This article aims to redefine the identity traits of an Andean protagonist presented in the narrative of Peruvian author Ulises Gutiérrez Llantoy. In first novel, Ojos de pez abisal, I shall... Show moreThis article aims to redefine the identity traits of an Andean protagonist presented in the narrative of Peruvian author Ulises Gutiérrez Llantoy. In first novel, Ojos de pez abisal, I shall concentrate on the way he modifies the traditional landscape. Andean geography is readjusted as it is presented through the eyes of an andino living in Japan. His second novel, Cementerio de barcos, presents the global experience of the main character, how he engages in the construction of urban alliances as part of peripheral dynamics. Gutiérrez Llantoys’s Andean protagonist emerges as a polyglot inhabitant of shanty towns, a world traveler that loves rock. Following James Holston’s concept of insurgent citizenship, I aim to reveal the contribution of recent Andean narrative to the global debate on identity construction. This exploration of the globalized andino implies taking on the challenge of redescribing traditional Andean components in a radical new setting. Show less
Before 1936, musical practices in Palestine relied heavily on colloquial poetry, especially in rural communities, which constituted most of the population. During the first half of the twentieth... Show moreBefore 1936, musical practices in Palestine relied heavily on colloquial poetry, especially in rural communities, which constituted most of the population. During the first half of the twentieth century, Palestinian music evolved as a reflection of the social, cultural, and political evolution of Palestinians. Palestinian music-making evolved exponentially resulting in the expansion of various folk tunes into shaʿbī songs, the creation of the Palestinian qaṣīda song genre, new compositions of instrumental music for traditional and Western music formations, the establishment of choirs and children music programing, and active engagement in composing in the styles of the dominant Egyptian genres of the time as well as muwashshaḥāt.In 1948, the vast majority of Palestinians were displaced, and musicians found themselves at the frontier of implementing new political and cultural visions in the countries of Jordan, Lebanon and Iraq. Therefore, the continuation of the musical narrative in the West Bank did not seem attainable. By the early 1950s, Palestinian musicians and intellectuals developed a vocabulary that reflected the topography, scenery, culture, dialects, and history of al-Mashriq, one that is independent of Egypt’s. Their input, intuition, experience, and convictions of various Palestinian musicians helped to make the music scene in Lebanon, Iraq, and Jordan what they are today. Show less
Throughout northern Europe, thousands of burial mounds were erected in the third millennium BCE. Starting in the Corded Ware culture, individual people were being buried underneath these mounds,... Show moreThroughout northern Europe, thousands of burial mounds were erected in the third millennium BCE. Starting in the Corded Ware culture, individual people were being buried underneath these mounds, often equipped with an almost rigid set of grave goods. This practice continued in the second half of the third millennium BCE with the start of the Bell Beaker phenomenon. In large parts of Europe, a ‘typical’ set of objects was placed in graves, known as the ‘Bell Beaker package’. This book focusses on the significance and meaning of these Late Neolithic graves. Why were people buried in a seemingly standardized manner, what did this signify and what does this reveal about these individuals, their role in society, their cultural identity and the people that buried them? By performing in-depth analyses of all the individual grave goods from Dutch graves, which includes use-wear analysis and experiments, the biography of grave goods is explored. How were they made, used and discarded? Subsequently the nature of these graves themselves are explored as contexts of deposition, and how these are part of a much wider ‘sacrificial landscape’. A novel and comprehensive interpretation is presented that shows how the objects from graves were connected with travel, drinking ceremonies and maintaining long-distance relationships. Show less
