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This work has analyzed the evolution of Blas de Otero poetics. For this it was considered that, in his poetry, a high-sounding duality operates: from one of the imaginary he is one of the most read poets in the recent history of Spain and, nevertheless, the former criticism disdains him for the politicization of his work; in its versatility oterian poetry is existential tension, in its first stage, and an evident social concern; in the second. Blas de Otero is a poet of concepts, in particular of social content, because his early poetry reveals the human tear in the face of the suffering and existential anguish of post - war man. His evolution as a poet starts from his religious and faith concerns, going through existentialism, until reaching the social content. The texts analyzed in this work are a sample of this thematic evolution in different stages of the author's literary production: "These sonnets of mine", Angel fiercely human (1950) and "Fidelity", I ask for peace and the right to talk (1955). ; Este trabajo ha analizado la evolución de la poética de Blas de Otero. Para ello fue considerado que, en su poética opera una dualidad altisonante: desde uno de los imaginarios es uno de los poetas más leídos de la historia reciente de España y, sin embargo, el otrora de la crítica lo desdeña por la politización de su obra; en su polivalencia la poesía oteriana es tensión existencial, en su primera etapa, y una evidente preocupación social; en la segunda. Blas de Otero es un poeta de conceptos, en particular de contenido social, porque su poesía temprana revela el desgarramiento humano frente al sufrimiento y la angustia existencial del hombre de posguerra. Su evolución como poeta parte de sus inquietudes religiosas y de fe, pasando por el existencialismo, hasta llegar al contenido social. Los textos analizados en este trabajo son una muestra de esa evolución temática en etapas distintas de la producción literaria del autor: "Estos sonetos míos", Ángel fieramente humano (1950) y "Fidelidad", Pido la paz y la palabra (1955).

En estas páginas se ofrece la edición de 23 textos satíricos y de un soneto lírico de Juan de Tassis, Conde de Villamediana, tal y como aparecen en el inédito Ms. Barberini Latini 3602 de la Biblioteca Apostolica Vaticana (BV). Se trata de un cancionero facticio nunca antes consultado por los especialistas del autor, que desconocían su existencia, y en el que los textos del Conde aparecen en ocho puntos distintos, en folios independientes uno de otro. Del cotejo con las tres principales ediciones modernas tomadas como referencia se desprende que BV contiene a veces lecciones mejores respecto a la tradición y unas interpolaciones inéditas. En suma, este testimonio de la poesía del Conde de Villamediana confirma la gran complejidad de la tradición textual de sus sátiras políticas, debida a la gran cantidad de testimonios que la recogen, a los que se añade este cancionero romano. ; In these pages, I present the edition of 23 satirical texts and a lyrical sonnet by Juan de Tassis, Conde de Villamediana, as they appear in the unpublished Ms. Barberini Latini 3602 of the Vatican Library (BV). It is an artificial songbook never consulted before by Villamediana's specialists, who didn't know its existence, and where the Conde's texts appear in eight different places, in separate sheets. As can be deduced from the collection with the three main modern editions taken as reference, BV sometimes contains better lessons compared to the tradition and some unknown interpolations. In short, this witness of Conde de Villamediana's poetry confirms the great complexity of the textual tradition of his political satires, due to the great amount of witnesses that collect it, to which this Roman songbook is now added. ; Este trabajo se enmarca en el ámbito del proyecto PRIN 2012 (Progetti di Rilevante Interesse Nazionale) del Ministero dell'Istruzione, dell'Università e della Ricerca italiano, titulado Canzonieri spagnoli tra Rinascimento e Barocco (prot. 2012H7X9SX; coordinador: A. Gargano), y, en particular, en la investigación de la Unidad de Roma La Sapienza sobre Canzonieri spagnoli popolareggianti conservati a Roma, dirigida por P. Botta.

