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Poetics of Memory : = Transmodern Echoes in Works of Gamaliel Churata, Olly Wilson, and Mathew Rosenblum, and El Triptico Del Laykha [Original Composition].

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Poetics of Memory :/
Reminder of title:	Transmodern Echoes in Works of Gamaliel Churata, Olly Wilson, and Mathew Rosenblum, and El Triptico Del Laykha [Original Composition].
Author:	Betancourt, Nicolas Aguia.
Description:	1 online resource (167 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
Contained By:	Dissertations Abstracts International85-03A.
Subject:	Philosophy. -
Online resource:	click for full text (PQDT)
ISBN:	9798380259804

Poetics of Memory : = Transmodern Echoes in Works of Gamaliel Churata, Olly Wilson, and Mathew Rosenblum, and El Triptico Del Laykha [Original Composition].
Betancourt, Nicolas Aguia.

Poetics of Memory :Transmodern Echoes in Works of Gamaliel Churata, Olly Wilson, and Mathew Rosenblum, and El Triptico Del Laykha [Original Composition]. - 1 online resource (167 pages)

Source: Dissertations Abstracts International, Volume: 85-03, Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2023.

Includes bibliographical references

This dissertation departs from the notion of memory, understood as the permanence of the past in the lived present, to propose a philosophical transnational exegesis that connects works by two American composers, Olly Wilson (1937-2018) and Mathew Rosenblum (1954); and works by Peruvian philosopher and writer Gamaliel Churata (1897-1969). I focus on Wilson's musical composition for tenor and electronic sound titled Sometimes (1976), based on the African American Spiritual "Sometimes I Feel Like a Motherless Child" that dates back to the time of chattel slavery in the United States; and Mathew Rosenblum's clarinet concerto Lament/Witches' Sabbath (2017), a piece that narrates his grandmother's escape from the 1919 Proskurov Pogrom, through recordings of her testimony and Ukrainian and Jewish laments added to the musical fabric. Finally, I focus on Gamaliel Churata's literary works Resurreccion de los Muertos (2013) and El Pez de Oro (2012), to delineate a philosophy of memory that emerges from the epistemic dialogue he establishes between Western philosophy, and Quechua and Aymaran epistemologies. By expanding on Enrique Dussel's concept of transmodernity,-notion that refers to the creative assimilation of modernity's cultural legacies by the populations subalternized by European colonization and American hegemony-I argue that Churata's philosophy of memory illuminates the conditions of possibility for assimilating modern cultural legacies and lays out the epistemological foundations for constructing the concept of a "transmodern aesthetic". The notion of a transmodern aesthetic enables me to link Wilson, Rosenblum, and Churata's cultural production through a transnational and transhistorical perspective.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380259804Subjects--Topical Terms:

559771
Philosophy.
Index Terms--Genre/Form:

554714
Electronic books.

Poetics of Memory : = Transmodern Echoes in Works of Gamaliel Churata, Olly Wilson, and Mathew Rosenblum, and El Triptico Del Laykha [Original Composition].
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520 $a This dissertation departs from the notion of memory, understood as the permanence of the past in the lived present, to propose a philosophical transnational exegesis that connects works by two American composers, Olly Wilson (1937-2018) and Mathew Rosenblum (1954); and works by Peruvian philosopher and writer Gamaliel Churata (1897-1969). I focus on Wilson's musical composition for tenor and electronic sound titled Sometimes (1976), based on the African American Spiritual "Sometimes I Feel Like a Motherless Child" that dates back to the time of chattel slavery in the United States; and Mathew Rosenblum's clarinet concerto Lament/Witches' Sabbath (2017), a piece that narrates his grandmother's escape from the 1919 Proskurov Pogrom, through recordings of her testimony and Ukrainian and Jewish laments added to the musical fabric. Finally, I focus on Gamaliel Churata's literary works Resurreccion de los Muertos (2013) and El Pez de Oro (2012), to delineate a philosophy of memory that emerges from the epistemic dialogue he establishes between Western philosophy, and Quechua and Aymaran epistemologies. By expanding on Enrique Dussel's concept of transmodernity,-notion that refers to the creative assimilation of modernity's cultural legacies by the populations subalternized by European colonization and American hegemony-I argue that Churata's philosophy of memory illuminates the conditions of possibility for assimilating modern cultural legacies and lays out the epistemological foundations for constructing the concept of a "transmodern aesthetic". The notion of a transmodern aesthetic enables me to link Wilson, Rosenblum, and Churata's cultural production through a transnational and transhistorical perspective.
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