DOCSLIB.ORG

UNIBE Dominican Republic Language Courses and Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIBE Dominican Republic Language Courses and Culture HispaniHola! Spanish Program for Foreigners – UNIBE Dominican Republic Language Courses and Culture, Conversation lessons In language, culture and conversation, the focus in the methods of leaning Spanish as a foreign language at UNIBE is integral and functional, as in the development of communication we emphasize the importance of socio linguistic competences or socio- cultural conditions of the language use. Through the guidance of our professors during conversation lessons, the student concentrates in the use of communication strategies to develop his oral expression and interaction. In UNIBE we believe that studying Spanish in the Dominican Republic is more than a learning experience, it is a cultural adventure. We offer two fascinating scenarios and the possibility to discover Dominican treasures, such as: merengue, bachata, beisbol etc. Cursos de lengua y cultura, Cursos de conversación Tanto en las clases de lengua y cultura como en las de conversación, el enfoque de la metodología en el aprendizaje de ELE en UNIBE es integrador y funcional, pues en el desarrollo la competencia comunicativa damos a la competencia sociolingüística o de las condiciones socioculturales del uso de la lengua un lugar preponderante. Mediante la guía de nuestros profesores, durante las clases de conversación, el alumno se enfoca en el uso de las estrategias comunicativas para desarrollar la expresión e interacción oral. En UNIBE creemos que estudiar español en la RD es más que una experiencia de aprendizaje; es una aventura cultural. Ofrecemos dos maravillosos escenarios y la posibilidad de descubrir las riquezas dominicanas: clases de merengue y bachata, juegos de pelota, etc. Training for teachers of Spanish as a Foreign Language: This certification has as objective to prepare professors in the linguistics and educational aspects of Spanish as a Foreign Language (ELE) that can be taught through effective and dynamic practices given the needs of the students. The candidate will solidify his linguistic knowledge of Spanish and the learning process of a second language, the candidate will also identify the needs of the students to select the methodology necessary, he will analyze the grammatical properties of the Spanish languages for the use of specific techniques and finally will manage and evaluate the progress of his students during the process of learning and teaching. Formación de profesores de español como lengua extranjera Diplomado que tiene como objetivo preparar profesores en la lingüística y didáctica del Español como Lengua Extranjera (ELE) que puedan enseñar la lengua mediante prácticas efectivas y dinámicas, de acuerdo con las necesidades de los alumnos. El candidato consolidará sus conocimientos lingüísticos del español y de la adquisición de segundas lenguas, identificará las necesidades de los alumnos para seleccionar la metodología, analizará las propiedades gramaticales del español para el uso de técnicas, finalmente gestionará y evaluará el progreso de sus alumnos durante todo el proceso de enseñanza- aprendizaje. Preparation for test of Spanish as a Foreign Language UNIBE is a certified test centre for the Instituto Cervantes with a team of qualified professors to apply tests at all levels. We offer courses of up to 20 hours of class, with flexible schedule that can be chosen by the candidate. We work with material that follows the same structure of the DELE exams, so to enable better the candidate in the practical section of the test. Preparación para la prueba del Diploma de Español como Lengua Extranjera (DELE) UNIBE es Centro Examinador del Instituto Cervantes con un equipo de profesores certificados para aplicar las pruebas de todos los niveles. Se ofrecen cursos de hasta 20 horas de clase, con el horario escogido por el candidato. Se trabaja con materiales que siguen la misma estructura de los exámenes para capacitar mejor al candidato en la parte práctica de la prueba. Spanish of specific purposes A student learns a language to communicate efficiently in different situations, for that reason, he must handle the vocabulary and develop the linguistic abilities according to his profession. The students must learn phrases to reed medical documents or examine a patient, to make a presentation, answer a work call, and socialize with a colleague about the latest updates in the industry. Our