This dissertation is an archaeology of a neglected literary mode in England's post-Reformation literature. The georgic mode takes its name from Virgil's poem about agriculture. Unlike pastoral and other forms of nature writing that emphasize otium, recreation, and the distinction between nature and culture (a binary that appears in alternative forms such as country/city, science/politics, and wilderness/civilization), the georgic mode emphasizes the necessity of work in nature, and the mutual imbrication of the human and non-human world. The Protestant Reformation affirmed and worried over the value of labor, work, and action — the hierarchy of human activity that Hannah Arendt calls the vita activa. The troping of all activity as georgic activity is symptomatic of the pressures modernity put on the vita activa. Those pressures are due to several related early modern phenomena: 1) the Protestant Reformation, 2) the development of capitalism and the new professional opportunities it spawned, and 3) the invention of modern political forms, including the nation state, competing modes of parliamentary and monarchical rule, and nation-building through both Old- and New-World imperialism. The first three chapters explore georgic reformations of labor, work, and action through canonical Early Modern texts. Shakespeare's As You Like It, The Winter's Tale, and All's Well That Ends Well use the georgic mode to stage what Arendt calls the rise of the social by grafting private labor to political action. Shakespeare's Sonnets use the georgic mode to evaluate two competing career options – making a living as a playwright in a labor society or aspiring to be an artist ("the only 'worker' left in a laboring society," according to Arendt). The Faerie Queene and Paradise Lost dramatize the process by which epic action was transformed from an externally oriented category of public deeds to an inwardly oriented hermeneutic for navigating the fallen world. The fourth chapter explores how the georgic mode structured Early Modern world-making, and authorized colonial appropriation. The afterword considers how the georgic mode survives in current discourses of the Anthropocene, and considers what an active, georgic education might mean for the humanities in the twenty-first century.

"Let it be remembered that events narrated in this chronicle – full of veracity, albeit lacking in brilliance – took place during the worst years of the military dictatorship and the most rigid censorship of the press. There was a hidden reality, a secret country that didn't get into the news. The newsrooms of newspapers and radio and television stations found themselves restricted to covering generally unexpected events. Their editorial pages were reduced to unconditional praise for the system of government and those who governed." Jorge Amado In the epigraph above, the narrator of The War of the Saints, written by Jorge Leal Amado de Faria (Jorge Amado) in 1988, sets his narrative – 'lacking in brilliance' but filled (ostensibly) with the stuff of social and cultural narrative – against a backdrop of the 'hidden reality', the 'secret country that didn't even get into the news'. In the passage that follows the epigraph, the narrator goes on to elaborate on the 'total prohibition of any reportage that carried the slightest allusion to the daily imprisonments, torture, political murders, and violation of human rights'. Historical events under the regime remained outside of the official accounts of newspapers. The narrator of The War of the Saints seems to implicitly criticize journalists for their reportage of 'recipes', 'poems, ballads, odes, sonnets by classical poets, and stanzas from The Lusiads' (that is, from Luís Vaz de Camões' 1572 Homeric-Virgilian epic of the Portuguese colonial conquests), and yet the narrative is no weightier, politically potent or consequential than those topics. In fact, given the repeated – though subtle – references to classical stories such as Theseus, or to figures like Aphrodite and Menelaus, the novel might be read epic terms alongside the Portuguese The Lusiads, rather than as an insignificant, quotidian tale. Nevertheless, as is the case with literature under many repressive regimes throughout history, the façade of myth and fairytale – the allegory – to some extent conceals the potential subversiveness of the material.

