Yoghurt Utopia chronicles a tumultuous year for Colon and the La Fageda cooperative, interweaving the unfolding present-day drama with the parallel stories of the highs and lows enjoyed and endured by the workers and the remarkable history of this ground-breaking business. A rough cut is the assembly of the entire film, without the final sound mix, graphics and colour grade. Yoghurt Utopia has also been selected for development support by the prestigious Sundance Institute, which greatly increases our access to potential theatrical distributors. But other broadcasters, distributors and commissioners who have expressed interest in acquiring the film, need to see a rough cut before coming on board.
Muchos de los empleados pacientes han pasado la mayor parte de su vida adulta en la Fageda y la perspectiva de perder esta figura paternal les ha sido muy dura. We want to bring the story of Cristobal Colon and the workers of the La Fageda cooperative to a worldwide audience. By doing this, Yoghurt Utopia will present an alternative, innovative model for mental health provision and inspire a new generation of business leaders seeking to create more caring, productive organisations.
Please pledge something towards the project to help us bring it to completion. Even if your pledge is small, every penny counts. This is your chance to help us make Yoghurt Utopia. Kickstarter is an all or nothing fundraising platform, which means if we do not raise our goal in thirty days, Kickstarter returns all the pledged money to our backers and we will receive NOTHING. Through development funding from the Sundance Institute and self-financing we have shot most of the film. The money we raise through Kickstarter will cover an editor for 10 weeks to bring the film to rough cut.
Our schedule is the following:. August-October We will edit the film to rough cut, show it to broadcasters and continue to raise funds. For 35 years, the La Fageda cooperative has been a beacon of enlightened mental healthcare provision. In tackling this problem Colon has developed a sustainable, socially responsible yet profitable business - acceptable to the most sensitive workforce imaginable.
And the people who work here feel that there is no greed in our organisation. We believe we don't just make yoghurts here; we are here to help a group of people lead a better life Colon. La Fageda has featured in the Harvard Business Review and become a soulful organisation and a model of alternative treatment for mental illness to be emulated by the many visitors from around the world. Pero esta historia no va solo de la enfermedad mental. Colon ha producido un modelo de capitalismo social y sostenible. La Fageda ha salido en Harvard Business Review como modelo de empresa y un sistema alternativo del tratamiento de enfermos mentales para ser copiada por todo el mundo.
For people who are sick or disabled, placement in work improves health and psychosocial status. Marwaha and Johnson, ; Schneider, But the principles that have underpinned the La Fageda project for over 30 years may provide a solution. As expressed by Colon, these are:. Our capabilities may vary, but we are all able to do something - it is about matching the work with the capability of the person.
But mental health problems remain stigmatised and treatment outdated throughout the world. Our film will inspire others, transform attitudes to mental health and provide a prototype for positive change. Through partnership with broadcasters and film distributors we will ensure that Yoghurt Utopia is seen by as wide an audience as possible. We aim to show Yoghurt Utopia at film festivals, on television, through video on demand and at educational events at The Royal Society of Arts.
Marwaha and Johnson, ;Schneider, Para las personas enfermas el trabajo mejora su salud y su estatus psicosocial. Como dice Colon estos son: La enfermedad mental sigue estigmatizada y su tratamiento anticuado en todo el mundo. Crucially for this project she is a fluent Catalan speaker. David's directing career spans broadcast TV, commercials, event visuals and award-winning digital ad campaigns - making him a true multi-platform specialist. He's just as at home shooting commercials and documentaries as he is creating immersive experiences for the web.
Isona Passola i Vidal, Executive Producer. This spirit of renovation is expressed through a series of grievances and protests. The young writers attacked the positions held by the great writers of the turn of the century, the poetics they defended and the authority with which they were invested.
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And they attacked the style of journals and daily newspapers which formed the tastes of the reading public. The aesthetic context described by Ibarra corresponds to the first quarter of this century. In opposition to this situation there emerged a somewhat diffuse but sufficiently powerful literary formation, which caused an important change in this institutional framework, including the major daily papers. Intolerance and belligerence replaced the tolerance and conviviality that had characterised the relationship between intellectuals up to that moment.