Spanish courses with specific purposes offer the students the opportunity of experiencing varied communication situations that will arise in their real professional arenas. Español para fines específicos Un estudiante aprende una lengua para comunicarse eficazmente en distintas situaciones, por lo que debe manejar el vocabulario y desarrollar las destrezas lingüísticas de acuerdo con su vocación o profesión. Debe aprender frases para leer documentos médicos o examinar un paciente, para hacer una presentación, responder una llamada de trabajo, socializar con un colega o discutir sobre los últimos avances industriales. Nuestros cursos de español con fines específicos ofrecen a los estudiantes la oportunidad de experimentar situaciones comunicativas variadas que se presentarán en sus áreas reales de desempeño. Hispanic Literature The Spanish Language was born in the European peninsula, five centuries ago, it travelled to America. Its literature, like others, shows the meaning of experiences frozen in time. Nonetheless, the Spanish literature is the conjunction of many different cultures, but which at the same time shared the same origin, to meet its essence is to get immerse in the lands of great writers such as: Colombia (Gabriel Garcia Márquez), Mexico (Octavio Paz), Spain (Camilo José Cela), Peru (Mario Vargas Llosa) and Dominican Republic (Juan Bosch), among others. Literatura española e hispanoamericana El español nació en una península de Europa y hace cinco siglos se trasladó a América. Su literatura, como las demás, muestra el significado de una experiencia desde las ideas de quien se detiene en el momento. Sin embargo, la literatura española e hispanoamericana es la conjunción de muchas culturas tan distintas, pero que a su vez tuvieron el mismo origen. Conocerla es adentrarse en las tierras de grandes escritores: Colombia (Gabriel García Márquez), México (Octavio Paz), España (Camilo José Cela), Perú (Mario Vargas Llosa) y República Dominicana (Juan Bosch), entre otros. Service Learning and Community Engagement The students will have the possibility to help communities located close to the campus develop sustainable practices for the improvement of their wellbeing in the long term. Recinto Cap Cana: Comunidad de Juanillo Intensive courses Monday through Friday 9:00 a.m. a 1:00 p.m. Private tutoring available (flexible schedule) Contacto: Cap Cana Campus Maria Henao [email protected] 1+809-469-7390 x. 2510 http://www.unibe.edu.do/es/content/hispanihola-spanish-courses Santo Domingo Campus Isabel Garcia [email protected] 1+809-689-4111 x. 1010 http://www.unibe.edu.do/es/ciclo-basico/idiomas .
Load more

Recommended publications
  • Universidad Autónoma Del Estado De México Facultad De Humanidades Licenciatura En Letras Latinoamericanas TESIS PARA OBTENER
    Universidad Autónoma del Estado de México Facultad de Humanidades Licenciatura en Letras Latinoamericanas TESIS PARA OBTENER EL TÍTULO DE LICENCIADA EN LETRAS LATINOAMERICANAS Hacia la fundación de Santa María. La composición lírico-narrativa de La vida breve de Juan Carlos Onetti María José Gallardo Rubio Asesor Mtro. David de la Torre Cruz Toluca, Estado de México Noviembre 2018 1 ÍNDICE Introducción 3 1. Juan Carlos Onetti, novelista de la modernidad literaria 10 1.1. La novela moderna latinoamericana 10 1.2. La novela existencialista del Cono Sur 18 1.3. El mito en torno a Onetti y La vida breve 23 2. La vida breve, una novela lírica 34 2.1. Lo lírico y lo narrativo 34 2.2. El lirismo y la imagen 40 2.3. El lirismo de La vida breve 61 3. El diseño poético: la escritura autoficcional 82 3.1. La vida breve, novela fundacional 82 3.2. Onetti y la máscara Brausen 86 4. El diseño poético: imágenes del yo 106 4.1. El autorretrato simbólico de Brausen 106 4.2. Brausen y sus máscaras: autoafirmación y camuflaje 111 4.2.1. Brausen y Gertrudis 114 4.2.2. Díaz Grey y Elena Sala 117 4.2.3. Juan María Arce y la Queca 123 5. El diseño poético: imágenes del mundo 129 5.1. El alter deus: padre de Santa María 129 5.2. La fundación de Santa María: la visión lírica 140 Conclusiones 148 Bibliografía 155 2 Introducción Tras leer algunas de las obras más representativas de Juan Carlos Onetti, El pozo (1939), La cara de la desgracia (1960), El astillero (1961), La muerte y la niña (1973) y por supuesto, La vida breve (1950), se advierte un rasgo concluyente de la poética del escritor, un tipo de escritura de gran contenido expresivo y emocional que revela una visualidad y plasticidad verbal insospechada.