<p><strong>Hermeneutics and the theory of intertextuality as a method of researching modernism in Serbian poetry of the second half of the 20th century on the example of poetic cycle <em>Deset soneta nerođenoj kćeri</em> by Ivan V. Lalić</strong></p><p>The aim of this paper is to show that hermeneutics and the theory of intertextuality provide useful tools for the research in post-war Serbian modernism in poetry. The argumentation takes two steps. Firstly, the use of these methods is being legitimized in the context of general characteristics of the literature under consideration. Secondly, the functioning of such tools is presented in the example of a particular text, which in this case is <em>Deset sonata nerođenoj kćeri</em> ['Ten Sonnets for The Unborn Daughter'], a poetic cycle by Ivan V. Lalić. The kind of poetry researched in this paper is strongly influenced by the ideas of T. S. Eliot who said that an original literary work is the result of the author's awareness of his place in tradition. For this reason such poetry contains numerous cultural and literary references which are an inevitable context of its interpretation. A hermeneutic and intertextual approach helps to expose such references and make them part of the process of understanding the poetry in question.</p><p> </p><p><strong>Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu Deset soneta nerođenoj kćeri Ivana V. Lalicia</strong></p><p>Zadaniem pracy jest wykazanie, że hermeneutyka i teoria intertekstualności dostarczają narzędzi do badania poezji powojennego modernizmu serbskiego. Argumentacja opiera się na uzasadnieniu użycia tych metod najpierw w świetle ogólnej charakterystyki omawianej twórczości, a następnie na podstawie ich funkcjonowania w interpretacji konkretnego tekstu będącego jej typowym przykładem (cykl Ivana V. Lalicia Deset soneta nerođenoj kćeri). Poezja będąca przedmiotem zainteresowania tej pracy pozostaje pod silnym wpływem poglądów Thomasa S. Eliota, według którego oryginalna twórczość powinna wynikać ze zrozumienia przez autora swojego miejsca w tradycji. To powód występowania w omawianych utworach licznych nawiązań kulturowych i literackich, które stanowią kontekst niezbędny do interpretacji tej twórczości. Podejście hermeneutyczne i metody teorii intertekstualności pozwalają te elementy wydobyć i uwzględnić w rozumieniu sensu tekstu.</p>

Rubén Darío es el primer escritor en lengua castellana que reivindica sin matices y de manera plena la obra de Luis de Góngora. Su propuesta se encuentra plasmada en Cantos de vida y esperanza a través del tríptico de sonetos "Trébol" y el poema que abre el poemario ("Yo soy aquel que ayer no más decía"), en el cual confiesa que dos de sus grandes influencias son Góngora y Paul Verlaine. A partir de este diálogo inicial que establece Darío, la crítica ha insistido desde muy temprano sobre las afinidades que se encuentran entre el Modernismo y el Barroco. Pero debajo de las afinidades existen desde luego diferencias cruciales, que en este trabajo desarrollo a partir de tres ejes comparativos: la política, la religión y el lenguaje. Tras esta comparación, sostengo que el Modernismo, a través de Darío, arranca el Barroco de su suelo histórico y lo coloca en los dilemas y las contradicciones modernas del artista con la sociedad. Con esto, sienta las bases de lo que más tarde será el Neobarroco. ; Rubén Darío is the first Spanish-language writer who vindicates Luis de Góngora's works fully and unambiguously. His proposal is put forward in Cantos de vida y esperanza by means of the sonnet triptych "Trébol" and the opening poem "Yo soy aquel que ayer no más decía", where he acknowledges the great influence of Góngora and Paul Verlaine. With a basis on this dialogue initiated by Darío, from early on critics have remarked the affinities between Modernism and Baroque. Still, underneath these affinities clearly there are significant differences, which I aim to develop in this paper along three comparative axes: politics, religion and language. Following this comparison, I posit that Modernism, through Darío, removes Baroque from its historical siting and places it among the artist's modern dilemmas and contradictions when faced with society, thus establishing the fundamental lines of what will later emerge as Neobaroque. ; Instituto de Investigaciones en Humanidades y Ciencias Sociales

Rubén Darío es el primer escritor en lengua castellana que reivindica sin matices y de manera plena la obra de Luis de Góngora. Su propuesta se encuentra plasmada en Cantos de vida y esperanza a través del tríptico de sonetos "Trébol" y el poema que abre el poemario ("Yo soy aquel que ayer no más decía"), en el cual confiesa que dos de sus grandes influencias son Góngora y Paul Verlaine. A partir de este diálogo inicial que establece Darío, la crítica ha insistido desde muy temprano sobre las afinidades que se encuentran entre el Modernismo y el Barroco. Pero debajo de las afinidades existen desde luego diferencias cruciales, que en este trabajo desarrollo a partir de tres ejes comparativos: la política, la religión y el lenguaje. Tras esta comparación, sostengo que el Modernismo, a través de Darío, arranca el Barroco de su suelo histórico y lo coloca en los dilemas y las contradicciones modernas del artista con la sociedad. Con esto, sienta las bases de lo que más tarde será el Neobarroco. ; Rubén Darío is the first Spanish-language writer who vindicates Luis de Góngora's works fully and unambiguously. His proposal is put forward in Cantos de vida y esperanza by means of the sonnet triptych "Trébol" and the opening poem "Yo soy aquel que ayer no más decía", where he acknowledges the great influence of Góngora and Paul Verlaine. With a basis on this dialogue initiated by Darío, from early on critics have remarked the affinities between Modernism and Baroque. Still, underneath these affinities clearly there are significant differences, which I aim to develop in this paper along three comparative axes: politics, religion and language. Following this comparison, I posit that Modernism, through Darío, removes Baroque from its historical siting and places it among the artist's modern dilemmas and contradictions when faced with society, thus establishing the fundamental lines of what will later emerge as Neobaroque.

