Thesis (Ph. D.)--University of Wisconsin, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains iii, 77 p. Includes abstract. Includes bibliographical references (p. 73-77).

Thesis (M.A.I.S.)--Oregon State University, 2008. / Printout. Includes bibliographical references (leaves 51-53). Also available on the World Wide Web.

Made available in DSpace on 2016-03-15T19:45:39Z (GMT). No. of bitstreams: 1 Daniele Aparecida Pereira Zaratin.pdf: 737505 bytes, checksum: 74e6eaa4801e6696202d2e70009f1b16 (MD5) Previous issue date: 2012-07-31 / Fundo Mackenzie de Pesquisa / En este trabajo de maestría analizamos los aspectos de la literatura fantástica presentes en La novela Constancia (1990), de Carlos Fuentes, a partir de una línea de investigación que La incluye en una trayectoria de otros textos fantásticos del autor mexicano. Al examinar lãs narrativas de Los días enmascarados (1954), del ciclo narrativo El mal del tiempo y de Inquieta Compañía, percibimos la reiteración de determinados ejes en esas obras, entre lós cuales están la irrupción de lo insólito como desestabilizador de una percepción de realidad racionalista y la presencia de personajes femeninos ambiguos y reveladores de ló sobrenatural. A partir de eso, primeramente reflexionamos sobre la manifestación de ló fantástico en esas narrativas, señalamos cuáles son esos ejes comunes entre ellas y buscamos posibles interpretaciones para esas recurrencias. Posteriormente, contemplamos la novela Constancia e investigamos cómo ocurre la construcción de lo insólito en ese texto teniendo em cuenta los resultados obtenidos anteriormente y las teorías postuladas por estudiosos del género fantástico y de la obra de Carlos Fuentes. Esperamos con eso aportar nuevas perspectivas interpretativas sobre esa narrativa, al producir un análisis que reflexiona sobre los procedimientos de lo fantástico en esa obra (revelaciones) y sobre la presencia de elementos que la inscriben como parte de una tradición de otros textos fantásticos del autor mexicano (continuidades). / Neste trabalho de mestrado, analisamos os aspectos da literatura fantástica presentes na novela Constancia (1990), de Carlos Fuentes, a partir de uma linha de investigação que a inclui numa trajetória de outras narrativas fantásticas do autor mexicano. Ao examinar as narrativas de Los días enmascarados (1954), do ciclo narrativo El mal del tiempo e de Inquieta Compañía (2004), verificamos a reiteração de determinados eixos nessas obras, entre os quais estão a irrupção do insólito como desestabilizador de uma percepção de realidade racionalista e a presença de personagens femininas ambíguas e reveladoras do sobrenatural. A partir disso, primeiramente, refletimos sobre a manifestação do fantástico nessas narrativas, apontamos quais são esses eixos comuns entre elas e buscamos possíveis interpretações para essas recorrências. Posteriormente, contemplamos a novela Constancia e investigamos de que maneira ocorre a construção do insólito nesse texto tendo em vista os resultados obtidos anteriormente e as teorias postuladas por estudiosos do gênero fantástico e da obra de Carlos Fuentes. Esperamos com isso iluminar novas perspectivas interpretativas sobre essa narrativa, ao produzir uma análise que reflete sobre os procedimentos do fantástico nessa obra (revelações) e sobre a presença de elementos que a inscrevem como parte de uma tradição de outros textos fantásticos do autor mexicano (continuidades).

This doctoral thesis analyses the depiction of the historical topics of Conquest and Revolution across the literary writings of Alejo Carpentier (1904-1980) and Carlos Fuentes (1928-2012). These historical tropes constitute core topics of reflection throughout their literary and critical works, stressing the interplay between literature and history. I propose the concept of literary historicism to analyse their portrayal of historical topics and characterise the role of history in their poetics. This concept denotes the historical awareness that underpins the authors’ literary reinterpretations of historical events; their use of a historicist writing methodology; and the critical relationship established to historiographical sources and narratives. I argue that the authors’ deliberate historicism characterises their narratives, challenges disciplinary boundaries and posits literature as an alternative medium for the production of historical interpretation. This comparative study focuses on a corpus of fifteen fictional works from both authors that depict Conquest and Revolution. The first section analyses the authors’ literary portrayal of the Conquest of Mexico (1521) and stresses the relationship established to the historical sources consulted and their literary reinterpretation of this historical event. An assessment of the reflections and symbolisms embodied by their literary-historical figures elucidates the authors’ understanding of the Conquest. Thus, this section demonstrates the defining character of these authors’ literary historicism in their writing methodology and semantic interpretation when addressing historical tropes. The second section explores Fuentes’s and Carpentier’s depiction of historical Revolutions including the French, Mexican, Haitian and Cuban Revolutions. This section comprises a transversal and diachronic analysis of their Revolution cycles to demonstrate recurrent narrative, thematic and stylistic patterns in Fuentes’s and Carpentier’s literary portrayals of this historical phenomenon. I highlight the further meaning that these patterns acquire in their works, articulating a critical assessment of these historical revolutions. This thesis adds to the scholarship on these authors from an interdisciplinary perspective that re-centres attention on History. Through the concept of Literary Historicism, I demonstrate the existence of a central concern in their oeuvres to critically reassess the Latin American past and its historical interpretations from literary discourse. This study contributes to the understanding of history and literature in Latin America, for it analyses the interactions between these branches of written culture.