    [Show full text]
  • Promoting the Latin American “Boom” in the Pages of Mundo Nuevo
    Vol. 5, No. 3, Spring 2008, 75-94 www.ncsu.edu/project/acontracorriente The Politics of Literary Prestige: Promoting the Latin American “Boom” in the Pages of Mundo Nuevo Russell Cobb University of Alberta The history of the Boom… is written in the pages of Mundo Nuevo. —José Donoso Nothing kills a man like having to represent a country. —Jacques Vache I. Decades have passed since the Boom ended and yet the period remains controversial among critics. Was it a literary movement or a marketing phenomenon? Why were certain authors (Gabriel García Márquez, Mario Vargas Llosa, Carlos Fuentes, etc.) given pride of place over others (Guillermo Cabrera Infante, Severo Sarduy, Augusto Roa Bastos)? Who was primarily responsible for making the Boom such an unprecedented success in international literary circles? This much is agreed upon: in roughly one decade, Latin American fiction emerged from obscurity in Europe and the United States to become a major critical and commercial phenomenon. International recognition had already been bestowed upon Latin American poets such as Pablo Neruda, Gabriel Cobb 76 Mistral, and César Vallejo earlier in the twentieth century while fiction writers remained curiously neglected in what Pascale Casanova has called the “World Republic of Letters.” With the Boom in the early 1960s, however, for the first time in history, Latin American writers were widely translated, published, and awarded the most prestigious literary prizes on the planet. At the risk of oversimplifying matters, there are essentially two strands of thought regarding the Boom’s overwhelming critical and commercial success. There are its supporters, who believe that Boom novels flourished because of the writers’ full embrace of cosmopolitan modernism, or what Goethe called Weltliteratur, a concept of literature as a space existing outside national or linguistic boundaries.
    [Show full text]
  • Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America
    Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America. Tucson: University of Arizona Press, 2011. Print. 179 Pp. ──────────────────────────────── CARLOS AGUIRRE UNIVERSITY OF OREGON Mario Vargas Llosa, one of Latin America’s most important writers and intellectuals and the recipient of, among numerous other awards, the 2010 Nobel Prize in literature, is not only the author of an admirable corpus of novels, theater plays, and essays on literary criticism, but also somebody that has been at the center on countless political and literary controversies ever since he came into the literary and political spotlight in 1962 when he won the Biblioteca Breve award for his novel Time of the Hero at the age of twenty-six: the novel was received with great hostility in his home country, Peru, where prominent members of the military accused him of being a Communist and a traitor; in 1967, when he won the Rómulo Gallegos prize for his novel The Green House, he engaged in a dispute (at that time private) with Cuban officials such as Haydeé Santamaría who allegedly wanted him to make a fake donation of the cash prize to Che Guevara’s guerrilla movements; in 1971, he publicly and loudly denounced the Cuban government after the imprisonment and public recounting of Heberto Padilla and other writers accused of counter-revolutionary activities; in 1974, he criticized the confiscation of media in Peru by a military regime that he had hitherto supported and became the subject of a fierce polemic in his country; in 1976, he was
    [Show full text]
  • Siède French Svmbousm Through Its Premise That an Idea
    Mester, Vol. xvz.v, (2000) Mario Vargas Llosa: Literatura, Art, and Goya's Ghost The relatíonship between the \'erbal and the pictorial—that is, between the written word and its \'isual representation, has exercised a particular fascination upon writers and ¿irtists throughout the ages. This nexus has operated both ways: artists have been fascinated by the manner in which writers manipúlate words, syntax and style to fashion new verbal realities (novéis, poems, plays), while writers for their part have succumbed to the allure of artists who utilise paint, ink, acid or crayons to créate new \'isual realities. Examples of this mutual attrac- tion and occasional cross-fertilisation between artists and writers abound. Perhaps no aesthetic movement illustrates the symbiosis be- tween literature and art more consistently and strikingly than fin ãc siède French svmboUsm through its premise that an idea could be expressed through form, the word orobjectrepresented beingnomore thím a sign to open up the pri\'ate world of the imagination. Thus, symbolist poets like Mallarmé, Verlaine and Rimbaud had their coun- terparts in painters like Redon, Moreau, Rops and Ensor—a spiritucd bond between the verbal and the plástic arts that has inspired exhibi- tions in importantmuseums,galleries andlibraries in cities as far apart as Melboume and Madrid.