Rubén Darío es el primer escritor en lengua castellana que reivindica sin matices y de manera plena la obra de Luis de Góngora. Su propuesta se encuentra plasmada en Cantos de vida y esperanza a través del tríptico de sonetos "Trébol" y el poema que abre el poemario ("Yo soy aquel que ayer no más decía"), en el cual confiesa que dos de sus grandes influencias son Góngora y Paul Verlaine. A partir de este diálogo inicial que establece Darío, la crítica ha insistido desde muy temprano sobre las afinidades que se encuentran entre el Modernismo y el Barroco. Pero debajo de las afinidades existen desde luego diferencias cruciales, que en este trabajo desarrollo a partir de tres ejes comparativos: la política, la religión y el lenguaje. Tras esta comparación, sostengo que el Modernismo, a través de Darío, arranca el Barroco de su suelo histórico y lo coloca en los dilemas y las contradicciones modernas del artista con la sociedad. Con esto, sienta las bases de lo que más tarde será el Neobarroco. ; Rubén Darío is the first Spanish-language writer who vindicates Luis de Góngora's works fully and unambiguously. His proposal is put forward in Cantos de vida y esperanza by means of the sonnet triptych "Trébol" and the opening poem "Yo soy aquel que ayer no más decía", where he acknowledges the great influence of Góngora and Paul Verlaine. With a basis on this dialogue initiated by Darío, from early on critics have remarked the affinities between Modernism and Baroque. Still, underneath these affinities clearly there are significant differences, which I aim to develop in this paper along three comparative axes: politics, religion and language. Following this comparison, I posit that Modernism, through Darío, removes Baroque from its historical siting and places it among the artist's modern dilemmas and contradictions when faced with society, thus establishing the fundamental lines of what will later emerge as Neobaroque.

Rubén Darío es el primer escritor en lengua castellana que reivindica sin matices y de manera plena la obra de Luis de Góngora. Su propuesta se encuentra plasmada en Cantos de vida y esperanza a través del tríptico de sonetos "Trébol" y el poema que abre el poemario ("Yo soy aquel que ayer no más decía"), en el cual confiesa que dos de sus grandes influencias son Góngora y Paul Verlaine. A partir de este diálogo inicial que establece Darío, la crítica ha insistido desde muy temprano sobre las afinidades que se encuentran entre el Modernismo y el Barroco. Pero debajo de las afinidades existen desde luego diferencias cruciales, que en este trabajo desarrollo a partir de tres ejes comparativos: la política, la religión y el lenguaje. Tras esta comparación, sostengo que el Modernismo, a través de Darío, arranca el Barroco de su suelo histórico y lo coloca en los dilemas y las contradicciones modernas del artista con la sociedad. Con esto, sienta las bases de lo que más tarde será el Neobarroco. ; Rubén Darío is the first Spanish-language writer who vindicates Luis de Góngora's works fully and unambiguously. His proposal is put forward in Cantos de vida y esperanza by means of the sonnet triptych "Trébol" and the opening poem "Yo soy aquel que ayer no más decía", where he acknowledges the great influence of Góngora and Paul Verlaine. With a basis on this dialogue initiated by Darío, from early on critics have remarked the affinities between Modernism and Baroque. Still, underneath these affinities clearly there are significant differences, which I aim to develop in this paper along three comparative axes: politics, religion and language. Following this comparison, I posit that Modernism, through Darío, removes Baroque from its historical siting and places it among the artist's modern dilemmas and contradictions when faced with society, thus establishing the fundamental lines of what will later emerge as Neobaroque.