A partir des années 1960, la fiction hispano-américaine connaît un essor sans précédent, auquel la critique littéraire internationale a donné le nom très contesté de boom. Le principal problème de ce terme est qu’il renvoie à un phénomène touchant à la fois la production et la diffusion de la littérature hispano-américaine.Notre travail prose une relecture du phénomène à travers l’étude de la traduction et de la réception de Julio Cortázar, Carlos Fuentes, Gabriel García Márquez et Mario Vargas Llosa en France et aux Pays-Bas entre 1960 et 1973.En retraçant l’historique des premières traductions et en analysant le contexte éditorial dans lequel elles sont arrivées, nous montrons l’existence d’écarts profonds séparant les deux pays dans la traduction des quatre auteurs, n’illustrant pas toujours leur position théorique au sein de l’espace mondial de la traduction, et le rôle importants joués par certains intermédiaires culturels. Par le biais d’une étude de traduction et de réception, nous mettons aussi en évidence le rôle de médiation joué par les traducteurs et la critique littéraire entre les œuvres originales et le lecteur final dans les deux pays de référence. / Spanish-American fiction has been developing unprecedented from the 1960’s, what has been given the highly contested name of boom by international literary critics. The main problem of that term is that it refers to a phenomenon affecting both the production and distribution of Spanish-American literature.Our work is a reading of the phenomenon through the study of translation and reception of Julio Cortázar, Carlos Fuentes, Gabriel García Márquez and Mario Vargas Llosa in France and in the Netherlands between 1960 and 1973.In tracing the history of the early translations and analysis of the editorial context in which they arrived, we show the existence of profound differences between the two countries in the translation of the four authors, which do not illustrate their theoretical position in the world space of translation, and the important role played by certain cultural intermediaries. Through a study of translation and reception, we also highlight the mediating role played by translators and literary criticism between the original texts and the final reader in the two reference countries.

[pt] Esta dissertação de mestrado analisa a obra Todas as famílias felizes (2009), do escritor mexicano Carlos Fuentes (1928-2012), dentro da perspectiva micropolítica dos afetos circulantes. O livro é composto por dezesseis histórias, que narram acontecimentos em diferentes famílias, intercaladas por igual número de coros, todos independentes entre si. Não encontramos personagens repetidos, nem um desfecho onde finalmente tudo se articule e ganhe uma conclusão. Também não existem capítulos, nem partes. As histórias familiares são narradas de forma tradicional - com início, meio e fim - enquanto os coros são textos mais curtos e narrados livremente. O maior deles toma seis páginas e o mais curto, apenas uma linha. A partir de um ponto de vista literário, esta dissertação buscará refletir sobre as relações em jogo no ambiente íntimo e familiar como também no espaço comunitário dos coros. A gramática dos afetos, bem como sua materialização na distribuição dos corpos no espaço social, se tornou oportuna para a reflexão sobre as zonas de contato entre os diferentes corpos: individuais e coletivos. Em particular, aponto a relevância da violência, do medo e do rancor nos processos afetivos presentes na obra, assim como proponho a leitura dos coros como elemento trágico e, ao mesmo tempo, estranho e distante. Sendo Fuentes um escritor marcado pelo boom literário das décadas de 1960 e 1970, reviso as principais características e argumentações críticas acerca do período. Por se tratar de uma obra da fase final e menos prestigiada, observo como a aposta dos autores do boom na recriação de uma comunidade parece não mais possível para Carlos Fuentes. / [en] This research analyzes Happy Families (2009) by the Mexican writer Carlos Fuentes (1928-2012), prioritizing the micropolitical perspective of circulating affections. The book consists of sixteen stories, which narrate events in different families, interspersed with an equal number of choirs, all independent of each other. We find no repeating characters, nor an outcome where everything finally articulates and gains a conclusion. There are no chapters or parts either. Family stories are narrated in a traditional way - beginning, middle and end - while choirs are shorter texts and narrated freely. The largest of them takes six pages and the shortest, just one line. From a literary point of view, this dissertation will seek to reflect on the relationships at stake in the intimate and family environment as well as in the community space of choirs, prioritizing the micropolitical perspective of circulating affections. The grammar of affections, as well as their materialization in the distribution of bodies in the social space, became opportune for reflection on the zones of contact among different bodies: individual and collective. Furthermore, it examines the relevance of violence, fear and resentment in the affective processes found in the book, as well as the role of the choirs as a tragic and, at the same time, as a strange and distant element. Knowing that Fuentes is a writer marked by the literary boom of the 1960s and 1970s, it reviews the main characteristics and critical arguments about the period. Because it is a work of his final and less prestigious phase, I observe how the bet of the authors of the boom in the recreation of a community seems no longer possible for Carlos Fuentes.