The winds of change caused divisions and polemics: All the actors in the cultural field were forced to take up new positions, because their hegemony was being seriously questioned and because the growing prominence of avant-garde writers threatened to overthrow the established order: It is interesting to note what values underpin this process of increasing autonomy.
The avant-garde defended autonomy not merely in the name of beauty but more particularly in the name of 'the new': It was not a minor part of their programme, but rather its structuring principle. And because the new was intransigent, the avant-garde asserted a maximalist position.
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The concept of the new was in itself sufficient to draw up the battle lines in the intellectual field, but it was not the only aspect of the avant-garde programme. As we have seen in the previous chapter, the national- criollo content of the avant-garde and its moral moderation distinguished it from other contemporary movements in Latin America.
But nationalism, in this period, was filtered through the lens of 'the new'. Borges often debates the nature of acceptable and unacceptable criollismo , the way in which certain forms, in their adherence to local colour, are products of the past and other forms, in their rejection of such 'localism' are formal-aesthetic inventions grounded in the new.
For him good and bad criollismo can be differentiated according to aesthetic values. Thus all versification is culinary in its rhythm, in its harmony, in its onomatopoeia and in the sonorous nature of its words and the rhythm of its accents. If modernismo and the decadent movement had made great use of the sensory, the avant-garde sought to destroy it. While modernismo had sought to increase readership, the avant-garde deliberately limited the field and saw comprehensibility as a negative value.
These aesthetic strategies affected literary production and also the receptivity and the expectations of readers. Alberto Hidalgo, the Peruvian poet who played an active part in the skirmishes of the Argentine avant-garde set out, in a long text which appears as a prologue to his book of poetry Simplisimo , a number of ways of reading which presuppose or demand a public prepared to engage with quite complex issues, in marked contrast to the 'spontaneity' of reading modernista and postmodernista works.
He develops a poetics of 'pauses', with a strong prescriptive element, since these pauses define the meaning of the poem rather more than the words themselves:. The pauses because something like intervals. One cannot do without them in the reading if one wants to experience fully the poetic instant that flows from each verse independent of the global harmony of the poem. The pause is not a typographical expedient but rather a psychological state. At times it is more important than the line that precedes it. Let us imagine this reading public which is warned to keep away from a book because it does not contain cheap thrills; whose tastes are considered as part of a culinary, antiartistic dimension of literature, who are told to mock Lugones, as Borges does brilliantly on numerous occasions, who are told how to read, and told that the blank spaces on a page are more significant than words: In this sense, the avant-garde is radical and optimistic.
It does not share the social aspirations of humanitarian writers or those of the left; its optimism is based on what Adorno called the 'historically ineluctable'. The left envisaged a public that had to be educated, or heralded a public who could become readers through their own social development. It supported instead the new readers who shared the imagination of their chosen writers.
In this way, the avant-garde of the s is not interested in pedagogy: For the avant-garde, the 'new' is located in the present; for the left, the 'new' is a promise for the future. Thus their value systems were different: The pedagogic left worked in the long term whilst the radicalised left placed itself in the orbit of the revolutionary cycle. The avant-garde was a utopia which transformed existing aesthetic relations: For this reason, the avant-garde was so actively engaged in transforming the cultural context and its tactics appeared so extreme.
The avant-garde confronted the other fractions of the intellectual field and established what they considered to be a dividing line between old and new. Index of the New American Poetry, , considered themselves to be on the other side of the line, at a zero point in the history of poetry. Huidobro dedicated his prologue, in a characteristic pose that he repeated in each one of his manifestos, to a declaration of his own importance as an avant-garde creator.
Borges declared modernismo to be dead and buried: One year earlier, in the prologue to Simplismo mentioned above, Hidalgo had offered his own periodization for the history of poetry. These delirious moments are an integral part of the foundational impulse of the avant-garde, and of the force and conviction of its programme which has 'the new' at its centre. The Index of New American Poetry must be read as a manifestation, under the guise of an anthology, of the avant-garde utopia: One could argue whether or not they are all part of a homogeneous programme.
Perhaps not, despite the heavy handed way in which Hidalgo dealt with those writers which he excluded. Arbitrary and somewhat odd, the Index can be read as a statement of poetic art and also as the realisation of a desire: It changed literary relations, supported aesthetic principles and gave examples of what writing should be from that time hence. In the anthology there are writers who, in the words of Borges, must first carry out a work of destruction:. The Index is also an expression of this avant-garde aesthetic in the emphasis it places on two complementary themes: In 'There are distant places fifty metres away', the modern city is seen to alter the experience of space, in images that also occur in painting: Space is modified because speed becomes a principle of the perceptive system and of representation.
The same is true of noise which did not appear in earlier poetry: Jazz is a central theme: A cubist decomposition of the urban continuum, the impact of modernity on the system and forms of perception, the confusion of the 'natural' contact between man and his surroundings, the construction of new images out of this amalgam of fragmentary allegories: Another theme is that of the lost city which the literature of the period, and especially the work of Borges, invents or reconstructs.
Borges went back to Buenos Aires bearing the good news of ultraism; at the same time he was working with both literary and emotional aspects of the past. His poetry is part of an aesthetic, a sensibility and an urban landscape experiencing a rapid process of change. His system of perceptions and memories link him to the past; his poetic project, on the other hand, is linked to 'the new'. He worked under the influences of aesthetic renewal and urban modernisation and produced a mythology which contained premodern elements but which was filtered through aesthetic and theoretical avant-garde principles.
In terms of topology, he brought the margins to the centre of the Argentine cultural system and established a new set of relations between the themes and the forms of poetry. He established in Argentina the avant-garde usage of oral language, which in these years was represented by the images of ultraism. He established the centrality of the margins. The poems printed in the Index demonstrate different avant-garde tendencies of the s, not only because they use the rhetorical system of cubism and ultraism, but also because, as a body of work, they show the force of the new ideologemes of urban modernisation and aesthetic renewal in their most intransigent phase.
But this Argentine avant-garde does not place experimentation at the centre of its concerns, unlike Huidobro or the Brazilians. Its main intervention in the aesthetic field is the assertion of its difference to modernismo: The publication of the Index of New American Poetry is one of the cultural confrontations of the twenties. The poems are the pragmatic demonstration of a conflict that could not be resolved through pragmatic means alone. The newness of the avant-garde including its new version of criollimo was outlined in successive programmes and manifestos.
In these years, as never before, Argentine writers produced many explanatory and polemical texts which, in the relative unanimity of their themes and outlook, can be seen as a programme of 'the new'. These are the years of attacks on the literary establishment: There is also a exposition of the value system of the new poetry. The fractions of the intellectual field articulated in this period different ideas, which would become the major concerns of later years: Intellectual concerns were more complex and diverse than the relatively small number of issues that had been debated by the first cultural nationalist groups of the Centenario.
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From both an ideological and an aesthetic point of view, the writers established new literary foundations. On the question of cultural identity, that had so obsessed previous generations, the avant-garde groups considered that the concept of 'the new' was sufficiently powerful to assert its hegemony. At the same time however, from the standpoint of the new, they articulated a different cultural nationalism. The great changes in culture in the period are related to changes in the foundations of the value system, that is to say, in the different answers to the question: In , when Ibarra gave a fairly balanced and critical account of ultraism giving Borges a central role in this movement , he added a comment on the ideological-aesthetic blend that I have called 'avant-garde urban criollismo '.
This growing and organised intellectual nationalism is having a great influence on our young writers. The great apostle of criollismo is, as we know, Jorge Luis Borges. His criollismo , and he is the only writer to define it in a structured and non verbose fashion, defines literary criollismo in general: This invention of Borges puts into play an important aspect of 'the new' and it also offers a re-reading of tradition which becomes possible through Borges' blending of the avant-garde with his reformulation of the importance of foreign literatures.