^ With respect to the Hispímic world, it is well-known that Sah ador Dalí and Federico García Lorca exercised considerable creative intlu- ence upon each other, while Dali also produced a series of one hundred wood engravings illustrating Dante's The Divine Comedi/. The early novéis of the Spanish Nobel Prize winner for literature, Camilo José Cela, were influenced by the power and the passion of Picasso's Guemica (1937), whose tortured images of mayhem in tum echo the scenes of murder cind mutilation in La familia de Pascual Duarte.
    [Show full text]
  • Listening to Mario Vargas Llosa
    PODCAST – “LA BIBLIOTECA” An exploration of the Library’s collections that focus on the cultures of Spain, Portugal, Latin America, and the Hispanic community in the US. SEASON 1/Episode 2 Listening to Mario Vargas Llosa Talía Guzmán-González: ¡Hola! and welcome to La biblioteca I am Talía Guzmán-González a reference librarian in the Hispanic Division at the Library of Congress, and I am here with my colleague… Catalina Gómez: Catalina Gómez, also a reference librarian in the Hispanic Division. Hi Talía! TGG: Hi Catalina! This is our second episode of the first season of our podcast La biblioteca where we will be exploring the Archive of Hispanic Literature on Tape. CG: Yes, and today we will be listening to recording of Peruvian novelist, journalist, politician, intellectual and Nobel laureate Mario Vargas Llosa reading from his work. TGG: I have to say, this is one of my favorite recordings in the Archive. It is so fun. He really chose a wonderful text to read for this recording. The recording is from 1977, so it turned 40 this year. CG: Today we will be listening to a previously recorded interview with Professor Charlotte Rogers form the University of Virginia who will share with us some her insights about this recording. Dr. Rogers received her Ph.D. in Spanish from Yale University, and her book Jungle Fever: Exploring Madness and Medicine in Twentieth-Century Tropical Narratives was published by Vanderbilt University Press in 2012. TGG: Great, let’s listen! Interview with Charlotte Rogers CG: Thank you so much Charlotte for being with us.
    [Show full text]
  • My Children, Teaching, and Nimrod the Word
    XIV Passions: My Children, Teaching, and Nimrod The word passion has most often been associated with strong sexual desire or lust. I have felt a good deal of that kind of passion in my life but I prefer not to speak of it at this moment. Instead, it is the appetite for life in a broader sense that seems to have driven most of my actions. Moreover, the former craving is focused on an individual (unless the sexual drive is indiscriminant) and depends upon that individual for a response in order to intensify or even maintain. Fixating on my first husband—sticking to him no matter what his response, not being able to say goodbye to him —almost killed me. I had to shift the focus of my sexual passion to another and another and another in order to receive the spark that would rekindle and sustain me. That could have been dangerous; I was lucky. But with the urge to create, the intense passion to “make something,” there was always another outlet, another fulfillment just within reach. My children, teaching, and Nimrod, the journal I edited for so many years, eased my hunger, provided a way to participate and delight in something always changing and growing. from The passion to give birth to and grow with my children has, I believe, been expressed in previous chapters. I loved every aspect of having children conception, to the four births, three of which I watched in a carefully placed mirror at the foot of the hospital delivery room bed: May 6, 1957, birth of Leslie Ringold; November 8, 1959, birth of John Ringold; August 2, 1961: birth of Jim Ringold; July 27, 1964: birth of Suzanne Ringold (Harman).
