetura, seja pela sua cultura ou seja pelas diferentes matizes de luzes que a iluminam. Deixei isso claro nos dois primeiros romances que escrevi e o faço também no livro que escrevo a quatro mãos com Manuel Rui, escritor e poeta angolano, e que deverá ser lançado no final deste ano. Em parte, foram essas características que me levaram a deixar o Rio de Janeiro para, pelo menos, passar todos os anos, de quatro a cinco meses naquela cidade. Digo em parte porque há motivos de outra natureza, também relacionados com as características, ou melhor, com as des-características de um Rio de Janeiro que outrora tive orgulho de chamar de meu.A última temporada em Paris foi especial e se destacou das demais, porque conheci um grupo de músicos e cantores que, com sol ou com chuva, animam as manhãs de domingo da Rue Mouffetard no coração do Quartier Latin. Ali, moradores cujas idades variam dos 8 aos 80 e eventuais turistas dançam ao som do acordeom de Christian Bassou, um francês apaixonado pelo Brasil e de quem me tornei amigo. Ele, France Dupuye e outros que gerenciam o grupo dominical parecem ser personagens vivos de um livro de conto de fadas, com uma única função: nos trazer alegria e nos fazer esquecer um pouco desse louco mundo em que vivemos. A cidade parece querer retribuir a querência que tenho por ela porque a sua principal universidade, a Sorbonne, me convidou para dar uma conferência e debater o meu último livro, com os alunos da cátedra de literatura portuguesa daquela universidade.Mas, se a cidade acolhe as pessoas que, com verdadeira paixão cantam em suas ruas, acolhe, lamentavelmente, grupos que celebram paixões muito diferentes. Apesar de ter vivido a maior parte de minha vida aqui no Brasil, ainda não me acostumei a encarar com naturalidade o modo como os nossos governantes e seus súditos diretos vivem algumas de suas paixões.Uma releitura da obra Ética demonstrada segundo a ordem geométrica de Spinoza (1632-1677) pode nos ajudar a entender, à luz da filosofia, um pouco dessa historia. A citada obra, considerada como ápice e síntese do pensamento do autor, apresenta axiomas, proposições e demonstrações, seguindo o modelo euclidiano. Spinoza não pretendeu com este método deduzir matematicamente a totalidade do real e nem se propôs fazer uma exposição Galeliana (quantitativa) do mundo físico. A ética propriamente dita tem inicio na parte III do livro e trata sobre a condição e a natureza humana, as quais são arquitetadas de forma determinista.Ele nos diz: “Não desejamos algo porque o julgamos bom; mas, ao contrário, julgamos que algo é bom porque o desejamos”. A parte IV do livro trata da impotência da razão ante as paixões, dos critérios gerais sobre o bem e o mal, do valor das distintas paixões e do modelo do homem livre. Logo no começo, Spinoza nos diz que o homem forma parte da natureza e, portanto, está submetido ao efeito das coisas externas. Dessa forma, as paixões incidem sobre a conduta humana na medida em que sua força pode superar àquela com que o homem preserva a sua existência. E continua: “ainda que as paixões sejam também ideias, a razão não pode anulá-las nem reprimi-las, porque a ideia de uma condição e a condição em si mesma não são da mesma natureza.” E uma condição só pode ser vencida pela presença de uma outra de sinal contrário e mais forte que ela. Dada a correspondência entre condição e ideias, o homem é consciente da sua dependência das coisas externas. Na medida em que elas resultem agradáveis ou desagradáveis, surgirá a ideia do bem e do mal. Obviamente o homem, com raríssimas exceções, deseja o que considera bom, mas a razão, sendo diversa daquilo que os homens desejam, só pode considerar bom e virtuoso aquilo que é útil para conservar o seu ser. Desse modo, é bom o que aumenta a sensibilidade do corpo humano ante os corpos exteriores e o que conduz os homens a viverem em sociedade presidida pela concórdia; e é mal tudo aquilo que impede essas coisas.O que parece estar acontecendo é que os sinais estão trocados. Os grupos de políticos que se locupletam em Paris, sabe Deus com o que, e em atitudes de fragrante deboche tripudiam sobre os pobres coitados que os elegeram, deveriam deixar que suas paixões e submissões ao efeito das coisas externas fossem regidas por um padrão de decência. Dessa forma, resistiriam a breguice de serem fotografados expondo os seus sapatos de U$10.000,00, ou posando em estado etílico com guardanapos amarrados à cabeça.Uma sugestão. Que tal se começassem a desejar as coisas porque o povo as julga boas, tais como: acabar com o maior índice do país de prevalência e mortes causadas pela dengue (102.000 casos com 22 mortes), melhorar o sistema educacional do estado do Rio de Janeiro, considerado pelas pesquisas como o pior do Brasil, melhorar o caótico atendimento nos hospitais e por aí vai. Como não farão nada disso, faço outra sugestão. Renunciem e resgatem a dignidade que talvez um dia tenham tido.