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JUANNA LA LOCAD CHILDHOOD CODE
The poem works at the deepest levels of language, articulating the speech of Castile and its legal echoes as taken from The Seven-Part Code of Laws, a juridical code that unified the Kingdom with South America via the Castilian language. Juana I is a love poem that deals with a beloved’s body as an object on the margins of the legal body it is a tapestry-poem that exposes the reader to the bare emotions of a story about domination and cruelty.
JUANNA LA LOCAD CHILDHOOD SERIES
Although judged and condemned by her peers, the question of Juana in Arzoumanian’s poem consists of a series of moments where history and the world interweave, and a new language is born along the way.The ideological leaders of Juana’s time were reacting to the monarchy’s expansionistic politics: the discovery of America, the first circumnavigation of the world, the decrees expelling the Jews in 1492 and the Moors in 1501. The first-person narration becomes lost amid whispers it is an “I” that, even as it is deprived of its content, continues to insist on its need to speak. This is the jumping off point for Arzoumanian’s piece, a poetic lens through which we witness a marked development in Juana’s language. one that was marked by an eight-month funereal procession through Castile (during which she refused to bury his corpse). With the sudden death of her young husband, a new crisis unfolded in Juana’s life. Her mental health became the focus of a struggle between her father, Ferdinand the Catholic, and her husband, Philip the Fair, over the right to rule her kingdom. Judged insane by history, and placed under house arrest in Tordesillas for over forty years, Juana was the object of political machinations designed to deprive her of power.
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She was the titular Queen of Castile from 1504 (when her mother, Isabella the Catholic, died) until her own death in 1555. Five centuries later, Arzoumanian’s powerful verse and provocative imagery is another sort of justice, one that gives a mouth to the silenced. This leaves us to wonder, was Juana truly la loca, or was her mental state the consequence of incredible personal loss, abuse and trauma? Or, were the accusations of madness merely a ploy to suppress her voice? In her own time, the courts judged against Juana and sentenced her to confinement for over forty years. Juana’s narrative blurs fact and imagination, as she conflates past with present, brother with father and husband, and marriage bed with childhood bathtub and royal coffin. Now the rumors really started to fly: She sleeps in the coffin alongside her dead husband! She wets herself! She fasts on the Jewish Sabbath! Arzoumanian renders both the rumors and the accompanying 16th Century juridical texts in italics, as though they were distant whispers. Tales of Juana’s lack of self-control while in Flanders had already reached Spain. Juana’s fiery relationship with both men bubbles to the surface in the poem’s delirious voice her story unfolding in the context of an arduous cortege accompanying her husband’s corpse to Granada. Passionate and intelligent, Juana unexpectedly inherits the throne and becomes trapped in a power clash between her father and her husband. The Institute is continually accepting new book and edition proposals.ISBN: 9780999719800 (2018) “What I need is a mouth.” So begins Ana Arzoumanian’s epic about Juana I, the reluctant and nominal queen of a newly emergent 16th Century Spain. Reference works are published in the series RMS. Significant collections of papers appear in MISC. Published treatises include the works of influential writers from Guido of Arezzo to Jean Philippe Rameau. Significant research findings resulting from the edition-making efforts are published in the series MSD. (See CMM for sacred and secular music and CEKM for keyboard music). The scholarly editions include the complete works of major composers who lived up until the seventeenth century, composers such as Machaut, La Rue, Dufay, Willaert, Clemens, Rore, Compère, Crecquillon, Romero, and others.
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The publications of the Institute are wide-ranging and comprise scholarly editions, books, and treatises. Since its founding, the Institute has published more than 650 scholarly volumes including the yearbook Musica Disciplina. The publications of the Institute are used by scholars and performers alike and constitute a major core collection of early music and theoretical writings on music.
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Founded by Armen Carapetyan in 1946, AIM supports interest in Medieval, Renaissance, and early Baroque music.
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