    [Show full text]
  • Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
    DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters.
    [Show full text]
  • Mario Vargas Llosa, Autor Peruano
    Mario Vargas Llosa, autor peruano Mario Vargas Llosa es uno de los autores más famosos de la literatura latinoamericana. El 28 de marzo es su cumpleaños. Ha escrito muchas novelas y otras publicaciones, y por su obra ha recibido muchos premios. Las letras detrás de la respuesta correcta dan – leídas de 1 a 16 – el título original de uno de sus libros. Las informaciones que se necesitan las encontrará en www.clubcultura.com/clubliteratura/clubescritores/vargasllosa y los enlaces "Biografía portátil / Cronología" (preguntas 1-4) y en los textos que acompañan las fotos de la "Biografía portátil" (preguntas 5-16). 1. El 28 de marzo de 1936 Mario Vargas Llosa nació en - Cajamarca (M) - Arequipa (L) - Cochabamba (E) 2. La familia se trasladó a Cochabamba (Bolivia) donde su abuelo había sido enviado como representante de una - (A) empresa peruana - embajador (N) - cónsul (I) 3. Regresó a Perú en - 1945 (T) - 1954 (E) - 1961 (O) 4. El título de su primera novela es - La casa verde (L) - La tía Julia y el (R) escribidor - La ciudad y los perros (U) 5. Su madre se llamaba - Dora Llosa de Vargas (M) - Gloria Llosa de Vargas (F) - Dora Vargas Llosa (C) 6. En Cochabamba fue al - Colegio de los (U) Salesianos - Colegio San Salvador (T) - Colegio La Salle (A) 7. El huyano es - una danza incaica (E) - una danza maya (D) - una canción folklórica (V) de los Andes Autorin des Übungsblattes: Hildegard Rudolph © Max Hueber Verlag 2003 Mario Vargas Llosa, autor peruano 8. Julia Urquidi fue - su tía (L) - su primera (N) esposa - su prima (P) 9.
    [Show full text]
  • Seamus Heaney and American Poetry
    DOCTOR OF PHILOSOPHY Seamus Heaney and American Poetry Laverty, Christopher Award date: 2019 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information.
    [Show full text]
  • Broken Mirror: a Look Into Octavio Paz’S “Blanco”
    Page 26 Oshkosh Scholar Broken Mirror: A Look into Octavio Paz’s “Blanco” Taylor D. Waring, author Dr. Marguerite Helmers, English, faculty mentor Taylor D. Waring is an English and philosophy major at UW Oshkosh. This research was conducted with funding from the Ronald E. McNair Post-Baccalaureate Achievement Program. Dr. Marguerite Helmers is a professor in the UW Oshkosh Department of English, where she teaches courses in writing, rhetoric, and British literature. She is the author or editor of five books and her articles have appeared inCollege English, JAC: The Journal of Advanced Composition, and the Journal of War and Culture Studies. Currently, she is working on an article about British Ordnance Survey maps of the Western Front during the First World War. In 2013–2014, she will be a Fellow at the Institute for Research in the Humanities at UW–Madison. Abstract This essay examines one of Octavio Paz’s major works: the prose poem “Blanco.” The essay juxtaposes several major analyses of “Blanco,” and in doing so shows how many critics have been misled by themselves, and Paz, into misreading the poem. The critics thus far have argued that the typography and structure of “Blanco” are intended to draw the reader toward the postmodern notion of Presence: undeniable, unmediated, though ultimately ineffable perception of reality. Whereas they arrive at this conclusion by gaining their insights from theorists who were influential to Paz, this essay differs in that it applies Octavio Paz’s own critical theories. In doing so, I argue that the critics did not find this meaning, but rather that the critics have created it.
