La revista Metáfora llega a su número 11 y trae un dossier dedicado al teatro latinoamericano y editado por Percy Encinas, destacado crítico teatral peruano. Se trata de once aportes de investigadores de México, Argentina, Brasil, Chile, entre otros países, y en los que destacan conceptos como la construcción de la escena, la heterotopía, el teatro institucional, el teatro de grupo, el teatro colectivo, la escena pospandemia, la transteatralidad y la transactorialidad.
{"title":"Editorial N.º 11","authors":"","doi":"10.36286/mrlad.v3i6.157","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.157","url":null,"abstract":"La revista Metáfora llega a su número 11 y trae un dossier dedicado al teatro latinoamericano y editado por Percy Encinas, destacado crítico teatral peruano. Se trata de once aportes de investigadores de México, Argentina, Brasil, Chile, entre otros países, y en los que destacan conceptos como la construcción de la escena, la heterotopía, el teatro institucional, el teatro de grupo, el teatro colectivo, la escena pospandemia, la transteatralidad y la transactorialidad.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Our work proposes a review of the philosophical and political foundations that support the actor’s interpretation methods in the theater. We suggest that being directly associated with thinking about reality and the subject, the actor’s work should accompany the transformations of these thoughts. We chose the concepts of happening and becoming from the philosophy of difference and deleuzian philosophy as new foundations for the art of interpretation.
{"title":"ATOR EM DEVIR: UM MODO DE ATUAÇÃO PARA O ACONTECIMENTO","authors":"","doi":"10.36286/mrlad.v3i6.171","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.171","url":null,"abstract":"Our work proposes a review of the philosophical and political foundations that support the actor’s interpretation methods in the theater. We suggest that being directly associated with thinking about reality and the subject, the actor’s work should accompany the transformations of these thoughts. We chose the concepts of happening and becoming from the philosophy of difference and deleuzian philosophy as new foundations for the art of interpretation.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"210 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“La adoración de los Magos” (Las Nubes, 1943) es un extenso poema narrativo compuesto por Luis Cernuda al comienzo de su exilio británico. Lo redactó como una reescritura de un texto anterior, “Journey of the Magi”, de T. S. Eliot. Las voces de los diferentes personajes combinadas, junto con los vínculos intertextuales establecidos entre ambos poemas, generan un complejo entramado, a través del cual se deja entrever la expresión genuina de la inquietud espiritual del poeta. Los conceptos de intertextualidad y polifonía serán el marco teórico que usaremos para demostrar la identificación del autor con el sentimiento religioso expresado en el poema.
《东方三博士的崇拜》(Las Nubes, 1943)是路易斯·塞尔努达(Luis Cernuda)在英国流亡初期创作的一首长篇叙事诗。他把它改写成t·s·艾略特(T. S. Eliot)的《东方三博士之旅》(Journey of the Magi)。不同人物的声音结合在一起，加上两首诗之间建立的互文联系，形成了一个复杂的框架，通过这个框架可以看到诗人精神不安的真实表达。互文性和复调的概念将是我们用来证明作者对诗歌中表达的宗教情感的认同的理论框架。
{"title":"“LA ADORACIÓN DE LOS MAGOS”. POLIFONÍA E INTERTEXTUALIDAD EN UN POEMA RELIGIOSO DE CERNUDA","authors":"","doi":"10.36286/mrlad.v3i6.163","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.163","url":null,"abstract":"“La adoración de los Magos” (Las Nubes, 1943) es un extenso poema narrativo compuesto por Luis Cernuda al comienzo de su exilio británico. Lo redactó como una reescritura de un texto anterior, “Journey of the Magi”, de T. S. Eliot. Las voces de los diferentes personajes combinadas, junto con los vínculos intertextuales establecidos entre ambos poemas, generan un complejo entramado, a través del cual se deja entrever la expresión genuina de la inquietud espiritual del poeta. Los conceptos de intertextualidad y polifonía serán el marco teórico que usaremos para demostrar la identificación del autor con el sentimiento religioso expresado en el poema.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"203 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El presente artículo explora los principios del arte poética expuestas en Trilce de César Vallejo. La idea que guía este estudio es que, en los poemas “xiv”, “xlv” y “lxxiii”, las imágenes poéticas muestran la relevancia del absurdo en la expresión de la poética vallejiana. Para tal propósito, primero, resaltamos las intuiciones estéticas de los primeros lectores del poemario y realizamos un balance de los asedios críticos enfocados en el estudio del absurdo; luego, desde la propuesta de Rafael Lapesa y Gaston Bachelard, analizamos e interpretamos las imágenes poéticas en los poemas mencionados; finalmente, se reflexiona sobre la relación entre imagen poética, absurdo y creación poética para la comprensión de la poética trílcica.
