The high—pitched nervous activity of violins in Funesta contrasts with sustained low notes throughout the six arias, conveying the anxieties of the Baroque through melodic lines whose intervals suggest a minor—key atmosphere. When I orchestrate I play with the repetition of themes among the different instruments in the baroque style: The following aria is a highly dramatic setting of Soneto The timbre of strings played on the bridge sound distant in contrast with the immediacy of the sinuous melodic vocal lines. Sor Juana approaches a bed that opens like a tomb.
Without the theatrical performance, Funesta nonetheless conveys great expressive intensity and a spatial sense of musical lines and textures. I think of Olivier Messiaen when I read her poetry.
Among other resonance—producing techniques, the soloist is instructed to whisper into the piano strings. The guitarist is instructed to shake the instrument, bend notes, play dissonant harmonics and quarter tones, and pull an extra, resonating string braided between the metal strings of the guitar.
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But [he] had always wanted to write a work about birth. Part Two shifts the emotional atmosphere from joyful anticipation to fear and suffering, widening the scope to Biblical accounts of the Slaughter of the Innocents and the massacres at Tlatelolco in and But, of course, everything came to nothing, a comedy of intrigues. Tomando las cosas a la ligera: The spectators of the previous scene seem confused and do not know which way to react.
JUANA taking things lightly.
But what you have seen is only an entertainment. She constructs the narrative of a brilliant mestiza rather than the historical criolla torn between European high culture and her awareness of the oppression of slaves and indigenous communities in New Spain.
Her renunciation is framed by the wisdom offered her by a slave with whom she grew up as a sibling, as she departs for the capital: These three plays present a spirited Sor Juana: It won the Chamber Opera Competition of the National Opera Association, and has been successful enough to be revived twice, in at the Peabody and again in at the Boston Conservatory.
The opera consists of ten scenes, structured on a dual perspective: Their love is declared in the simplest possible terms in Scene Five, neither implying nor disavowing the physicality of the erotic. To escape her silence! Augustine, but her sister nuns are not learned enough to recognize it.
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He works his seduction, not for sexual satisfaction but for his own vanity, making false promises in order to persuade Sor Juana to join the convent. He declares in an aside sung with broad gestures of arrogance: The choral commentary of Scene Five is particularly apt: As the famine and rioting outside the convent make it impossible for her to leave, Sor Juana signals to Padre Antonio her contrition and her intention to renew her vows.
Similar concerts were scheduled for Madrid and Almagro in November In my research I have become aware that the intensity of current interest in Sor Juana makes it likely that more voices will have joined the musical conversation before this reaches print. Bergmann and Stacey Schlau. Feminist Press, U of Minnesota P, 5.
Duke UP, , several articles have appeared on sexuality, colonial subjectivity, and visual culture in Yo, la peor de todas. Lourdes Torres and Inma Pertusa. Temple UP, Translations mine unless otherwise indicated. The Abysmal Remove of her Closing Night. A Journal of Committed Writing 22 Trueblood, A Sor Juana Anthology.
Sociedad General de autores y Editores, Trueblood, A Sor Juana Anthology Not included in selections translated by Trueblood. A Feminist Road Not Taken. Italy, Spain, and the New World. David Castillo and Massimo Lollini.
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Vanderbilt UP, Translation mine, based on English translation by Christian Gerszo. Essential Writings on an American Composer. A Nativity Oratorio — Marting and Betty Tyree Osiek. A Rosario Castellanos Reader. U of Texas P, Castellanos, The Eternal Feminine Bell Gale Chevigny and Gari Laguardia. Cambridge UP, El obrero moderno carece de individualidad. Ni siquiera lo ve. Todos los hombres sometidos a su imperio la padecen. La propaganda difunde verdades incompletas, en serie y por piezas sueltas. El terror obedece al mismo principio.
El terror se generaliza: En su forma yace, escondida, presta a saltar, la sorpresa. O los cambiamos a nuestros aliados o enemigos por otros objetos. Lo que no quiere decir que el mexicano sea incapaz de convertirse en lo que se llama un buen obrero. Vivir a solas, sin testigos. Solamente en la soledad se atreve a ser. El defecto de interpretaciones como la que acabo de bosquejar reside, precisamente, en su simplicidad.
Ambas son lo mismo. Al esculpirlas, se esculpe. Mas una diferencia radical nos separa.
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Nosotros, en cambio, luchamos con entidades imaginarias, vestigios del pasado o fantasmas engendrados por nosotros mismos. Esos fantasmas y vestigios son reales, al menos para nosotros. En la lucha que sostiene contra ellos nuestra voluntad de ser, cuentan con un aliado secreto y poderoso: Porque todo lo que es el mexicano actual, como se ha visto, puede reducirse a esto: En muchos casos estos fantasmas son vestigios de realidades pasadas. Se originaron en la Conquista, en la Colonia, en la Independencia o en las guerras sostenidas contra yanquis y franceses.
Otros reflelan nuestros problemas actuales, pero de una manera indirecta, escondiendo o disfrazando su verdadera naturaleza.
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En esta esfera es imposible escindir causas y efectos. En realidad, no hay causas y efectos, sino un complejo de reacciones y tendencias que se penetran mutuamente. O dicho de otro modo: Confusamente reflejan nuestra intimidad: Palabras que no dicen nada y dicen todo. Los adolescentes, cuando quieren presumir de hombres, las pronuncian con voz ronca.
O la del aullido en que terminan nuestras canciones, y que posee la misma ambigua resonancia: Esto es, todos aquellos quo no son lo que nosotros somos. Y esos otros no se definen sino en cuanto hijos de una madre tan indeterminada y vaga como ellos mismos. Ante todo, es la Madre. Vale la pena detenerse en e1 significado de esta voz. Es probable su procedencia azteca: En Colombia, chingarse es llevarse un chasco.
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En el Plata un vestido desgarrado es un vestido chingado. En casi codas panes chingarse es salir burlado, fracasar. Es un verbo agresivo, como puede verse por todas estas significaciones: Hay tantos matices como entonaciones: Cuando algo se rompe; decimos: