This book presents together a number of path-breaking essays on different aspects of medieval music in France written by Manuel Pedro Ferreira, who is well known for his work on the medieval cantigas and Iberian liturgical sources. The first essay is a tour-de-force of detective work: an odd E-flat in two 16th-century antiphoners leads to the identification of a Gregorian responsory as a Gallican version of a seventh-century Hispanic melody. The second rediscovers a long-forgotten hypothesis concerning the microtonal character of some French 11th-century neumes. In the paper "Is it polyphony?" an even riskier hypothesis is arrived at: Do the origins of Aquitanian free organum lie on the instrumental accompaniment of newly composed devotional versus? The Cistercian attitude towards polyphonic singing, mirrored in musical sources kept in peripheral nunneries, is the subject of the following essay. The intellectual and sociological nature of the Parisian motet is the central concern of the following two essays, which, after a survey of concepts of temporality in the trouvère and polyphonic repertories, establish it as the conceptual foundation of subsequent European schools of composition. It is possible then to assess the real originality of Philippe de Vitry and his Ars nova, which is dealt with in the following chapter. A century later, the role of Guillaume Dufay in establishing a chord-based alternative to contrapuntal writing is laboriously put into evidence. Finally, an informative synthesis is offered concerning the mathematical underpinnings of musical composition in the Middle Ages.
In this work, Manuel Portela explores the expressive use of book forms and programmable media in experimental works of both print and electronic literature and finds a self-conscious play with the dynamics of reading and writing.
This book is the latest contribution to a unique series in a common format documenting in great detail the warships of the major naval powers during the age of sail. To date, four volumes have covered the British Navy, two have been devoted to the French Navy and one each to the Dutch and Russian Navies. This volume on the Spanish Navy, for much of its history the third largest in the world, fills the final gap in the ranks of the major maritime powers. This book is the first comprehensive listing of these ships in English and covers the development of all the naval vessels owned or deployed by Spain during the period of the Bourbon monarchy from 1700 to 1860 (including the period of French control during the Napoleonic Wars), but it also sets the scene for that period by summarizing the origins of Spanish naval development under the preceding Habsburg regime. As with previous volumes in the series, the main chapters list all the naval vessels from 1700 onwards (including those 16th century ships which survived into the new regime in 1700) by type, with the first chapters listing the ships of the line (navíos in Spanish terminology) and frigates in descending order of firepower, and subsequent chapters covering minor and ancillary vessels. Where available, a brief service history of each individual ship is given. A comprehensive introductory section includes a group of background essays designed to provide the reader with a deep understanding of how Spanish naval forces operated, and the context within which they were organized. Certain to become the standard English-language reference work, its publication is of the utmost importance to every naval historian and general reader interested in the navies of the sailing era.
This book explores syntactic and semantic change in three types of construction in Spanish and Portuguese: (i) complex determiner phrases with clausal adjunction (el hecho de, o facto de), (ii) complex prepositions/complementizers and complex connectives (sin embargo de/sem embargo de, so(b) pena de), and (iii) complex predicates containing light verbs (dar consejo/conselho de). While these constructions are syntactically different, they are all clause-taking complex expressions containing a noun followed by the functional preposition de ('of'). This book is the first work to use a systematic comparative corpus study to explore these expressions together; this approach allows individual changes to be distinguished from general changes, as well as emphasizing the chronological clustering of changes that involve complex constructions in both languages. By studying mechanisms of language change and their outcomes in two sister languages, Patrícia Amaral and Manuel Delicado Cantero address questions such as: How do complex constructions evolve? How does the meaning of the noun change when considered in isolation and when compared to the meaning of the whole construction? And how do syntactic categories change over time? This study of two closely-related languages reveals distinct developments occurring in parallel, and provides a crucial test case for theories of language change.
By the late 1980s and early 1990s, a great number of TV shows and music acts blossomed in Colombia, all of which resorted to regional identity as the narrative core for a renewed idea of national identity. Among them was “Clasicos de la provincial,” an album by Colombian singer Carlos Vives and his band La Provincia (1993), which marked the beginning of a successful career that has spanned nearly three decades. Vives´s work not only earned much deserved recognition in the musical industry from the beginning, but most importantly, has come to be renowned as a landmark in the cultural history of Colombia. This book is the first in-depth analysis focused on the creation and production process of Vives´s work, its main musical and literary features, and its influence on other musicians and in the construction of a narrative about national identity that is still relevant today. More than fifty interviews with Vives and members of the band, musicians, journalists, radio programmers, musical producers, and other key players of the process, together with an extensive review of hundreds of documents, are the sources for this book, which earned its authors a national award in Colombia (2015).
