En este trabajo se examinará una de las herramientas que la autora utiliza para esta lucha, escenificada en los diferentes parajes de “Zona Dark”. El uso de la mitología y la creación de ella desde personajes existentes dentro del universo del poemario, sirven como elementos denunciantes ante las injusticias que se realizan dentro de la ciudad, ubicada cronológicamente a finales de la década del ochenta e inicios de la década de los noventa. / Tesis

Esta tese analisa algumas das estratégias discursivas presentes na obra documentária do cineasta cubano Santiago Álvarez Román (1919-1998), no sentido de identificar qual o papel do seu cinema como instrumento na formação arquetípica do heroísmo revolucionário latino-americano entre as décadas de 1960 e 1970, tendo como epicentro a Revolução Cubana e o Nuevo Cine Latinoamericano. Questão que foi desenvolvida baseando-se em documentários curtas-metragens reconhecidos pela sua repercussão e empenho retórico como: Muerte al Invasor (1961), Ciclón (1963), Cerro Pelado (1966), Hanói, Martes 13 (1967), Hasta la Victoria Siempre (1967), El Tigre Salto y Mato...Pero Morira...Morira (1973) e Mi Hermano Fidel (1977). Filmes que, no transcurso desta pesquisa, mostraram-se componentes de um arco narrativo basilar para a formação de uma épica revolucionária, que englobou do herói coletivo, aquele que representa os anseios por uma nova ordem social, ao herói mártir, aquele reconhecido por sacrificar-se em nome desta ordem, até os esboços de um herói romanesco, que abdica deste protagonismo ao, como indivíduo, entronizar a subjetividade como valor na sua reconciliação com o mundo / The present thesis analyzes some discursive strategies that are present in the documentary work of the Cuban filmmaker Santiago Álvarez Román (1919-1998). The objective is to identify the role of his movies as an instrument in the archetypal formation of the Latin American revolutionary heroism between the 1960s and 1970s, having the epicenter in the Cuban Revolution and Nuevo Cine Latinoamericano. The development of that issue was based on documentaries and short films recognized by their impact and rhetorical commitment as: Muerte al Invasor (1961), Ciclón (1963), Cerro Pelado (1966), Hanói, Martes 13 (1967), Hasta la Victoria Siempre (1967), El Tigre Saltó y Mató...Pero Morirá...Morirá (1973) and Mi Hermano Fidel (1977). Some movies were components of a basic narrative arc to the formation of a revolutionary epic, during the present research. It comprises from the collective hero, who represents the desires for a new social order, to the martyr hero, who is recognized by sacrificing himself on behalf of that order. Also, even the outlines of a romanesque hero, who abdicates his protagonism as individual to enthrone subjectivity as a value, in his reconciliation with the world.

Esta tese analisa algumas das estratégias discursivas presentes na obra documentária do cineasta cubano Santiago Álvarez Román (1919-1998), no sentido de identificar qual o papel do seu cinema como instrumento na formação arquetípica do heroísmo revolucionário latino-americano entre as décadas de 1960 e 1970, tendo como epicentro a Revolução Cubana e o Nuevo Cine Latinoamericano. Questão que foi desenvolvida baseando-se em documentários curtas-metragens reconhecidos pela sua repercussão e empenho retórico como: Muerte al Invasor (1961), Ciclón (1963), Cerro Pelado (1966), Hanói, Martes 13 (1967), Hasta la Victoria Siempre (1967), El Tigre Salto y Mato...Pero Morira...Morira (1973) e Mi Hermano Fidel (1977). Filmes que, no transcurso desta pesquisa, mostraram-se componentes de um arco narrativo basilar para a formação de uma épica revolucionária, que englobou do herói coletivo, aquele que representa os anseios por uma nova ordem social, ao herói mártir, aquele reconhecido por sacrificar-se em nome desta ordem, até os esboços de um herói romanesco, que abdica deste protagonismo ao, como indivíduo, entronizar a subjetividade como valor na sua reconciliação com o mundo / The present thesis analyzes some discursive strategies that are present in the documentary work of the Cuban filmmaker Santiago Álvarez Román (1919-1998). The objective is to identify the role of his movies as an instrument in the archetypal formation of the Latin American revolutionary heroism between the 1960s and 1970s, having the epicenter in the Cuban Revolution and Nuevo Cine Latinoamericano. The development of that issue was based on documentaries and short films recognized by their impact and rhetorical commitment as: Muerte al Invasor (1961), Ciclón (1963), Cerro Pelado (1966), Hanói, Martes 13 (1967), Hasta la Victoria Siempre (1967), El Tigre Saltó y Mató...Pero Morirá...Morirá (1973) and Mi Hermano Fidel (1977). Some movies were components of a basic narrative arc to the formation of a revolutionary epic, during the present research. It comprises from the collective hero, who represents the desires for a new social order, to the martyr hero, who is recognized by sacrificing himself on behalf of that order. Also, even the outlines of a romanesque hero, who abdicates his protagonism as individual to enthrone subjectivity as a value, in his reconciliation with the world.

La intención con esta tesina es analizar los conceptos diáspora, hibridismo y extrañamiento en la novela De cómo las Muchachas García perdieron el acento de Julia Álvarez (2007). El primer concepto define el desplazamiento de las personas y el segundo la mezcla de culturas e identidades que surgen al traspasar fronteras. Estos dos fenómenos muchas veces resultan en un extrañamiento; es decir, el sentimiento de no pertenecer del todo al nuevo país. No obstante, el extrañamiento también puede tener un efecto positivo ya que crea estrategias para enfrentar los nuevos problemas. Tomaremos como punto de partida los tres conceptos de diáspora, hibridismo y extrañamiento, que han sido desarrollados por Kalra, Kaur y Hutnyk (2005), Bhabha (2002) y Shklovski (1978). Así mismo intentaremos analizar el mensaje de la autora quien a través de estos conceptos muestra la búsqueda de la propia identidad en un país extraño.