{"title":"“SÓLO TÚ ERES PURO”: EL ABSURDO Y LOS PRINCIPIOS DEL ARTE POÉTICA EN TRILCE (1922) DE CÉSAR VALLEJO","authors":"","doi":"10.36286/mrlad.v3i6.160","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.160","url":null,"abstract":"El presente artículo explora los principios del arte poética expuestas en Trilce de César Vallejo. La idea que guía este estudio es que, en los poemas “xiv”, “xlv” y “lxxiii”, las imágenes poéticas muestran la relevancia del absurdo en la expresión de la poética vallejiana. Para tal propósito, primero, resaltamos las intuiciones estéticas de los primeros lectores del poemario y realizamos un balance de los asedios críticos enfocados en el estudio del absurdo; luego, desde la propuesta de Rafael Lapesa y Gaston Bachelard, analizamos e interpretamos las imágenes poéticas en los poemas mencionados; finalmente, se reflexiona sobre la relación entre imagen poética, absurdo y creación poética para la comprensión de la poética trílcica.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ante el suceso en el que fallecieron dos trabajadores del restaurante McDonald’s, se suscitó una serie de cuestionamientos y especulaciones en la población local en torno al centro laboral en el que trabajaban y sus condiciones. En este artículo, se analiza la manera en que la prensa escrita peruana ha cubierto el hecho a través de una serie de discursos de diferentes periódicos. Tras el análisis, se evidencia que la prensa ha construido representaciones discursivas diferentes de estos dos actores sociales involucrados en el hecho: la cadena de restaurantes de comida rápida y sus empleados fallecidos. Por un lado, los discursos analizados recrean una imagen positiva del restaurante, que esconde su carácter agentivo, y exalta rasgos provechosos de aquella. Por otro lado, discursivamente, los empleados son dotados de una imagen negativa en tanto únicos causantes de su muerte, y excluidos o desplazados de su vínculo laboral con el restaurante.
{"title":"MUERTE, RELACIONES DE PODER Y DISCURSO EN LA PRENSA PERUANA: “LA MÁQUINA QUE CAUSÓ LA MUERTE DE DOS JÓVENES EN MCDONALD’S”","authors":"","doi":"10.36286/mrlad.v3i6.159","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.159","url":null,"abstract":"Ante el suceso en el que fallecieron dos trabajadores del restaurante McDonald’s, se suscitó una serie de cuestionamientos y especulaciones en la población local en torno al centro laboral en el que trabajaban y sus condiciones. En este artículo, se analiza la manera en que la prensa escrita peruana ha cubierto el hecho a través de una serie de discursos de diferentes periódicos. Tras el análisis, se evidencia que la prensa ha construido representaciones discursivas diferentes de estos dos actores sociales involucrados en el hecho: la cadena de restaurantes de comida rápida y sus empleados fallecidos. Por un lado, los discursos analizados recrean una imagen positiva del restaurante, que esconde su carácter agentivo, y exalta rasgos provechosos de aquella. Por otro lado, discursivamente, los empleados son dotados de una imagen negativa en tanto únicos causantes de su muerte, y excluidos o desplazados de su vínculo laboral con el restaurante.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The conceptual support of the research-creation “Mujer en llamas”, a hybrid dramaturgy in which performance, dance, song, sculpture, music and audiovisual language converge, enhances the symbiotic relationship between the comparative theoretical-practical experience, and the simultaneous production of knowledge that the creative process yields, with the purpose of “embroidering” a phenomenological description from the autoethnographic experience of the actress as playwright/director-researcher. This liminal scenario proposes a cartographic journey and theoretical discussions that, from the field of theatrical philosophy and theatreology, focus on the actor/spectator encounter in “erotic tension”, and prioritize the body as a territory of perception and meaning. The performative perspective as an investigative methodology, vindicates the performative subject as a subject of knowledge, built in a fragmented and decentered way, and installs a transgressive analysis in the reflection of the self. The poetic devices proposed by “Mujer en llamas” call for the proliferation of multiple and diverse manifestations of recreation of the sensible that, when moving towards other fields of human experience, generate questions that challenge the direction and meaning of exploration and simultaneously provoke tensions. ontological that respond to the dynamics of a context in increasing acceleration and overwhelmed.