    [Show full text]
  • Exit Exam for Spanish Majors
    “TUTORIAL FOR GRADUATING MAJORS” SPANISH 3500 This course prepares majors for the completion of their requirements in the B.A. in Spanish through advising by a designated professor. The course concludes with the Written Exit Exam, a 2-hour long comprehensive exam written in Spanish. 1 credit. Pass/Fail. The exam is made up of 3 parts: 1) Literature (40 minutes);2) Culture/Civilization (40 minutes); 3) Advanced Grammar/Phonetics (40 minutes). In literature and in civilization, the candidate receives 10 topics, to choose 6 of them, and to write a paragraph for each. In Advanced Grammar/Phonetics some choices also occur, according to specific instructions. Approximately one month prior to the Written Exit Exam (scheduled during final exams week), an oral mid-term exam occurs. Both the mid-term and the final exams are based on “The Topics Lists” (see attached), and the guidance given by the “designated professor”. A jury made up of three professors examines the candidate in both cases. If the candidate fails one of the 3 parts of the written exam, that part may be retaken within 7- 10 days of the initial exam IN the same semester. PART ONE: LITERATURA I. Literatura medieval / Siglo de Oro 1) ALFONSO X, EL SABIO 2) LAS JARCHAS MOZÁRABES 3) EL JUGLAR 4) EL POEMA DE MIO CID 5) EL TROVADOR 6) GONZALO DE BERCEO 7) EL MESTER DE CLERESÍA 8) DON JUAN MANUEL 9) LOS ROMANCES 10) EL VILLANCICO 11) EL SONETO 12) EL LAZARILLO DE TORMES 13) EL ESTILO BARROCO 14) LOPE DE VEGA 15) CERVANTES 16) PEDRO CALDERÓN DE LA BARCA II.
    [Show full text]
  • WINTER 2018 Rainer Maria Rilke Poems from the Book of Hours
    Alexander Kluge Temple of the Scapegoat: Opera Stories • Translated from the German by Isabel Cole and Donna Stonecipher • With photographs Revolving around the opera, these tales are an “archaeological excavation of the slag-heaps of our collective existence” (W. G. Sebald) Combining fact and fiction, each of the one hundred and two tales of Al- exander Kluge’s Temple of the Scapegoat (dotted with photos of famous PBK NDP 1395 operas and their stars) compresses a lifetime of feeling and thought: Kluge is deeply engaged with the opera and an inventive wellspring of narrative FICTION JANUARY notions. The titles of his stories suggest his many turns of mind: “Total Com- mitment,” “Freedom,” “Reality Outrivals Theater,” “The Correct Slowing-Down 5 X 8" 288pp at the Transitional Point Between Terror and an Inkling of Freedom,” “A Crucial Character (Among Persons None of Whom Are Who They Think They Are),” ISBN 978-0-8112-2748-3 and “Deadly Vocal Power vs. Generosity in Opera.” An opera, Kluge says, is a blast furnace of the soul, telling of the great singer Leonard Warren who died EBK 978-0-8112-2749-0 onstage, having literally sung his heart out. Kluge introduces a Tibetan scholar who realizes that opera “is about comprehension and passion. The two never 36 CQ TERRITORY W go together. Passion overwhelms comprehension. Comprehension kills pas- sion. This appears to be the essence of all operas, says Huang Tse-we: she US $18.95 CAN $24.95 also comes to understand that female roles face the harshest fates. Compared to the mass of soprano victims (out of 86,000 operas, 64,000 end with the death of the soprano), the sacrifice of tenors is small (out of 86,000 operas ALSO BY ALEXANDER KLUGE: 1,143 tenors are a write-off).” CINEMA STORIES “Alexander Kluge, that most enlightened of writers.” –W.
    [Show full text]