Browsing by Author "Party, Daniel"

Now showing 1 - 10 of 10
  • Thumbnail Image
    Item
    CLOSET EXPERIENCES: A QUEER READING OF TWO PLAYS BY LUIS ALBERTO HEIREMANS
    (UNIV CHILE, FAC FILOS HUMAN EDUC, 2021) Kalawski, Andres; Party, Daniel; Opazo, Cristian
    Despite 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.
  • Thumbnail Image
    Item
  • No Thumbnail Available
    Item
  • Thumbnail Image
    Item
    Homophobia and Chilean New Song
    (CENTRO ARGENTINO INFORMACION CIENTIFICA & TECNOLOGICA-CAICYT-CONICET, 2019) Party, Daniel
    This 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.
  • Thumbnail Image
    Item
    Los Diablos Rojos de Víctor Jara: un análisis coreográfico y musical
    (2022) Benavente, Javiera; Party, Daniel
  • No Thumbnail Available
    Item
    Methodological reflections on subjective implications in the construction of the object
    (PONTIFICIA UNIV CATOLICA CHILE, 2015) Party, Daniel
  • No Thumbnail Available
    Item
    Musical improvisation enhances interpersonal coordination in subsequent conversation: Motor and speech evidence
    (2021) Robledo, Juan Pablo; Hawkins, Sarah; Cornejo, Carlos; Cross, Ian; Party, Daniel; Hurtado, Esteban
    This study explored the effects of musical improvisation between dyads of same-sex strangers on subsequent behavioural alignment. Participants-all non-musicians-conversed before and after either improvising music together (Musical Improvisation-MI-group) or doing a motoric non-rhythmic cooperative task (building a tower together using wooden blocks; the Hands-Busy-HB-group). Conversations were free, but initially guided by an adaptation of the Fast Friends Questionnaire for inducing talk among students who are strangers and meeting for the first time. Throughout, participants' motion was recorded with an optical motion-capture system (Mocap) and analysed in terms of speed cross-correlations. Their conversations were also recorded on separate channels using headset microphones and were analysed in terms of the periodicity displayed by rhythmic peaks in the turn transitions across question and answer pairs (Q+A pairs). Compared with their first conversations, the MI group in the second conversations showed: (a) a very rapid, partially simultaneous anatomical coordination between 0 and 0.4 s; (b) delayed mirror motoric coordination between 0.8 and 1.5 s; and (c) a higher proportion of Periodic Q+A pairs. In contrast, the HB group's motoric coordination changed slightly in timing but not in degree of coordination between the first and second conversations, and there was no significant change in the proportion of periodic Q+A pairs they produced. These results show a convergent effect of prior musical interaction on joint body movement and use of shared periodicity across speech turn-transitions in conversations, suggesting that interaction in music and speech may be mediated by common processes.
  • Thumbnail Image
    Item
    The queer cover: questioning heteronorma from the sung voice
    (PONTIFICIA UNIV CATOLICA CHILE, 2021) Party, Daniel
  • Thumbnail Image
    Item
    The Right to Live in Peace: Musical Responses to Violence in the 2019 Chilean Uprising
    (SAGE PUBLICATIONS INC, 2023) Party, Daniel
    Two 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.
  • Thumbnail Image
    Item
    Y ¿cómo es él?: José Luis Perales y la crisis de la masculinidad de la Transición española
    (2022) Party, Daniel
    Trabajos 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.