This is a generous, long-overdue presentation of the major Brazilian poet Manuel Bandeira (1886–1968) to the English-speaking reader. Well over a hundred poems appear here in both Portuguese and English, together with a critical overview that introduces the poet and Brazilian poetry to the nonspecialist and contributes significantly to the existing body of Bandeira scholarship. Bandeira’s poetry not only stands among the most important in twentieth-century Brazil but also embodies the experience of transition from one literary movement to another. The poems span a half century of writing, from the publication of Bandeira’s first book in 1917 to the definitive edition of his collected work in 1966. Because critics agree that the poet’s most influential creative efforts began in 1930 with the publication of Libertinagem (Libertinism), the collection concentrates on the later period. A smaller number of poems drawn from the three books published before this date provide a useful basis for comparison. Candace Slater’s fine versions of the poems are augmented by a translator’s note that considers Bandeira’s poetic language in terms of the particular challenges it offers the translator into English. Her introduction offers a fresh and comprehensive look at the poet whose artistic transformation from nineteenth-century modes of expression to experimental twentieth-century Modernism paralleled the transformation of his country. It focuses on the poet’s continuing alternation between an acceptance of, if not allegiance to, the material world and a desire for something more. This fundamental though often subtle opposition is reflected in the title, This Earth, That Sky. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1989.
On a late September day in 1837, shortly after sunset, a group of six slaves marched into the small Cuban village of Güira de Melena, beating African drums and singing loudly. Alarmed, villagers rushed into the streets with machetes, sabers, and spears, ready to take action against the disobedient slaves. Yet this makeshift parade never evolved into the violent rebellion the villagers expected. Though the slaves who lived on Cuban coffee and sugar plantations sometimes defied their captors by orchestrating fierce uprisings and committing murder and suicide, they also resisted in less overt ways -- by running away, feigning sickness, breaking tools, and by maintaining their own cultures. In Seeds of Insurrection, Manuel Barcia examines many largely overlooked ways in which African and Creole slaves in Cuba defied domination in the first half of the nineteenth century. Ethnic and geographic origins, as well as slaves' personal experiences, affected their resistance to bondage. Dividing resistance into two broad types -- violent and nonviolent -- Barcia examines when and why the slaves chose certain forms. Creole slaves grew up in Cuba, for example, so they learned both the language of their ancestors and Spanish, and they came to understand their Spanish masters as few African-born slaves ever could. Consequently, they cleverly used the few rights colonial laws offered them to their advantage. African-born slaves, by contrast, carried with them their memories from home, their religious beliefs, jokes, and songs, and they dealt with enslavement by incorporating this cultural heritage into their everyday activities. Barcia demonstrates the ways in which the slaves made use of the privacy of their huts and barracks and the lack of surveillance in the fields to voice their ideas and opinions -- through song, religion, gossip, folktales, and jokes -- within an acceptable degree of safety. Relying primarily on transcripts of local and central court proceedings involving slaves, free people of color, slave owners, and witnesses, Barcia reveals the slaves' view of their world. He also explores the forms of domination practiced by colonial authorities, plantation masters, and overseers, gleaning insight from innovative sources, including medical reports and diaries of rancheadores, as well as public and private correspondence, newspapers, and the contributions of contemporary scholars. In Seeds of Insurrection, Barcia expands the definition of resistance and adds an invaluable dimension to the understanding of slavery in the Americas.
West African Warfare in Bahia and Cuba seeks to explain how a series of historical events that occurred in West Africa from the mid-1790s - including Afonja's rebellion, the Owu wars, the Fulani-led jihad, and the migrations to Egbaland - had an impact upon life in cities and plantations in western Cuba and Bahia. Manuel Barcia examines the extent to which a series of African-led plots and armed movements that took place in western Cuba and Bahia between 1807 and 1844 were the result - or a continuation - of events that had occurred in and around the Yoruba and Hausa kingdoms in the same period. Why did these two geographical areas serve as the theatre for the uprising of the Nagos, the Lucumis, and other West African men and women? The answer, Barcia argues, relates to the fact that plantation economies supported by unusually large numbers of African-born slaves from the same - or close - geographical and ethnic heritage, which transformed the rural and urban landscape in western Cuba and Bahia. To understand why these two areas followed such similar social patterns it is essential to look across the Atlantic - it is not enough to repeat the significance of the African background of Bahian and Cuban slaves. By establishing connections between people and events, with a special emphasis on their warfare experiences, Barcia presents a coherent narrative which spans more than three decades and opens a wealth of archival research for future study.
This book is a major source for scholars of the latest American poetry. These exciting essays comprise energy and documented discussions on experimentalism, multiculturalism, hyperspace, and gender. Anthologies and little magazines form the matrix for this exploration on conceptual issues surrounding language. The author widens the perspective in which a great deal of writing forced the limits of poetry in this kind of publications. At the same time, he analyzes new contexts and enters into conversation with other sources for inspiration found through other disciplines such as social theory, philosophy, linguistics, and art generated at both sides of the Atlantic Ocean. Reflective, taut with alertness, and exploding the postmodern concept of word/object as a liberating experience, this book becomes a driving force to address poetry and challenging political issues with admirable depth.
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