Rubén Darí­o is the first Spanish-language writer who vindicates Luis de Góngora's works fully and unambiguously. His proposal is put forward in Cantos de vida y esperanza by means of the sonnet triptych "Trébol" and the opening poem "Yo soy aquel que ayer no más decí­a", where he acknowledges the great influence of Góngora and Paul Verlaine. With a basis on this dialogue initiated by Darí­o, from early on critics have remarked the affinities between Modernism and Baroque. Still, underneath these affinities clearly there are significant differences, which I aim to develop in this paper along three comparative axes: politics, religion and language. Following this comparison, I posit that Modernism, through Darí­o, removes Baroque from its historical siting and places it among the artist's modern dilemmas and contradictions when faced with society, thus establishing the fundamental lines of what will later emerge as Neobaroque. ; Rubén Darí­o es el primer escritor en lengua castellana que reivindica sin matices y de manera plena la obra de Luis de Góngora. Su propuesta se encuentra plasmada en Cantos de vida y esperanza a través del trí­ptico de sonetos "Trébol" y el poema que abre el poemario ("Yo soy aquel que ayer no más decí­a"), en el cual confiesa que dos de sus grandes influencias son Góngora y Paul Verlaine. A partir de este diálogo inicial que establece Darí­o, la crí­tica ha insistido desde muy temprano sobre las afinidades que se encuentran entre el Modernismo y el Barroco. Pero debajo de las afinidades existen desde luego diferencias cruciales, que en este trabajo desarrollo a partir de tres ejes comparativos: la polí­tica, la religión y el lenguaje. Tras esta comparación, sostengo que el Modernismo, a través de Darí­o, arranca el Barroco de su suelo histórico y lo coloca en los dilemas y las contradicciones modernas del artista con la sociedad. Con esto, sienta las bases de lo que más tarde será el Neobarroco.

This is a multi-part study centering on a hitherto unknown-to-exist, mid-sixteenth-century Spanish poetic anthology exhumed in Barcelona's Notarial Archives. The ms. includes poems authored by Garcilaso, Cetina, Diego Hurtado de Mendoza, Montemayor, and Oropesa. Also, many of the twenty-eight poems included herein are anonymous, and several entirely new, in the sense that their first verses have never been catalogued in academic databases. The collection includes two distinct series of poems: biblical ballads and a long mythological work, as well as numerous Italianate-verse sonnets and a poem in tercets, characteristic of the fresh wave of Petrarchism transforming the discourse of literature of the Iberian Peninsula at the time. The study includes an introductory essay, followed by a critical edition of the manuscript, and a photographic facsimile of the original. This is followed by a series of biblical ballads in Spanish ; El presente es un estudio largo, en varias partes, que se centra en un cuaderno de versos de mediados del siglo XVI en lengua española que se ha exhumado en el Archivo Histórico de Protocolos de la ciudad de Barcelona. El manuscrito contiene obras de Garcilaso, Cetina, Diego Hurtado de Mendoza, Montemayor y Oropesa, además de muchos anónimos. En total el cuaderno contiene veintiocho poemas, algunos de ellos totalmente nuevos, en el sentido de que nunca han sido catalogados en una base de datos académica. Son dos las vertientes genéricas del cuaderno: cuatro romances tanto bíblicos como mitológicos, seguidos de una veintena de versos al itálico modo y de temática amorosa. Así, este pequeño cancionero es representativo tanto de la creatividad española castiza como de la nueva influencia petrarquesca que invadía amable pero decididamente la Península Ibérica durante los primeros decenios del siglo XVI. Nuestro estudio incluye una introducción, seguida de una edición crítica del manuscrito, más una reproducción fotográfica en facsímil del texto. Se incluye luego una transcripción de otros romances bíblicos que comparten cierta relación temática con los romances veterotestamentarios del cuaderno