En este trabajo se examinará una de las herramientas que la autora utiliza para esta lucha, escenificada en los diferentes parajes de “Zona Dark”. El uso de la mitología y la creación de ella desde personajes existentes dentro del universo del poemario, sirven como elementos denunciantes ante las injusticias que se realizan dentro de la ciudad, ubicada cronológicamente a finales de la década del ochenta e inicios de la década de los noventa.

This thesis analyzes works of the contemporary Spanish translation theorist, teacher, translator and researcher, Rosa Rabadán Álvarez. The basis of this paper is the analysis of the most important works published in books and journals in Spain and abroad. Close attention has been paid to the translation theories Rabadán has been proceeding from and to the context of her theoretical, pedagogical, translation and research work. The last chapter focuses on the reception of her works in and outside of Spain and in the Czech Republic.

This dissertation studies the politics of collective identity in the essays of Jesús Colón, Julia Álvarez and Richard Rodriguez. Through their essays I study the different configurations of collective identity (mainly those of Latino people, minorities, diasporic, transnational and national subjects) that these writes evaluate from their social position in the United States. A review of their works reveals important aspects about the problem of identity of a first and second generation of Latinos who try to understand themselves as part of the heterogeneous community in the United States. These three writers focus on the malleability of identity and use it to understand different ideologies and values. In his essays Colón highlights the reality of a subject that is economically marginalized by the historical process of capitalism. In addition, he advocates for the union of transnational workers of the Puerto Rican Diaspora in New York, who face stratification and social isolation. In contrast, Álvarez explores the construction of a diasporic identity that relies on history and on transnationalism. This author places emphasis on her writing as a nation, as a means to reflect and re-write the Dominican transnational identity. Rodriguez, the third essayist I study in this research, promotes the foundation of an American identity and evaluates the ways in which it is obstructed by the practices of communities that identify as minority. The objective of my research is to analyze the development of Latino identity using the models that these authors explore. I rely on their ideas and techniques to study the complicated and conflicting process of the evolution of a collective identity. Throughout the 20th century, these authors developed their own approach to the ideological fragmentation and mestizaje emphasized by postcolonial thought. This fragmentation influences their interpretation of history, ethnic/racial identity, family, language, education, cultural hybridity, representation and nationalism.

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This thesis examines how characters in adolescent Latina/o literature use and reflect on both English and Spanish languages, bilingualism and how language use informs a character’s identity. In this thesis a particular emphasis is placed on code switching as a literary device in adolescent Latina/o literature. Investigations on code switching point to this, that many authors use code switching as a way for authors and characters to show the difficulties of living between two cultures. I examined the works of three accomplished authors of Latina/o adolescent in this investigation: Benjamin Alire Sáenz’s Aristotle and Dante Discover the Secrets of the Universe (2012), Julia Álvarez’s Before We Were Free (2002) and the Tía Lola Series (2009), and Pam Muñoz Ryan’s Esperanza Rising (2004) and Echo (2015). The struggle to find one’s identity as an immigrant in the United States can emotionally compare to the struggle of an adolescent trying to balance their struggles of identity and this similarity of identity definition can be seen in all of these works. I argue that these authors use code switching and discussions on bilingualism as a device that helps articulate the exploration of the protagonist's search for identity into adulthood. Code switching and bilingualism are used to juxtapose the childhood and adult stages of the characters. These serve as ruptural elements that defy the generation of the parents and the cultural expectations. Code switching further serves as a mechanism through which protagonists reject and accept aspects of their identity development, from homosexuality to economic status. In a parallel way, I explore the importance of adolescent Latina/o literature as a referential axis for Latina/o youth in their process of development. This genre plays a role in development by showing strong, non-stereotypical characters who can help shape Latina/o identity for the next generation in the United States. Because adolescence is the stage in life where the individual goes through a time of questioning identity and development, this thesis shows that adolescent Latina/o literature may be best suited to show the process of growing up as compared to mainstream adolescent literature and gives a concrete metaphor for the challenges that many adolescents face. / Master of Arts

Este trabajo analiza la representación literaria del héroe y el antihéroe y el uso de la figura narrativa prosopopeya en Cóndores no entierran todos los días (1971), una novela del escritor colombiano Gustavo Álvarez Gardeazabal. La novela se centra en la historia de León María Lozano, conocido como El Cóndor, un personaje real que pasó de ser un simple vendedor de quesos en la galería de Tuluá, su pueblo natal en la cordillera occidental de Colombia, a convertirse en un jefe paramilitar que sembró el terror en las poblaciones aledañas a Tuluá durante la guerra civil colombiana, periodo oscuro conocido como La Violencia (1948-1958). Lozano, motivado por su incondicional lealtad al partido conservador colombiano, que históricamente se ha identificado con el color azul, inició una campaña de intimidaciones y amenazas a sus propios vecinos rojos (de ideología liberal), con el fin de colaborar con la causa conservadora que buscaba convertir a la zona suroccidental de Colombia en territorio puramente conservador. Esta campaña sucia pronto se convertiría en un baño de sangre que causó cientos de miles de muertos a manos de grupos de civiles armados, uno de estos grupos fue el de Los Pájaros, al mando de El Cóndor.