But other definitions of 'the new' were circulating and being discussed in Buenos Aires. With the work of Huidobro, the avant-garde advanced an 'anti-content' position which affirmed the radical autonomy of art: Newness, as Huidobro never tired of repeating, was not to be found in the theme 'but in the way in which this theme is produced' [7] Newness is formal as Borges saw when he supported an aesthetic of refraction in place of an aesthetic of mimesis:.
And Macedonio accepted only one valid definition of literature: Through such resistance to the positions of romantic and postromantic poetry, the writing of poetry becomes a formal operation. The avant-garde is, in this sense, anti psychological and anti-expressive. Borges puts it thus, anticipating his later construction of the poetic 'I' as a tissue of different voices.
The first of these should be the concern of painting or music, the second is based on psychological error, since personality, the 'I', is only a broad collective term which embraces the plurality of all the different states of consciousness. Any new state which is added to the others becomes an essential part of this I, and expresses it: Any event, any perception, any idea, expresses us with equal power, it can be added to us Overcoming this useless and obstinate desire to fix in words a vagabond I, which is transformed every second, ultraism upholds the central principle of all poetry: In terms of its programme, the argument has moved forward in two ways: Macedonio's definition of art as anti-naturalist is combined with the notion of art as a process.
These definitions appeared in all the manifestos of the period and Borges gives them a theoretical density in the first issues of the literary journal Sur , in the early s. As programmes, the theories of the avant-garde could be partially modified in practice. However, their formulations mark out the universe of what is desirable: Literary practices found a sense of the future in these excessive and polemical programmes: III Harritu egingo zinateke hona etorrita. Zuk eta nik ezagututako bizitzeko era, hainbetse urte, hainbetse mende etengabean irun eta josi zituena, ezkutatu egin da betiko.
Hariak, oihala, ez ziren suertatu armiarmek belar-zirien artean hedatutakoak baino tinkoago. Kansasen egon nintzen, Texasen, Oklahoman eta Coloradon, ez nuen artzai bakarti bat ikusi. Alferrik egiten dute han zuhaitzen hostoek xuxurla, alferrik egiten du euri, alferrik idazten dituzte txoriek mezuak airean. Har ditzagun umeak gogoan, ez dituzu kurkuluxetan edo txingotan jostatzen ikusiko, edo bizkarretik elkar hartuta bidean. Bizimodu hau Beste da, again hobe. Ba, beldurra ez da desagertu, Virgilio. Gure artean jarraitzen du ez dezan inork zoriontsu lo egin iturri edo ibai alboan, itzal goxoen anparoan.
Zenbat polizia, epaiketa, kartzela! Zenbat aulki elektriko, gas gela! Izutu egingo zinateke zenbakiekin. Bonbardaketetan ohearen azpian gordetzen zen bere ilobekin, ume artean ume. Lakuaren ur arreak, izei lun horiek; ez dago besterik, ez dago edenik. The rumours rife in the port of Brindisi were absolutely right, 5 Thule was not the farthermost shore; beyond it lay forests, rivers, plains, prairies, islands, deserts; there were human beings who said Milwaukee, Mississippi, Saskatchewan; many here repeated your words, Arcadia, the New Life, Paradise. The life that you and I both knew and which, like a tireless seamstress, stitched together all those years and centuries, has disappeared for ever.
Those threads, that fabric, proved no stronger than the webs the spider weaves between one blade of grass and another.
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This is another life, possibly better. V And what about Fear, you ask.
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No, Virgil, fear has not disappeared. So many policemen, trials, prisons, electric chairs and gas chambers! The numbers, Virgil, are frightening. Do you know, Virgil, that, later, during the bombardments, he hid beneath the bed with his nieces and nephews, like another child. Bernardo Atxaga has devoted some of his works to thinking about what paradise means to us, both as individuals and as groups. As a clue to his literary work we could say that from the beginning of his literary career, he was interested in the subject, and that he thought this real world the antithesis or complete opposite to paradise.
