We Shall Not Be Moved/No nos moverán

Spener, David

doi:10.26530/oapen_605458

Cited by 9 publications

(4 citation statements)

References 93 publications

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“…Also, the active role of writers and intellectuals such as Federico García Lorca, Rafael Alberti and Miguel Hernández in the creation of many songs for the Republican band has been well documented in Piñeiro Otero (2008). In the same way, other sources testify that the North-American brigade members amused themselves teaching revolutionary songs in English to the Spanish children (Spener, 2016). 5 More particularly, Piñeiro Otero (2008) studied the participation of women in the Spanish conflict according to the mentioned songbook, distinguishing five main categories: the mother, the betrothed/wife, the companion, the weak being, and the emphatic (evocative) resource.…”

Section: Race Class and Gender In Times Of Warmentioning

confidence: 99%

Gender and race in Langston Hughes’ poetry of the Spanish Civil War

Fernández-Alonso

Río

2021

Journal of Gender Studies

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African American poet Langston Hughes worked as a press correspondent during the Spanish civil war. This experience left an imprint in his production and particularly in his poetry, giving light to significant advances in his entwinement of race, gender, and identity. The acclaimed diversity of Hughes' feminine models proposed by Joyce ( 2004), and the inclusive stance argued by Chinitz (2013) find difficult accommodation in the poetic corpus about Spain. Using Anthias and Yuval-Davis' (2005) critical appraisal race, class and gender divisions, the poetic representation of female characters is discussed attending to their different forms of inclusion and exclusion. Their relationship with later developments in Hughes' poetic construction of African American female agency is assessed, and the singularity of certain characters in the Spanish corpus is explored. Finally, conclusions are drawn to demonstrate the relevant and understudied contributions of this corpus for the better understanding of Hughes' feminine universe as a whole.

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Section: Race Class and Gender In Times Of Warmentioning

confidence: 99%

Gender and race in Langston Hughes’ poetry of the Spanish Civil War

Fernández-Alonso

Río

2021

Journal of Gender Studies

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“…Adapting lyrics for new contexts is a regular practice for protest songs (Kutschke, 2016;Spener, 2016). It "mobilizes tradition" by capitalizing on people's associations and familiarity with a song while simultaneously resignifying it (Eyerman and Jamison, 1998).…”

Section: "El Derecho De Vivir En Paz": the Right To Update A Classicmentioning

confidence: 99%

“…Sometimes songs encapsulate a social movement's goals so well that they become anthems for the cause. In some cases, these anthems are written specifically for a social movement (Matusitz, 2010); in others, an old song may be repurposed for new contexts (Spener, 2016). Music is also a privileged space for forging community-based political action (Mattern, 1998).…”

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confidence: 99%

The Right to Live in Peace: Musical Responses to Violence in the 2019 Chilean Uprising

Party¹

2023

Latin American Perspectives

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Two protest songs created within the first month of the 2019 Chilean uprising were intended as explicit statements against violence and in favor of peace, but they voiced different understandings of violence and proposed different ways out of the conflict. The artists behind each song argued that their recordings were nonpartisan, cutting across traditional left-right divides. The songs’ use and reception, however, shows that for Chilean audiences these songs conveyed a clear political cleavage through their lyrics, music, and audiovisual content. More broadly, consideration of music in the Chilean uprising foregrounds the ways in which the uses of music have changed since the classic era of protest song of the 1960s and 1970s. Dos canciones de protesta creadas en el primer mes del levantamiento chileno de 2019 pretendían ser declaraciones explícitas contra la violencia y a favor de la paz, pero expresaban distintas interpretaciones de la violencia y propusieron diferentes formas de salir del conflicto. Los artistas detrás de cada canción argumentaron que sus grabaciones no eran partidistas, cortando así a través de las tradicionales divisiones de izquierda y derecha. El uso y recepción de las canciones, sin embargo, muestra que, para el público chileno, dichas piezas transmitían una clara división política a través de sus letras, música y contenido audiovisual. En términos más generales, considerar el aspecto musical en el levantamiento chileno pone en relieve las formas en que los usos de la música han cambiado desde la era clásica de la canción de protesta de las décadas del sesenta y setenta.

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“…En cuanto a la antropología, destaca el lugar que se le entrega a la música en tanto práctica cultural productora de bienes simbólicos (de Aguilera et al, 2010;Kleinman, 2015;Mueller, 2012;Perman, 2011;Viñuela, 2010), donde hay resonancias de lo político como escenario de reapropiación simbólica en clave de globalización (Spener, 2016), subculturas y los valores culturales (Mueller, DOI: https://doi.org/ 10.21501/23461780.4010…”

Section: Antropologíaunclassified

Desplazamientos de la filosofía de la música: una reflexión sobre la literatura del siglo XXI

Lopera

2022

Perseitas

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Tradicionalmente, la tarea de pensar la música correspondía a la filosofía de la música, campo que recoge una tradición de siglos reflexión de segundo nivel sobre lo musical. Desde allí se prefiguraron ideas, valores y categorías que resultaron decisivos para el avance, no solo del corpus teórico (del cual derivaron campos especializados como la musicología y la estética musical), sino del arte musical mismo. Sin embargo, desde mediados del siglo pasado han emergido nuevos marcos comprensivos, germinados por la necesidad de acoger otras tesituras musicales que en la tradición se habían descartado, como es el caso de la música popular masiva. Así, la entrada al presente siglo deja una gran cantidad de trabajos que desde la estética, la antropología y la sociología procuran entender otras músicas y otros fenómenos que en la tradición de la filosofía de la música no habían sido atendidos. Es texto presenta una revisión de literatura sobre esos desplazamiento, en la cual se consideraron 107 textos. El trabajo pretende acercarse a algunas de esas ideas que, figurando en tradiciones emergentes, son —en todo caso— reflexiones sobre la condición de la música, es decir, reflexiones filosóficas sobre la música.

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We Shall Not Be Moved/No nos moverán

Cited by 9 publications

References 93 publications

Gender and race in Langston Hughes’ poetry of the Spanish Civil War

Gender and race in Langston Hughes’ poetry of the Spanish Civil War

The Right to Live in Peace: Musical Responses to Violence in the 2019 Chilean Uprising

Desplazamientos de la filosofía de la música: una reflexión sobre la literatura del siglo XXI

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