Instead, Omeros expresses the floating character of genre, especially in postcolonial and Caribbean contexts. After a brief discussion of Walcott’s position on genre and tradition in his critical essays, the essay argues that his ‘epic’ poem deals with the question of genre not by introducing distinctive, stable generic attributes. analyze the self-reflexive accounts of uncertainty and indeterminacy regarding genre in Omeros as both a postcolonial Caribbean poetics of resistance and a manifestation of Caribbean intertextuality. Walcott’s negotiations of the epic as Caribbean literary form reframe the genre for his own poetics, a project that is most persuasive in his meta-poetic discussions of generic concepts in his epic poem Omeros (1990). The essay examines Derek Walcott’s reappropriation of the epic as a genre, with its strong connections to imperial power and the formation of national myths. Through example of recent collaboration between reggaetonero Maluma and "Queen of Pop" Madonna, I will demonstrate which strategies are used to appeal to a large plurilingual audience and how these strategies prove the flexibility of reggaeton and its openness to innovation. The inclusion of further languages into reggaeton is also promoted through collaborations with pop and rap artists that perform in corresponding languages and creation of remixed versions of songs, which may or may not result in modification of genre of a song. The combination of languages produces multiple code-switching occurrences, with the switched syntactic categories varying from single words to the whole song parts and concerning different elements of performance, namely main text, activating units, background units, vocatives, musical signatures, and technical information. Unlike some internationally popular Latin artists who tend to create two separate language versions of their songs-typically, one in Spanish and another one in English-reggaetoneros use various strategies to combine two languages within a song. Although the dominant language of reggaeton remains Spanish, many songs also contain lyrics in English, Brazilian Portuguese, and French. On a linguistic level, this appellation is mainly achieved by multilingualism of reggaeton performance. Since 2014, reggaeton has been transforming from original underground urban music towards urban pop which aims on appealing to plurilingual international audience. I've changed the focus of my PhD project, the new title of which is "Heterogeneity of reggaeton songs: Aspects of their production and reception". Reggaeton performances manipulate the public’s emotional state through creating an emotional timeline within song sequences. The dancing musical patterns of reggaeton with its defining rhythm dembow literally move the audience corporally. Music videos engage the audience visually through Caribbean aesthetics and hypersexualized images of women as well as through content misalignment between the lyrics and the visual plot. These features also activate the followers’ shared knowledge of reggaeton discourse and produce a sense of belonging to a global reggaeton community. Intertextuality, recurrent idiomatic formulas, and common discourse structure of the songs create an intimacy effect between the artist(s) and the listener. The audience is also engaged through further verbal means and their interaction with other semiotic modes – visual imagery, sound, and movement. During reggaeton concerts, the choice of language depends on the situation and the audience, with the outcome of different versions of lyrics with different languages involved. Artistic code-mixing in reggaeton fulfills a number of pragmatic, poetic, and stylistic functions in relation to song structure and meaning. Reggaeton lyrics often mix Spanish with English, Portuguese, or French, with code-switching occurrences varying from single words to entire verses and concerning different components of a song. Multilingualism is a prominent linguistic feature of contemporary reggaeton performance, having the primary function of the listeners’ involvement.
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