Cover

pdf iconDownload PDF
 

Title Page, Copyright, Dedication

pdf iconDownload PDF
 

Contents

pdf iconDownload PDF

pp. v-vi

Acknowledgments

pdf iconDownload PDF

pp. vii-2

read more

Introduction: A Renovating Return to Roots

pdf iconDownload PDF

pp. 3-16

In the first decade of the twenty-first century, poetry enjoyed a revival through its oral presentation in slams and festivals, its circulation on the Internet, and its availability on CDs. Combining poetry with performance is one of the important ways in which the genre transforms, evolves, and gains diverse audiences in different transnational social and cultural settings. Electronic and multimedia presentations move poetry beyond the...

read more

1. Recitation and Declamation: Public Readings of Shifting Authority and Modernity

pdf iconDownload PDF

pp. 17-46

In the opening stanza of this poem honoring Cuban declaimer Dalia Iñíguez’s performance in Costa Rica, the speaker wonders what Rubén Darío would think about his poem as voiced by this “embajadora de la poesía” [ambassador of poetry], as she is called by another reviewer in the same issue. The question calls our attention to the idea that the act of reading or...

read more

2. Performing Racial, Gendered, and Transnational Identities in Poetry in the 1930s– 1960s

pdf iconDownload PDF

pp. 47-78

Berta Singerman (1903– 1998), the best- known declamadora in the early twentieth century, actively sought new audiences for poetry. In her memoir, Mis dos vidas, she describes her quest in a language of liberation that recalls Bolívar and other figures who struggled for independence:...

read more

3. Performing Poetry Beyond the Avant-Garde

pdf iconDownload PDF

pp. 79-108

Early in the twentieth century the Italian futurist Filippo Marinetti decreed an end to traditional poetic declamation. In his 1916 proclamation, “Dynamic, Multi Channeled Recitation,” he announced how the futurists are “renewing and quickening the spirit of our race, making it more manly” (193). With aggressive terminology, he planned to liberate “intellectuals from the age-old, static, pacifist, and nostalgic type of recitation...

read more

4. Aesthetic Experiment and Political Commitment: Promulgating Poetry in Streets, Cafés, on CDs, and on the Internet

pdf iconDownload PDF

pp. 109-137

In the last two chapters we saw the continuing influence of avant-garde activities that proposed different conceptualizations of the relationships between art and society as an undercurrent in poetry performances of the midcentury until very recently. In chapter 2 changing roles for poetry relative to avant-garde goals manifested themselves in the tension we observed between Nicomedes Santa Cruz’s commercial success and the ideals of...

read more

Conclusion: Voice and the Public Space of Poetry

pdf iconDownload PDF

pp. 138-144

I began this study suggesting that the oral and written elements in poetry form a continuum that has been obscured by our preoccupation with reading poetry on the printed page. Rather than maintain the separation between these two realms, I have sought to re unite them by examining how written works are spoken or put into action through a variety of media and in a range of settings. George Quasha seconds the idea of bringing...

Appendix: “TwoMilMex”

pdf iconDownload PDF

pp. 145-148

Notes

pdf iconDownload PDF

pp. 149-156

Bibliography

pdf iconDownload PDF

pp. 157-168

Index

pdf iconDownload PDF

pp. 169-174

About the Author

pdf iconDownload PDF