This is a multi-part study centering on a hitherto unknown-to-exist, mid-sixteenth-century Spanish poetic anthology exhumed in Barcelona's Notarial Archives. The ms. includes poems authored by Garcilaso, Cetina, Diego Hurtado de Mendoza, Montemayor, and Oropesa. Also, many of the twenty-eight poems included herein are anonymous, and several entirely new, in the sense that their first verses have never been catalogued in academic databases. The collection includes two distinct series of poems: biblical ballads and a long mythological work, as well as numerous Italianate-verse sonnets and a poem in tercets, characteristic of the fresh wave of Petrarchism transforming the discourse of literature of the Iberian Peninsula at the time. The study includes an introductory essay, followed by a critical edition of the manuscript, and a photographic facsimile of the original. This is followed by a series of biblical ballads in Spanish ; El presente es un estudio largo, en varias partes, que se centra en un cuaderno de versos de mediados del siglo XVI en lengua española que se ha exhumado en el Archivo Histórico de Protocolos de la ciudad de Barcelona. El manuscrito contiene obras de Garcilaso, Cetina, Diego Hurtado de Mendoza, Montemayor y Oropesa, además de muchos anónimos. En total el cuaderno contiene veintiocho poemas, algunos de ellos totalmente nuevos, en el sentido de que nunca han sido catalogados en una base de datos académica. Son dos las vertientes genéricas del cuaderno: cuatro romances tanto bíblicos como mitológicos, seguidos de una veintena de versos al itálico modo y de temática amorosa. Así, este pequeño cancionero es representativo tanto de la creatividad española castiza como de la nueva influencia petrarquesca que invadía amable pero decididamente la Península Ibérica durante los primeros decenios del siglo XVI. Nuestro estudio incluye una introducción, seguida de una edición crítica del manuscrito, más una reproducción fotográfica en facsímil del texto. Se incluye luego una transcripción de otros romances bíblicos que comparten cierta relación temática con los romances veterotestamentarios del cuaderno

"War poetry and political poetry from the Origins to Dante". The essay analyses the relationships between war poetry and political poetry in the Italian lyric tradition of the Origins. Dante's statement that no Italian poet had yet treated arms in poetry, as Bertran de Born had done in Provencal ("De vulgari eloquentia" II ii 10), proves itself to be correct. Indeed, only few Italian texts are consistent with the Occitan war poetry tradition, for different reasons: Orlanduccio's sonnet "Oi tu, che se' errante cavaliero", whose battle sketch and neutral point of view on the outcome of the imminent war (between Conradin of Swabia and Charles of Anjou) recall the Occitan sirventes tradition; Henry of Castile's canzone "Alegramente e con grande baldanza", a veritable Italian sirventes against Charles of Anjou; Guittone d'Arezzo's canzone "Ora che la freddore", written to ser Orlando da Chiusi to spur him to fight 'wisely' and recover what he had lost. On the contrary, Monte Andrea's tenzoni about Charles of Anjou's campaigns share few traits of the contemporary Provencal texts: Monte and his correspondents seek for extreme formal complexity and express partisan points of view. Italian poets are trained in a legal and municipal environment more than in a military and courtly milieu; when they deal with political matters, they cannot adopt Bertran de Born's perspective, which fosters strife and violence. As the other political canzoni (by Guittone d'Arezzo, Chiaro Davanzati, Panuccio del Bagno, etc.) show, Italian poets naturally conform to the republican ideology, which considers war a hard necessity and whose cardinal values – according to the pre-humanistic political treatises, such as Brunetto Latini's "Tresor" – are peace, justice and public good. This contributes to explain the place and penalty Dante assigns to Bertran de Born in his "Inferno", in the bolgia of the schismatics (canto XXVIII): Bertran's head severed from his trunk is also a contrapasso for his poetry, which exalted discord and division and instigated to make war following fury more than reason. The essay is dedicated to the memory of Guido Capovilla.