研究创作的概念支持“Mujer en llamas”是一种混合戏剧，其中表演，舞蹈，歌曲，雕塑，音乐和视听语言融合在一起，增强了比较理论-实践经验之间的共生关系，以及创作过程中产生的知识的同步生产，目的是“刺绣”女演员作为剧作家/导演/研究者的自我民族志经验的现象学描述。这一阈值场景提出了一种从戏剧哲学和戏剧学领域出发的制图之旅和理论讨论，重点关注演员/观众在“情爱张力”中的相遇，并优先考虑将身体作为感知和意义的领域。作为一种调查方法论的行为视角，将行为主体作为知识主体进行辩护，以一种碎片化和去中心化的方式构建，并在自我的反思中安装了一种越界的分析。“Mujer en llamas”所提出的诗意手段要求对感性的多种多样的再创造表现形式的扩散，当它们走向人类经验的其他领域时，会产生挑战探索方向和意义的问题，同时也会引发紧张局势。本体即对动态环境的响应在不断加速和不堪重负。
{"title":"NUEVOS DESAFÍOS PARA EROS : “MUJER EN LLAMAS ” ESCRITURA PERFORMATIVA INSONDABLE","authors":"","doi":"10.36286/mrlad.v3i6.173","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.173","url":null,"abstract":"The conceptual support of the research-creation “Mujer en llamas”, a hybrid dramaturgy in which performance, dance, song, sculpture, music and audiovisual language converge, enhances the symbiotic relationship between the comparative theoretical-practical experience, and the simultaneous production of knowledge that the creative process yields, with the purpose of “embroidering” a phenomenological description from the autoethnographic experience of the actress as playwright/director-researcher. This liminal scenario proposes a cartographic journey and theoretical discussions that, from the field of theatrical philosophy and theatreology, focus on the actor/spectator encounter in “erotic tension”, and prioritize the body as a territory of perception and meaning. The performative perspective as an investigative methodology, vindicates the performative subject as a subject of knowledge, built in a fragmented and decentered way, and installs a transgressive analysis in the reflection of the self. The poetic devices proposed by “Mujer en llamas” call for the proliferation of multiple and diverse manifestations of recreation of the sensible that, when moving towards other fields of human experience, generate questions that challenge the direction and meaning of exploration and simultaneously provoke tensions. ontological that respond to the dynamics of a context in increasing acceleration and overwhelmed.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Two years of pandemic left experiences and learning that will mark a before and after in many aspects of social life, which also reconfigure theater projects. Territorially delimited, my study on theater in Xalapa, state of Veracruz, Mexico, works on the categories of institutional theater and independent theater or group theater. In the second category, it is necessary to distinguish between consolidated groups, others in consolidation and recent initiatives. My objective is to present and reflect on the framework between their creeds (theatre conceptions), poetics (way of generating poiesis) and production-management that implies artistic and financial conditions and solutions. The above under the conceptual lens of crisis, contingency, vulnerability, and precariousness.
{"title":"DE POÉTICAS A POLÍTICAS: TEATRO EN XALAPA EN TIEMPOS DE CRISIS","authors":"","doi":"10.36286/mrlad.v3i6.169","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.169","url":null,"abstract":"Two years of pandemic left experiences and learning that will mark a before and after in many aspects of social life, which also reconfigure theater projects. Territorially delimited, my study on theater in Xalapa, state of Veracruz, Mexico, works on the categories of institutional theater and independent theater or group theater. In the second category, it is necessary to distinguish between consolidated groups, others in consolidation and recent initiatives. My objective is to present and reflect on the framework between their creeds (theatre conceptions), poetics (way of generating poiesis) and production-management that implies artistic and financial conditions and solutions. The above under the conceptual lens of crisis, contingency, vulnerability, and precariousness.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este artIgo apresenta algumas reflexões sobre as distâncias entre o trabalho teatral e a vida cotidiana urbana onde esse trabalho é realizado. São compartilhadas questões sobre a materialidade do cotidiano urbano e seu uso na construção da cena teatral, através de uma análise das criações do USO - Teatro Urbano, com sede na cidade de São Paulo desde 2004. A investigação do USO é analisada à luz da teoria da vida cotidiana da filósofa Agnes Heller.
