Saturday, May 21, 2016

Poetry

My mother is a spider.

My mother is a spider, silent and waiting. My mother is a spider inside a coat sleeve in the closet. She crouches in shadow in the toe of my shoe. She lives in the dark without worrying about her eyes. My mother can feel the smallest breeze, find any crack near a ceiling or floorboard. She adores corners. She has never asked anyone to bring her food or water. My mother inhabits the space between a file and the paper in it. She gains entrance to every box I have ever saved to move farther away from her. She mills about stairwells and entrances. My mother is a spider tattooed on the arm of a man who plays drums in his basement. The hair on her legs is his hair. My mother is a spider hanging from a tree. My mother is a spider in my bed. My mother is a spider tucked inside the mouth of a pillowcase. She lives in woodpiles and in outbuildings. All the things my grandmother said are tucked inside her mouth. My mother is a spider with a sac. Her sac contains me. My mother has a particular idea of housekeeping. She appears still, symmetrical. To stand next to her is to show your mathematical work. My mother is a spider inside my mind.
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 Jennifer Gravley makes her way in Columbia, MO. She is a writer of sentences and a watcher of bad television. Her work has recently appeared inSweet, Rat’s Ass Review, and Bayou Magazine, among others.

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Thursday, May 19, 2016

Projeto sobre o Tarrafal vale prémio internacional a estudante da FLUP

marzia_bruno


É a primeira vez que um projeto português vence este concurso. Foi no dia 5 de abril que Marzia Bruno recebeu o telefonema de Nova Iorque, mas diz que ainda hoje não consegue acreditar… “Não consigo descrever a felicidade”, diz esta italiana, a frequentar o Doutoramento em História de Arte da Faculdade de Letras da Universidade do Porto (FLUP). Entre as 423 candidaturas enviadas por 53 países, o júri do apexart International Franchise Program 2016-17, composto por 200 elementos de todo o mundo, selecionou quatro propostas, mas foi a de Marzia que ficou em primeiro lugar. O projeto de curadoria chama-se “A Glimmer of Freedom”, o que se poderá traduzir por “Um lampejo de Liberdade” e vai concretizar-se no próximo ano no Campo do Tarrafal, em Cabo Verde.

Marzia Bruno é italiana. E foi em Florença que concluiu o curso de Belas Artes. Em 2005 veio para Portugal ao abrigo do Programa Erasmus e foi aí que todo o percurso de vida mudou. Decidiu que seria na Faculdade de Belas Artes da Universidade do Porto que faria o seu Mestrado em Estudos Artísticos, com especialização em Estudos Museológicos e Curadoriais. Foi ficando por cá, trabalhou no Museu de Aveiro e, já com uma bolsa da FCT, aventurou-se no Doutoramento em História de Arte da FLUP. Porque não em Florença? “Porque a decisão de fazer o doutoramento em Itália seria óbvia. Um dado adquirido. E o meu interesse é por culturas novas”, diz.

O projeto de curadoria que lhe valeu este prémio internacional nasceu de uma visita realizada a Cabo Verde em 2014. Foi durante essa visita que percebeu o interesse da valorização histórica deste lugar que entre 1936 e 1954 abrigou presos políticos portugueses. “A Colónia Penal do Tarrafal ficou conhecida como o ‘Campo da Morte Lenta’ justificado pelas péssimas condições climáticas, saúde, alimentação e um regime prisional marcado por um extrema violência. Mais tarde, de 1962 a 1974, sob o novo nome – ‘Campo de Trabalho de Chão Bom’ – foi usada para aprisionar líderes das guerras pela independência em Cabo Verde, Angola e Guiné-Bissau. No total foram lá presos mais de 340 antifascistas portugueses e cerca de 230 nacionalistas africanos”, recorda Marzia

Atualmente, as instalações do Tarrafal preservam a estrutura arquitetónica das celas e as grades originais das celas de tortura. O projeto de Marzia Bruno pretende fazer o levantamento dos prisioneiros que estiveram no campo, entrevistar os que ainda se encontram vivos e desafiar os artistas locais a apresentarem propostas

“Os relatos de histórias pessoais das pessoas e o espaço físico são um legado do colonialismo e pretendem ser um veículo para a reflexão deste projeto curatorial. O nome Tarrafal, por si só, refere-se à Luta e Liberdade, e a exposição irá explorar a visão dos artistas sobre estas questões, articulando o espaço físico com questões contemporâneas. Relacionando-se com a memória do espaço, quatro artistas serão desafiados a criar obras de “Land Art”, técnica também conhecida como “Earth Art” ou “Earthworks”, na paisagem envolvente, dentro dos limites de prisão”, explica a estudante na proposta submetida a concurso
A decorrer entre abril e maio de 2017, a exposição irá reunir várias instalações “site-specific”, no interior das celas, enquanto as paredes exteriores irão exibir mapeamentos de projeção digital (“Video Mapping” ou ” Projection Mapping”). Espaços como o refeitório, a enfermaria ou a cela “frigideira” (a forma mais atroz de punição perpetrada no Campo) serão os espaços que servirão de inspiração ao trabalho dos artistas. Estas instalações serão produzidas com materiais locais, os efeitos sonoros e os mapeamentos de projeção irão ser utilizados na manipulação do espaço. Em simultâneo, serão levadas a cabo iniciativas como música tradicional, dança, narração de histórias, mesas redondas com ex-prisioneiros e atividades com as comunidades escolares locais.

