teksty trzecie
ref./use

Archive for the ‘20th century’ Category

Robert Bresson „Notatki o kinematografie”

Wrzesień 1, 2016

przełożył Aleksander Ledóchowski, „Film na Świecie”, 1983, nr 300 tu Jeśli dźwięk może zastąpić obraz, należy ten obraz usunąć lub zneutralizować. Słuch lepiej rozpoznaje to, co wewnętrzne, wzrok – co zewnętrzne.

Cahiers du Cinéma #152

Sierpień 11, 2016

with thanks to Dan Warburton pdf

Edgar Varèse „Wspomnienia i myśli”

Lipiec 17, 2016

Moja muzyka opiera się na ruchu mas dźwiękowych pozbawionych wzajemnych związków: pozbawionych w tym sensie, że poruszają się one równocześnie z różnymi prędkościami. Cieszę się, że nastanie kiedyś czas, gdy nauka wzbogaci środki realizacji, już dzisiaj swobodna w tym sensie równoczesność metryczna dzięki elektronice znalazła się koniec końców w zasięgu możliwości. „Res facta” 01/1967, przeł. […]

Gerard Béhague, „Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985-95)”

Sierpień 17, 2014

Latin American Music Review / Revista de Música Latinoamericana, Vol. 27, No. 1 (Spring – Summer, 2006) pdf For the last fifteen years or so, Brazil has seen a social fragmentation (predominantly urban) and a parallel growing diversity in its popular music expressions. In 1985 Brazil returned to a democratic government after over twenty years of […]

Gerard Béhague, „Bossa & Bossas: Recent Changes in Brazilian Urban Popular Music”

Lipiec 19, 2014

Ethnomusicology, Vol. 17, No. 2 (May, 1973) pdf   Brazilian urban popular music of the last fifteen years has undergone drastic changes. The determinant factors for these changes are numerous and varied, and some of those will be briefly mentioned in this study. Since the advent of bossa nova (1958-59), the history of popular music in […]

Angela Martin, „Chantal Akerman’s Films: A Dossier”

Maj 31, 2014

Feminist Review, No. 3 (1979), pp. 24-47 pdf I’m a film-maker, but I won’t say I’m a feminist film-maker. Immediately you do an interview, they say – oh, you’re making a woman’s film. No, I’m not making women’s films, I’m making Chantal Akerman’s films. I didn’t decide to make films with feminist points or to […]

Charles A. Perrone, „From Noigandres to „Milagre da Alegria”: The Concrete Poets and Contemporary Brazilian Popular Music”

Maj 5, 2014

Latin American Music Review / Revista de Música Latinoamericana, Vol. 6, No. 1 (Spring – Summer, 1985) pdf   The first discussion of affinities between concrete poetry and Brazilian popular music dates to 1960, when critic Brasil Rocha Brito incorporated observations by Augusto de Campos into the first interpretative essay about Bossa Nova. Commenting on outstanding compositions […]

Charles A. Perrone, „Margins and Marginals: New Brazilian Poetry of the 1970s”

Kwiecień 3, 2014

Luso-Brazilian Review, Vol. 31, No. 1 (Summer, 1994) pdf   As for new Brazilian poetry – i.e. the output of poets born from the mid-1940s to the mid-1950s and representing emergent stylistic tendencies – the 1970s were marked by pluralism and contrast. While many individual approaches to lyrical expression and textmaking were taken, and shared […]

Sarah Hamilton-Tyrrell, „Mário de Andrade, Mentor: Modernism and Musical Aesthetics in Brazil, 1920-1945”

Luty 6, 2014

The Musical Quarterly, Vol. 88, No. 1 (Spring, 2005) pdf Inspired by the approaching centenary of independence, turn-of-the-century intellectuals reconsidered the nation’s values. Evolving alongside the series of social and economic transformations affecting the country, a multifaceted ideology emerged as the fundamental basis of Brazilian modernism, and the first two decades of the twentieth century […]

Carola Dietze vs. Dipesh Chakrabarty

Styczeń 9, 2014

Carola Dietze, „Toward a History on Equal Terms: A Discussion of „Provincializing Europe”” pdf Dipesh Chakrabarty, „In Defense of „Provincializing Europe”: A Response to Carola Dietze” pdf „History and Theory”, Vol. 47, No. 1 (Feb., 2008) Dietze: Dipesh Chakrabarty’s Provincializing Europe: Postcolonial Thought and Historical Difference originates from the context of the Subaltern Studies Group. […]