本文对戏剧工作与日常城市生活之间的距离进行了一些思考。通过对自2004年以来位于sao保罗市的uso - Teatro urbano的创作的分析，我们分享了关于城市日常生活的物质性及其在戏剧场景建设中的使用的问题。本文以哲学家艾格尼丝·海勒的日常生活理论为基础，对其使用进行了分析。
{"title":"A MATERIALIDADE DA VIDA COTIDIANA E SEU USO NA CONSTRUÇÃO DA CENA DE TEATRO: DIÁLOGOS COM AGNES HELLER","authors":"","doi":"10.36286/mrlad.v3i6.168","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.168","url":null,"abstract":"Este artIgo apresenta algumas reflexões sobre as distâncias entre o trabalho teatral e a vida cotidiana urbana onde esse trabalho é realizado. São compartilhadas questões sobre a materialidade do cotidiano urbano e seu uso na construção da cena teatral, através de uma análise das criações do USO - Teatro Urbano, com sede na cidade de São Paulo desde 2004. A investigação do USO é analisada à luz da teoria da vida cotidiana da filósofa Agnes Heller.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Malvinas War (2 April – 14 June 1982) is, to this day, an open wound. Although more than forty years have passed since its event, numerous consequences still need to be examined in depth. Voices, images, symbolic appropriations, among other heterogeneous elements, are part of a complex network that continues to this day, imposing challenges that can be confronted from the perspective of the arts. A unique case that Malvinology has recently experienced is that of women in war, who have gained considerable visibility in the last decade. While in the field of theater there has been a strong interest in the role of women during battle for years (Dubatti, 2022), in recent years it has grown and offered valuable poetics. This article analyzes the case of one of these poetics, Mujeres al frente. Historias de Malvinas (2021), de Gabriela Aguad. It is a show that draws on the materiality of these voices to articulate a poetics that starts from the narrative and expands it through theatrical resources to attack silences and omissions and articulate new readings of the past and present, of women and war.
{"title":"MUJERES AL FRENTE: OFRENDAS TEATRALES PARA REPENSAR LA GUERRA DE MALVINAS","authors":"","doi":"10.36286/mrlad.v3i6.170","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.170","url":null,"abstract":"The Malvinas War (2 April – 14 June 1982) is, to this day, an open wound. Although more than forty years have passed since its event, numerous consequences still need to be examined in depth. Voices, images, symbolic appropriations, among other heterogeneous elements, are part of a complex network that continues to this day, imposing challenges that can be confronted from the perspective of the arts. A unique case that Malvinology has recently experienced is that of women in war, who have gained considerable visibility in the last decade. While in the field of theater there has been a strong interest in the role of women during battle for years (Dubatti, 2022), in recent years it has grown and offered valuable poetics. This article analyzes the case of one of these poetics, Mujeres al frente. Historias de Malvinas (2021), de Gabriela Aguad. It is a show that draws on the materiality of these voices to articulate a poetics that starts from the narrative and expands it through theatrical resources to attack silences and omissions and articulate new readings of the past and present, of women and war.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In São Paulo, in the period following the coronavirus pandemic, the scene of theatrical production experienced a great boost with the recreation of the countless shows that took place during the recess in the multimedia virtual key. On stage, the harsh realities of the pandemic crisis and the political situation that dominated the country found an echo in the emergence of important issues such as those that highlighted the agendas of blackness, the LGBTQIA+ community, feminisms, and social exclusion. Of the shows that made up the 2022 season, taking it here as an example of the most significant produced, the work of the Núcleo Bartolomeu de Depoimentos company performs on stage a long and vibrant ritual of purgation and healing, sustained by the musicality and expressiveness of culture. hip-hop, hallmark of the group, associated with the cadences of jazz and blues.
在圣保罗，在冠状病毒大流行之后的一段时间里，随着在多媒体虚拟钥匙中休息期间进行的无数演出的再现，戏剧制作现场经历了巨大的推动。在舞台上，流行病危机的严酷现实和主导该国的政治局势在一些重要问题的出现中得到了回响，这些问题突出了黑人、LGBTQIA+社区、女权主义和社会排斥的议程。在2022年演出季的所有剧目中，这里以最重要的作品为例，Núcleo Bartolomeu de Depoimentos公司的作品在舞台上表演了一场漫长而充满活力的净化和治愈仪式，由文化的音乐性和表现力维持。Hip-hop是该乐队的标志，与爵士和布鲁斯的节奏有关。
{"title":"LA INQUIETA ESCENA POSPANDEMIA EN SÃO PAULO","authors":"","doi":"10.36286/mrlad.v3i6.175","DOIUrl":"https://doi.org/10.36286/mrlad.v3i6.175","url":null,"abstract":"In São Paulo, in the period following the coronavirus pandemic, the scene of theatrical production experienced a great boost with the recreation of the countless shows that took place during the recess in the multimedia virtual key. On stage, the harsh realities of the pandemic crisis and the political situation that dominated the country found an echo in the emergence of important issues such as those that highlighted the agendas of blackness, the LGBTQIA+ community, feminisms, and social exclusion. Of the shows that made up the 2022 season, taking it here as an example of the most significant produced, the work of the Núcleo Bartolomeu de Depoimentos company performs on stage a long and vibrant ritual of purgation and healing, sustained by the musicality and expressiveness of culture. hip-hop, hallmark of the group, associated with the cadences of jazz and blues.","PeriodicalId":489467,"journal":{"name":"Metáfora","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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