Sobre o apexart International Franchise Program

O apexart International Franchise Program é uma iniciativa da apexart, uma associação artística sem fins lucrativos norte-americana que visa dar a curadores independentes e artistas emergentes e estabelecidos a oportunidade de proporem e produzirem uma exposição a acontecer em qualquer lugar do mundo, com exceção de Nova Iorque. Fundada pelo artista Steven Rand em 1994, a apexart concretiza esta missão através de exposições, um programa internacional de residência, uma iniciativa de publicação de livros, programas públicos e eventos.

As propostas vencedoras (na edição deste ano – a nona de sempre – houve quatro) recebem um financiamento que pode ascender aos 10 mil dólares e apoio administrativo para a sua implementação no terreno. O projeto “Um Lampejo de Liberdade” venceu na categoria “Programa Franquia”.

Consultado no Portal da UP
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Friday, April 29, 2016

Literature

INFOGRAPHIC OF THE DAY

This Infographic Unearths the Truth Behind Famous Literary Pseudonyms

A new infographic goes from Charles Dickens to JK Rowling to reveal the pseudonyms of famous authors and the reasons behind many of them.

[Photo: Everett Historical via Shutterstock]

JOE BERKOWITZ 04.27.16 11:07 AM

"What's in a name? That which we call a rose by any other name would smell as sweet." William Shakespeare famously wrote in Romeo and Juliet. Of course, the bard's actual identity has long been in dispute,leaving us to ask wonder whether his plays would read as well if they came from a name that hadn't accrued centuries of inherent significance. A new infographic plays the literary name game with some of the other most famous authors of all time by revealing the true identity of several pseudonyms.

Created by U.K.-based rare book depot, Jonkers, The Author Behind The Pseudonym drops the actual names of many authors, along with the reasons behind the obfuscation. In some instances, the author used anom de plume at the time of publication, but has since gone on to worldwide renown under their actual names, like Charles Dickens, who once wrote as the mononymous Boz. Others wrote under a pen name their whole career, like Mark Twain, with many not realizing their actual names (in his case, Samuel Clemens.) But those examples are for amateurs. The infographic digs further and unearths alternate names for Patricia Highsmith, C.S. Lewis, Lewis Carroll, and many more.

Have a look at the infographic below, and let us know in the comments about any glaring absences.

Retriever from www. Fastcreat.com

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Saturday, April 16, 2016

Obituary: Russell Hamilton, Portuguese scholar and U professor

Portuguese wasn’t Russell Hamilton’s first language, but it defined the course of his life.
He grew up in New Haven, Conn., a community rich with people from the island nation of Cape Verde, and was drawn to the Portuguese tongue at an early age.
In his later years, Hamilton could trick native speakers into thinking that he, too, knew the language from infancy.
“He was a language buff,” said his wife, Cherie, listing a half-dozen other languages he studied. “But I guess it wasn’t until his uncle gave him his first Portuguese dictionary and it just took off from there.”
The love of language was lifelong for Hamilton, a lauded professor and associate dean at the University of Minnesota. He died Feb. 27 at Walker Methodist in Minneapolis after a battle with Alzheimer’s disease and pneumonia. He was 81.
In 1964, Hamilton was among the first people to receive a doctoral degree in Portuguese from Yale University, and he eventually became the first black dean at Vanderbilt University.
“The fact that he had gone to Yale in the ’60s, and all the places that maybe he was the first or only black person in the field, speaks volumes,” said his son David. “He was able to bridge gaps, bring people together and walk into any situation and succeed.”
Language wasn’t his only love.
On their first date, Hamilton took Cherie to see a foreign film at the University of Connecticut, where they were both undergrads. He studied English and Spanish. She majored in math and minored in Spanish.
Maybe he wanted to impress her with the movie choice, but it didn’t matter — she was already smitten. Before he went to Madison, Wis., for his master’s degree in English and Spanish, they eloped in New York. She stayed in Connecticut to finish her studies, and he came back to enroll at Yale. She also joined her husband in Brazil, where he worked on his doctoral thesis as a Fulbright scholar.
After graduating from Yale, Hamilton was whisked away to the University of Minnesota, where he introduced Portuguese studies to the school’s romance language department. The young couple lived in Prospect Park — close enough for him to walk to work every day. There, they raised their four children: two boys and two girls.
After 20 years as a professor and associate dean at the U, Hamilton moved to Nashville, Tenn., where he was the dean of the graduate school at Vanderbilt. He retired from Vanderbilt in 2005 and returned to the U as a visiting professor.
A teacher and adviser beyond the classroom, Hamilton often invited graduate students to his home, where Cherie would prepare dinners from Portugal and Brazil, and other international cuisine.
The family traveled the world, living in Brazil, Portugal, Cape Verde, Angola and Mozambique during sabbaticals where they forged many lasting friendships.
“He exposed us to a lot of different things and we were able to learn cultural differences — that was the norm,” David said.
In the obituary published by Vanderbilt, Hamilton was quoted as telling a reporter in 1985 that “there was never any doubt in my mind [about going to college]. I wanted to be a professor.”
His study was lined wall-to-wall with scholarly books — 90 percent written in Portuguese.
“He always had a book open or was writing something,” Cherie said.
She recently donated 200 books to the U, 150 to a school in Michigan, and another 150 to a university in Brazil. There’s a crate bound for another university.
“And there’s still about 1,000 left here,” she added.
David said he’ll miss their talks. “He was the smartest person I’ve ever met,” David said. “When I was in grad school we talked about world politics. His perspective was so insightful. He was so worldly on many things.”
In addition to his wife and son David, Hamilton is survived by daughters Cherie Andrea and Melissa Elena, son Russell Malcolm, a sister, 14 grandchildren and three great-grandchildren. There will be a symposium in his honor at the University of Minnesota in October.


By Karen Zamora Star Tribune 
MARCH 10, 2016 — 6:17PM

Retrieved from Star Tribune. April 16, 2016.
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