He gave the title of Etiopia to his first book of poetry ; see Atxaga , depicting a world of dire need and suffering. The title suggested in those years of the twentieth century the idea of total starvation, due to the severe famine they were suffering on the eastern side of the Horn of Africa. Atxaga shares his commitment to social and ethical issues with a whole rank of writers in contemporary Basque literature that were all influenced in their youth by writers like Gabriel Aresti songwriters and singers such as Mikel Laboa — As a clue to understanding their literature we may remember that Laboa was the author who introduced very early into Basque literature several texts of Bertolt Brecht — , the author who represents the voice of the critical conscience of the intellectual in post-war Europe.
Bertolt Brecht will be remembered in literary history as a major playwright and theatre director, as a theorist of epic theatre, but he was also an exceptional poet, with a characteristic voice of short and direct style, avoiding sentimentality and focusing on politics and social issues. Brecht is a reference point for a whole current of poetry in the Hispanic context.
He was concerned with human suffering at all times and places. His poetry has two main styles: Nevertheless, Alianza editores published an anthology of his poems titled Poemas y Canciones in and very soon after Bertolt Brecht became well known in the Basque Country through Basque versions of texts that were sung by Mekel Laboa. Comparative literature began with the idea of writing the story of the literature of a nation in relation to other national literatures, in order to describe which one was the origin and source of ideas and styles, and which ones were influenced by these.
Modern comparative literature has internalized the idea of an international context of literary studies, in which intertextuality is a common feature of every text. It was Julia Kristeva Some are named and others not. We will also see that this dialogue is dominated by the sign structure, which has been defined in a certain pragmatic context and conveys significance and value to its readers.
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It also protested about the hardships Vietnam veterans faced upon their return from the war. So the desperation and sacrifice relayed in the verses of the nationalist chorus is overwhelming. Some critics have also pointed out that the lyrics symbolically suggest the effect of blind nationalism upon the working class. VII This is America, they cry. This is the best country in the world! We can talk of a different source of intertextual reading by observing another feature of the poem: The narrative voice tells of a desperate travelling across the country, a continuous change of place, looking for some trace of the old Arcadia: This is the most outstanding rhythmic and semantic feature of the poem, because if we look at the map of United States, we can see that he is crossing the country from one end to the other, from north to south.
The map and places are mentioned following their phonetic similarity, expressing the idea that all places are alike, as if they cannot give the poet any rest: The phonetic similarities and the parallelism of syntactic structures have a beautiful rhythmic effect that reinforces the connotation of the exhausting search from place to place, as we have said, but a careful look at the places that are mentioned show that the poet has also chosen to list some of the most dangerous places in the United States, in order to transmit indirectly, by accumulation, the internal subject of the poem: This song, by Canadian singer and songwriter Neil Young, was released on his album Harvest.
The repetition of structure and the similarity of names is a wonderfully expressive way to convey his endless search for his ideal. That way the reader feels an immediate emotional distress and weariness before having understood the real content of the poem. His search for a good place where the memory of a Paradise, an old Arcadia or Eden, suggested by many local names, is not successful at all, and this is why his solitary travelling through American cities and states makes him experience a state of danger.
Teque adeo decus hoc aevi, te consule, inibit, Pollio, et incipient magni procedere menses; te duce, si qua manent sceleris vestigia nostri, inrita perpetua solvent formidine terras. IV Eclogue, verse [Only do thou, at the boy's birth in whom The iron shall cease, the golden race arise, Befriend him, chaste Lucina; 'tis thine own Apollo reigns. And in thy consulate, This glorious age, O Pollio, shall begin, And the months enter on their mighty march. But for Jameson, postmodernism is a kind of Iron Time: The past is still a repository of cultural and symbolic significance which continues to be revisited and reconstructed imaginatively by individuals and communities.
But we have to ask ourselves which kind of myths and histories is he using and reworking — the biblical idea of Paradise, the Utopia city projections — and now we will take into account the Roman Empire at its peak: A dialogue with the classical poet Virgil implies a certain notion of the literary canon that nowadays nobody would let pass without questioning its relevance in literary studies.