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  Nominal Incorporation in Shiwilu (Kawapanan): Nouns, Classifiers and the Deceased Marker =ku’

  Pilar Valenzuela

  "Shiwilu is a good representative of the Andes-Amazonia transitional zone, in that it exhibits a mixture of phonological and grammatical traits that are typical of the languages of these two regions (Valenzuela 2015, 2018). The present article addresses a phenomenon that is common in Amazonian languages but absent in the Central Andean families Quechuan and Aymaran: nominal incorporation (Dixon and Aikhenvald 1999: 10; Adelaar with Muysken 2004; Aikhen- vald 2017: 296). In this work, ‘nominal incorporation’ is a cover term to designate the process of inserting into the verb a noun, a classifier, or the deceased marker =ku’."

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  Plant and Animal Body-Part Terms in Shiwulu Grammar: Classification, Nominalization, and Incorporation

  Pilar M. Valenzuela

  "The goal of the present study is to offer an account of the principal constructions containing body-part terms in Shiwilu. These involve inanimate classifiers, three lexical nominalizers (instrumental, habitual agent, and resultative), and incorporated nouns and classifiers. While articles have previously been written addressing the Shiwilu system of classifiers and nominal incorporation (Valenzuela 2016, 2019, to appear), this chapter focuses on the role that body-part terms play in the grammar of the language."

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  Fellini and Esotericism: An Ambiguous Adherence

  Federico Pacchioni

  "Despite the abundance of scholarly literature on Fellini that has suggested an intense spiritual quality to his cinema, Fellini's interest in paranormal and mediumistic phenomena has received little critical attention. Fellini's reflections and dreams were influenced by his consultations with various mediums and psychics; and his intense relationships with figures such as the Jungian psychoanalyst Ernst Bernhard and the psychic Gustavo Adolfo Rol are useful in tracing the director's 'voluptuous openness' (his self-description--Fellini 1964, 103) to the multiple dimensions of reality and the complexity of human life. The influence of Western esotericism on Fellini's cinema, which extends to lifelong collaborations with kindred minds such as Tullio Pinelli and Nino Rota, highlights a cross-section of an unorthodox spiritual sector of the culture of twentieth-century Italy and reveals the significance of numerous scenes from Fellini's cinema. Of course, Fellini's interest in esotericism is not an isolated case; Italy's modern cultural history presents an illustrious tradition of intersections among esotericism, politics, and art, linked to figures, such as Giuseppe Mazzini, Alessandro Manzoni, Luigi Capuana, and Giovanni Amendola (Gatto-Trocchi 2001)."

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  La strada

  Federico Pacchioni

  "Released in 1954, La strada was the third solo directorial work of Federico Fellini and followed the critical and commercial success of I vitelloni (1953). Together with the films that preceded La dolce vita (1960), La strada represented a more traditional narrative and sober visual style that contrasted with Fellini's later experimental work. It is also an important film for understanding Fellini's reputation and evolution as an auteur director, especially in the light of the debate that it triggered among the Italian and French critics of the time regarding the true 'calling' of Italian neorealism. The idea for La strada (which literally means the 'road' or 'way,' in reference to the lengthy journeys that the film's characters take) came from Fellini and his screenwriter Tullio Pinelli, both of whom had observed traveling artists making their way across the Italian Apennines.¹ One of the recurring characteristics of Fellini's cinema was its focus on the forms of popular entertainment, a trait that is reflected in La strada's poignant and careful portrait of the unique world of nomadic street entertainers in Italy."

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  El paseo de José Moreno Arenas: Fotografiando los rincones lorquianos con una lente miope en Federico, en carne viva

  Polly J. Hodge

  "Un gallo con su canto de quiquiriquí es la primera imagen que pinta Federico García Lorca en su obra breve escrita en 1925, El paseo de Buster Keaton. Un estudioso de esta obra de Lorca ha interpretado esta imagen simbólicamente en términos históricos: el anuncio de un nuevo amanecer para la industria cinematográfica, ya que en 1927 el cine mudo experimentó su transición al cine sonoro (Allen 23) .1 De una manera semejante, aunque se abre sin quiquiriquí, la obra Federico, en carne viva (2019)2 anuncia una nueva etapa en la producción teatral de José Moreno Arenas. Este experto en teatro breve, teatro mínimo, pulgas dramáticas, snapshot theater, y dramatic snippets sale ahora con una obra muy diferente a su repertorio tradicional después de casi cincuenta años de hacer teatro. La imagen que Moreno Arenas retrata de una de las figuras literarias más importantes del siglo XX, García Lorca, la distingue de sus obras anteriores, tanto breves como largas, cuyos personajes han quedado anónimos por lo general, nombrados por su función en la obra como Bañista, Atracador, Mujer, Espectador, Acomodador, Joyero, Político, Diablo, etc. Moreno Arenas admite que elaborar a un personaje histórico con nombre y apellido es 'algo que no había hecho hasta ahora, ya que para crear a mis personajes me venía inspirando en personas que aparecían en lo cotidiano de mi existencia' (Hodge 72)."

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  Tesoro de Nombres Shipibo-Konibo

  Pilar Valenzuela

  This book is the result of a research study commissioned by the government of Peru and contains practical recommendations to help bring what many Amerindians call their “true names” into official use, rather than forcing members of this tribe to adopt official Spanish names. The title roughly translates to “Treasure of Names of the Shipibo-Konibo.”

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  El metro en el teatro y el teatro en el metro: un escenario laberíntico de múltiples velocidades

  Polly J. Hodge

  "En esta investigación se explora el metro como un espacio teatral único y laberíntico. El metro se revela como un espacio ambiguo: es un lugar brindado con la capacidad de fomentar relaciones amorosas y transformativas entre los seres humanos; a la vez se concibe como un sitio condenado a destruir lazos personales al fomentar comportamientos de decepción y violencia aplastando cualquier esperanza para el espíritu humano. El metro, como espacio urbano recóndito y específicamente localizado bajo la tierra, con sus connotaciones que giran alrededor de la oscuridad, la clandestinidad, el secreto, el misterio y el crimen, es el escenario laberíntico ideal para representar la condición humana."