Browsing by Author "Party, Daniel"
Now showing 1 - 9 of 9
Results Per Page
Sort Options
- ItemCLOSET EXPERIENCES: A QUEER READING OF TWO PLAYS BY LUIS ALBERTO HEIREMANS(UNIV CHILE, FAC FILOS HUMAN EDUC, 2021) Kalawski, Andres; Party, Daniel; Opazo, CristianDespite its currency, the dramaturgy of Luis Alberto Heiremans (1928-1964) continues to be read through the lens of Christian existentialism and symbolism, two qualities espoused by Chilean university theatres during their first three decades of existence (1941-1973). Critics have overlooked the homoerotic elements present in Heiremans' best-known works, effectively ignoring multiple textual markers that suggest homosexual affections.
- ItemEl cover queer: cuestionar la heteronorma desde la voz cantada(2021) Party, Daniel
- ItemGentleman Troubadours and Andean Pop Stars: Huayno Music, Media Work, and Ethnic Imaginaries in Urban Peru.(UNIV TEXAS PRESS, 2015) Party, Daniel
- ItemHomophobia and Chilean New Song(CENTRO ARGENTINO INFORMACION CIENTIFICA & TECNOLOGICA-CAICYT-CONICET, 2019) Party, DanielThis article aims to demonstrate that homophobia shaped not only the lives of Chilean New Song artists, but also the discourses that later researchers have constructed when writing about the movement. On the one hand, I explore the homophobia that existed during the peak years of Chilean New Song, in Chilean society in general as well as within the movement. With regards to this historic homophobia, the objective is to foreground the impact it had on musicians' lives and the strategies they developed to cope with it. On the other, I document the ways in which homosexuality was, and to a large degree still is concealed in studies of Chilean New Song. I argue that this historiographic homophobia results in an archive with important imprecisions and incoherencies. My ultimate objective is to demonstrate that we have more to gain than to lose if we acknowledge the sexual diversity that existed within Chilean New Song.
- ItemLos Diablos Rojos de Víctor Jara: un análisis coreográfico y musical(2022) Benavente, Javiera; Party, Daniel
- ItemMethodological reflections on subjective implications in the construction of the object(PONTIFICIA UNIV CATOLICA CHILE, 2015) Party, Daniel
- ItemThe queer cover: questioning heteronorma from the sung voice(PONTIFICIA UNIV CATOLICA CHILE, 2021) Party, Daniel
- ItemThe Right to Live in Peace: Musical Responses to Violence in the 2019 Chilean Uprising(SAGE PUBLICATIONS INC, 2023) Party, DanielTwo protest songs created within the first month of the 2019 Chilean uprising were intended as explicit statements against violence and in favor of peace, but they voiced different understandings of violence and proposed different ways out of the conflict. The artists behind each song argued that their recordings were nonpartisan, cutting across traditional left-right divides. The songs' use and reception, however, shows that for Chilean audiences these songs conveyed a clear political cleavage through their lyrics, music, and audiovisual content. More broadly, consideration of music in the Chilean uprising foregrounds the ways in which the uses of music have changed since the classic era of protest song of the 1960s and 1970s. Dos canciones de protesta creadas en el primer mes del levantamiento chileno de 2019 pretendian ser declaraciones explicitas contra la violencia y a favor de la paz, pero expresaban distintas interpretaciones de la violencia y propusieron diferentes formas de salir del conflicto. Los artistas detras de cada cancion argumentaron que sus grabaciones no eran partidistas, cortando asi a traves de las tradicionales divisiones de izquierda y derecha. El uso y recepcion de las canciones, sin embargo, muestra que, para el publico chileno, dichas piezas transmitian una clara division politica a traves de sus letras, musica y contenido audiovisual. En terminos mas generales, considerar el aspecto musical en el levantamiento chileno pone en relieve las formas en que los usos de la musica han cambiado desde la era clasica de la cancion de protesta de las decadas del sesenta y setenta.
- ItemY ¿cómo es él?: José Luis Perales y la crisis de la masculinidad de la Transición española(2022) Party, DanielTrabajos recientes han propuesto que las canciones del cantautor José Luis Perales son expresivas de una crisis de masculinidad que se produjo en el periodo de la Transición española. En este artículo muestro que la noción de masculinidad en crisis solo se sostiene si se considera un corpus muy acotado de canciones de Perales. Mediante el análisis de un grupo más amplio de sus grandes éxitos, argumento que sus canciones privilegian situaciones de amor feliz en las cuales los personajes hombres presentan una masculinidad que difícilmente podría ser considerada en crisis. Adicionalmente, considero los modos en que Perales ha sido escuchado y comprendido por escritoras y periodistas a partir de los movimientos feministas de 2016 en adelante. De manera quizá sorprendente, la marea feminista ha celebrado la masculinidad de Perales en contraste con la de sus contemporáneos, desde Julio Iglesias hasta Joaquín Sabina.