Browsing by Subject "Portugal"
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Item "Appropriate Musics for that time": Oratorio in the exchange of power at the Portuguese Court (1707-1807)(2014-05) Kuntz, Danielle M.Serving largely to replace operatic performances during religious seasons such as Lent, the oratorio arose as an important component of court musical life across early modern Europe. By the eighteenth century, the Portuguese court likewise employed the oratorio as edifying Lenten entertainment in its royal palaces and theaters. Nonetheless, the scholarly literature has largely neglected the oratorio as a distinct focus of study in the Portuguese context. In part, this is due to the genre's existence in a sort of conceptual "twilight zone" between secular entertainment and sacred devotion. Portuguese musicological scholarship has thus treated the oratorio as a minor annex to more narrowly defined secular and sacred genres--an inconsequential extension of both operatic and liturgical repertories. Yet scholars of European oratorio more broadly have demonstrated that the genre frequently served the representational interests of court patrons through precisely the complex and conspicuous blend of earthly entertainment and religious expression uniquely exemplified in the genre. This study centers on that liminal musico-dramatic space at the Portuguese court and demonstrates that royal patrons in Portugal both recognized and specifically exploited the potential for meaning and power embodied in the genre's existence at the edges of politics, religion, and drama.In applying critical pressure to the marginalization of oratorio in Portuguese musicological scholarship, this dissertation draws together a large body of archival and library documentation--including manuscript musical scores, printed libretti, royal financial documents, correspondence, and contemporary printed descriptions of court life--to provide a comprehensive analysis of oratorio sponsorship by Portuguese court patrons across 100 years. Identifying four distinct phases of production, I argue that the oratorio facilitated deeply politicized artistic expressions of courtly power in profoundly religious terms as each patron redefined the representational interests of the court. Indeed, I contend that those terms became especially important as the court's claims to absolute power were challenged at various turns across the eighteenth century by shifting cultural interests, the devastation of the 1755 Lisbon earthquake, and the increasing political discontent leading to the French Invasions and flight of the court to Brazil in 1807.Item Black Intellectual Thought on the Margins: Race, Citizenship and Knowledge Production in Brazil, Cuba and Portugal(2016-07) Flaherty-Echeverria, SattyAbstract In this project I trace the production of black intellectuals in São Paulo, Brazil, Havana, Cuba and Lisbon, Portugal. I argue that black intellectuals living in these countries used writing to forge an inclusive model of black citizenship in the precarious political, social, and economic terrains of early twentieth-century nation-building processes on both sides of the Atlantic. I analyze the discursive constructions of black civic and aesthetic subjectivity published in magazines, newspapers, bulletins and anthologies as a means to encompass the varied forms of publications available from the 1920s to 1950s. Black intellectuals who wrote in Portuguese and Spanish between 1920 and 1950—such as Arlindo Veiga dos Santos, José Correia Leite, and Lino Guedes from Brazil; Gustavo E. Urrutia from Cuba; and Mário Pinto de Andrade, Francisco José Tenreiro, Amílcar Cabral, and Viriato da Cruz from colonial Portuguese-speaking regions of Africa—remained on the peripheries of scholarship. The multi-layered marginalization of these intellectuals could be attributed to numerous historical, linguistic and cultural factors according to each context. Contemporary scholars may not be aware of their work due to the unavailability of their ephemeral production, its relatively limited dissemination, or the lack of translation of their work into English and French. The contributions of these writers are consistently left out of works on black intellectual thought of the twentieth century, which is precisely why I have chosen to highlight them in this work.Item Saudade, Duende, and Feedback: the hybrid voices of twenty-first-century Neoflamenco and Neofado(2013-06) Arnold, Michael DavisThe focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. The hybrid musicians I interviewed for this project combine flamenco or fado with a variety of indie sounds: rock, pop, power pop, hip hop, trip hop, post punk, spaghetti western, shoegaze, or experimental electronic. The end result is a musical production which simultaneously attempts to voice their nationality as well as their generation. They are the torchbearers of tradition for an Iberian generation raised on The Velvet Underground, David Bowie, The Clash, The Replacements, Nirvana, and The Strokes. Their music references these and other global indie bands alongside those of twentieth century Iberian urban folk icons--Bambino, Camarón de la Isla, Enrique Morente, Amália Rodrigues, Alfredo Marceneiro, and Carlos do Carmo. I have developed a framework with which to contextualize and conceptualize the various issues addressed by these bands: authenticity, globalization, nostalgia, cultural capital, national-gender identity, and the economic crisis plaguing contemporary Europe.