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Inspired by Alistair Cooke’s masterpiece “Letter from America” (1934-2004) that depicted the transformation of British culture in the United States of America, Ndi-Shang’s text redefines ‘America’, focusing on the melting pot engendered by African, indigenous, European and Asian cultures in Latin America through the case of Peru, the erstwhile epicentre of Spanish empire in Latin America. It is a reflection on the triangular relationship between Africa, Europe and America against the backdrop of slavery and (neo-)colonialism which continue to define intimate experiences, daily interactions, personal trajectories and human relations in a ‘globalized world’. Ndi-Shang probes into the legacies of racial inequalities but also the possibilities of a new ethic of encounter amongst human beings/cultures. The text is based on an intricate interweaving of the humorous with the tragic, the personal with the global, the historical with the current and the real with the creative.
Hans Magnus Enzensberger is one of the most widely read and respected writers in post-war Germany. In the present study a considerable number of his most important poems are closely analyzed, including the texts that make up his major poetic cycles, Mausoleum (1975) and Der Untergang der Titanic (1978). Central to any discussion of this highly diverse corpus is the way in which Enzensberger creates strikingly original poems on the basis of borrowed material. Der Untergang der Titanic, for example, is closely based on the famous bestseller A Night to Remember (1955) by the American writer Walter Lord and on the film of the same name by Roy Baker (1958). Enzensberger’s ?Versepos? is simply unimaginable without Lord’s book, and certain episodes represented in the poem can be fully understood only by readers who have seen the film. The appropriation of documentary material also plays an important role in the series of poems devoted to nature or science, many of which present themselves as riddles. An entire chapter is devoted to the analysis of these fascinating riddle poems. The various personages portrayed in Mausoleum comprise not only scientists, inventors, explorers, and thinkers who were responsible for truly world-changing discoveries (Gutenberg, Humboldt, and Darwin for example), but also a whole series of historical figures whose admission to this oddball pantheon is best explained by the bizarreness of their often utopian projects or by their compulsive or megalomaniacal personalities. The playful and provocative Enzensberger clearly chose several of these latter for their shock value (Raimondo di Sangro, V. M. Molotov, Ernesto Guevara de la Serna). Our reading of this collection demonstrates Enzensberger’s willingness to undermine seriousness with irony and humor, hence the presence of Dante and Marilyn Monroe on board the sinking Titanic. The final chapter examines the relation between poetry and politics and examines the notorious essay ?Gemeinplätze, die Neueste Literatur betreffend? (1968) as well as the disturbing interview with the Weimarer Beiträge (1971), in which the poet expresses his thankfully short-lived rejection of literature as art and his desire to break out of the ?Ghetto des Kulturlebens.? This chapter also discusses the influence of Bertolt Brecht. Other chapters focus on the poet’s taste for anachronism, his ?asynchronous? sensibility, and the recurrent theme of disappearance. --
En este libro encontraran una variedad de poemas que han sido escritos de la vida real y escritos desde un corazón que ama y que siente igual que el suyo poemas de amor, de desamor, de tristeza, de felicidad de dolor, de agonía, de soledad y también de perdón mayoría de ellos son del hombre a la mujer y encontraran varios de la mujer para el hombre también así como mi corazón se sentía y la inspiración me llegaba solo escribía desde el fondo de mi alma sé que muchos de ustedes encontraran refugio en estos poemas y que se identificaran con ellos también porque quien no ha amado alguna vez en su vida o quien no desea tener un amor de verdad o desea un amor, que aún no ha podido alcanzar, pero aun así no pierdes la esperanza de que ese amor sea solo para ti el simple hecho de estar leyendo esto quiere decir que tu corazón se ha identificado y anda en busca del verdadero amor un amor verdadero sincero que te haga sentir muy especial tú ya sabes que lo eres, pero hay algo hermoso cuando el ser que amas te lo dice, y puedes sentir el amor como recorre todo tu ser al escuchar su voz.
The Garland Handbook of Latin American Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 2, South America, Mexico, Central America, and the Carribean, (1998). Revised and updated, the essays offer detailed, regional studies of the different musical cultures of Latin America and examine the ways in which music helps to define the identity of this particular area. Part One provides an in-depth introduction to the area of Latin America and describes the history, geography, demography, and cultural settings of the regions that comprise Latin America. It also explores the many ways to research Latin American music, including archaeology, iconography, mythology, history, ethnography, and practice. Part Two focuses on issues and processes, such as history, politics, geography, and immigration, which are responsible for the similarities and the differences of each region’s uniqueness and individuality. Part Three focuses on the different regions, countries, and cultures of Caribbean Latin America, Middle Latin America, and South America with selected regional case studies. The second edition has been expanded to cover Haiti, Panama, several more Amerindian musical cultures, and Afro-Peru. Questions for Critical Thinking at the end of each major section guide focus attention on what musical and cultural issues arise when one studies the music of Latin America -- issues that might not occur in the study of other musics of the world. Two audio compact discs offer musical examples of some of the music of Latin America.
A collection of poems written by Julien, an ordained minister, with translation to Espanol by Diana.