Introduction -- Sweat the technique : the politics and poetics of hip hop / Rakim, Chuck D, and Talib Kweli -- Know the ledge(s) : the meanings of knowledge of self in "post"-apartheid South Africa / Shaheen Ariefdien and Emile YX? -- "Alshaab yurid isqaat al-nitham!" : sustaining revolution and disrupting dominant narratives of Palestine and Syria through hip hop / DAM (Tamer Nafar, Suhell Nafar and Mahmoud Jreri), Omar Offendum, and Ramzi Salti -- "The revolution will be indigenous" : collective liberation, healing, and resistance to settler colonialism through hip hop / Jessa Calderon, Gunner Jules, Lyla June, Tall Paul, and Tanaya Winder, with Casey Philip Wong -- "Luchando Derechos" in neoliberal Spain : hip hop visions beyond racism, xenophobia, Islamophobia and the gentrification of El Raval, Barcelona / La Llama Rap Colectivo with H. Samy Alim -- 1Hood : hip hop art, activism, and media creation in Pittsburgh / Jasiri X -- "Protection from police who hinder respiratory airways" : hip hop theatre and activism with Kuumba Lynx in Chicago / Jacinda Bullie, Jaquanda Saulter-Villegas, and Leyda Lady Sol Garcia -- Ripples of hope and healing : sustaining community by creating a social justice arts ecosystem / Sonya Clark-Herrera, with Dorien Blue fka Adorie Howard, Measha Ferguson-Smith, Reagan Ross, and Casey Philip Wong -- Beyond trauma : storytelling as cultural shift and collective healing / Bryonn Bain, Mark Gonzales, A-Ian Holt, and Michelle Lee -- "Where the beat drops" : culturally relevant to culturally sustaining hip hop pedagogies / Gloria Ladson-Billings, Django Paris, and H. Samy Alim -- How hip hop means : retrospect for beats, rhymes, and classroom life / Marc Lamont Hill -- The magic behind science genius : how hip hop can transform science education / Christopher Emdin & The GZA, with Bryan Brown -- Hip hop, whiteness, and critical pedagogies in the context of Black Lives Matter / A.J. Robinson -- The pleasure principle : articulating a post-hip hop feminist politics of pleasure / Joan Morgan, Brittney Cooper, Treva Lindsey, Kaila Adia Story, and Esther Armah -- "When can black disabled folks come home? : the krip-hop movement, race, and disability justice / Leroy F. Moore, Jr. and Stephanie Keeney Parks -- Queering hip hop feminist pedagogies in the New South / Bettina Love, Regina Bradley, and Mark Anthony Neal -- "These are not sonnet times" : building towards liberatory futures / Maisha Winn.

Lyric and the Rhetoric of the Serial Mode in Twentieth Century American Poetry: Figuring Voice in the Work of Spicer, Berrigan, and Ashbery Serial poetry has been recognized as an important formal category and writing practice in postwar experimental poetry, but the vital relationship between seriality and conventional aspects of the lyric genre has been obscure. After critiques of "lyric" that argue the term is politically suspect because it is linked to Romantic ideologies of the subject, new, historicized models of lyric emphasizing the functions and effects of voice have returned in recent criticism of Modernist and postwar experimental writing. Building on this recent criticism, this dissertation proposes that lyric rhetoric informs the turn towards the serial mode in poems by Jack Spicer, John Ashbery and Ted Berrigan. The serial poetry of these postwar writers makes lyric poetry function contextually, reviving the notion of voice. Seriality is best understood as a mode, not a form, that decontextualizes and re-contextualizes prior lyric fragments and allows poets to think about social relationships in terms of poetic ones, and vice versa. Seriality has been discussed in criticism of Spicer, but has not been a key term in appraisals of book-length poems by Berrigan and Ashbery. Therefore my research offers seriality as a new perspective to understand these poets' practices of citation, appropriation and generic mixing: methods of constructing their own poetic voices out of existing textual materials from traditions that they write themselves into. I argue that these practices of textual rearrangement and revision offer a model of historically responsive lyric that challenges assumptions about how postwar poets read lyric and imagine more engaged audiences for their own writing. Through analysis of the serial mode in poems by Spicer, Berrigan, and Ashbery, I trace the outline of a common poetic voice in different series constructed from diverse materials: an epistolary exchange, a recursive sequence of sonnets transformed by scissors and scotch tape, and a meditation about lyric that is written in diaristic prose. I frame my analysis with a critical discussion of "The New Lyric Studies" and modern histories of lyric genre by Marjorie Perloff, Mark Jeffreys, Virginia Jackson, Mutlu Konuk Blasing, and others. Lyric rhetoric and voice in the serial mode matters, I propose, to scholars of 20th century American experimental literature seeking to move beyond reductive conceptual oppositions that divide the field.