O livro A Boca do Inferno, de Otto Lara Resende, é constituído por sete contos que nos inserem num universo infantil pleno de conflitos e angústias. Os infortúnios revelados de maneira engenhosa e penetrante fazem do estudo do livro um artifício para interes-santes revelações. As situações de violência moral e física frente às consequências do abandono, da solidão e dos maus-tratos resultam no trágico, suscitando reflexões acerca de questões intimistas e causando grande impacto emocional no leitor, que passa, então, a questionar seus próprios valores morais, alguns aspectos culturais solidificados e a au-toridade de instituições como a Igreja e a Família. Conferindo às narrativas algumas ten-dências bastante contemporâneas, essa coletânea de contos alcança sem dificuldades os patamares da literatura como manifestação universal. Sendo assim, mais do que propiciar uma mudança de perspectiva sobre a obra, atribuindo a ela um reconhecimento outrora proscrito, intenciona-se ampliar o debate que ela pode estabelecer sobre a subjetividade humana no mais intrínseco da sua constituição: a infância. / A Boca do Inferno, by Otto Lara Resende, consists of seven stories that insert us into a childish universe full of conflicts and anguishes. The misfortunes revealed in an in-genious and penetrating way turn the study of the book into a device for interesting rev-elations. The situations of moral and physical violence face the consequences of abandon-ment, loneliness and ill-treatment result in the tragic itself, raising reflections on intimate issues and causing big emotional impact on the reader, who consequently challenges his own moral values as well as some solidified cultural aspects and the authority of institu-tions such as Church and Family. By verifying some contemporary tendencies in the nar-ratives, these short stories collection easily reaches the highest degree of literature as a universal manifestation. Thus, rather than furnish a change of perspective about the liter-ary work, giving it a recognition previously outcasted, it is intended to increase the debate it can establish about the human subjectivity in the most intrinsic of its constitution: the childhood.

O livro A Boca do Inferno, de Otto Lara Resende, é constituído por sete contos que nos inserem num universo infantil pleno de conflitos e angústias. Os infortúnios revelados de maneira engenhosa e penetrante fazem do estudo do livro um artifício para interes-santes revelações. As situações de violência moral e física frente às consequências do abandono, da solidão e dos maus-tratos resultam no trágico, suscitando reflexões acerca de questões intimistas e causando grande impacto emocional no leitor, que passa, então, a questionar seus próprios valores morais, alguns aspectos culturais solidificados e a au-toridade de instituições como a Igreja e a Família. Conferindo às narrativas algumas ten-dências bastante contemporâneas, essa coletânea de contos alcança sem dificuldades os patamares da literatura como manifestação universal. Sendo assim, mais do que propiciar uma mudança de perspectiva sobre a obra, atribuindo a ela um reconhecimento outrora proscrito, intenciona-se ampliar o debate que ela pode estabelecer sobre a subjetividade humana no mais intrínseco da sua constituição: a infância. / A Boca do Inferno, by Otto Lara Resende, consists of seven stories that insert us into a childish universe full of conflicts and anguishes. The misfortunes revealed in an in-genious and penetrating way turn the study of the book into a device for interesting rev-elations. The situations of moral and physical violence face the consequences of abandon-ment, loneliness and ill-treatment result in the tragic itself, raising reflections on intimate issues and causing big emotional impact on the reader, who consequently challenges his own moral values as well as some solidified cultural aspects and the authority of institu-tions such as Church and Family. By verifying some contemporary tendencies in the nar-ratives, these short stories collection easily reaches the highest degree of literature as a universal manifestation. Thus, rather than furnish a change of perspective about the liter-ary work, giving it a recognition previously outcasted, it is intended to increase the debate it can establish about the human subjectivity in the most intrinsic of its constitution: the childhood.

Propomos neste trabalho realizar uma análise do romance O braço direito, de Otto Lara Resende, tomando por base uma imagem recorrente na narrativa, a clausura, cuja força pode ser auferida na leitura pelo que constitui de elemento ordenador da estrutura do livro e principalmente do personagem narrador. O primeiro capítulo retoma o histórico da escritura do romance. Otto foi um autor que continuava a trabalhar o texto mesmo depois de publicado. O braço direito foi editado em 1963, relançado por duas vezes sem qualquer alteração, e reeditado em 1993 inteiramente reescrito. A relação do narrador com a escritura, que ganha forma num gênero literário subjacente à narrativa, o diário íntimo, é analisada no segundo capítulo. Tal relação incorpora em seu desenvolvimento marcas de uma opressão que perfazem o cotidiano do narrador e se traduzem no que escreve, como procuramos mostrar, pela manutenção dessa opressão, ao mesmo tempo em que escrever proporciona um espaço de reflexão. Depois de estudada essa relação, passamos no terceiro capítulo a outras formas de convivência, nas quais se observa a dimensão violenta e psicologicamente devastadora do meio social representado no livro, estando o narrador submetido a autoridades de toda ordem. No quarto e último capítulo abordamos o seu ambiente familiar, o impacto desse ambiente numa consciência que se constrói no centro de duas perspectivas conflitantes, e por conseguinte, de elementos que suscitam nela um embate intenso dos instintos, sobretudo os sexuais, com a auto-imposição de obedecer a um ideário conservador. / We propose in this paper to develop an analysis of the novel O braço direito, Otto Lara Resende, being based on a recurring image along the narrative, the cloister, whose strength can be understood in the reading by what it constitutes as an organizing element of the book structure especially the narrator character. The first chapter discusses the historical writing of the novel. Otto was an author who continued to work even after the text was published. O braço direito was published in 1963, reissued twice without any change, and reissued in 1993 entirely rewritten. The relationship between the narrator and the writing, which is shapped by a literary genre that underlies the narrative, the diary, is analyzed in the second chapter. Such relationship incorporates in its development some signs of oppression that make up the daily life of the narrator and are translated into his writing, as we intend to show, by maintaining such oppression, whereas writing that provides a space for reflection. After studying this relationship, we observe, in the third chapter, other ways of experiences, such as the violent side and psychologically devastating social environment depicted in the book, being the narrator submitted to authorities of all kinds. In the fourth and final chapter we discuss his family environment, its the impact on a consciousness that is built in the center of two conflicting perspectives, and therefore of elements that arouse in it a clash of strong instincts, especially sexual ones, with the self-imposition of obeying to a conservative ideology.

Propomos neste trabalho realizar uma análise do romance O braço direito, de Otto Lara Resende, tomando por base uma imagem recorrente na narrativa, a clausura, cuja força pode ser auferida na leitura pelo que constitui de elemento ordenador da estrutura do livro e principalmente do personagem narrador. O primeiro capítulo retoma o histórico da escritura do romance. Otto foi um autor que continuava a trabalhar o texto mesmo depois de publicado. O braço direito foi editado em 1963, relançado por duas vezes sem qualquer alteração, e reeditado em 1993 inteiramente reescrito. A relação do narrador com a escritura, que ganha forma num gênero literário subjacente à narrativa, o diário íntimo, é analisada no segundo capítulo. Tal relação incorpora em seu desenvolvimento marcas de uma opressão que perfazem o cotidiano do narrador e se traduzem no que escreve, como procuramos mostrar, pela manutenção dessa opressão, ao mesmo tempo em que escrever proporciona um espaço de reflexão. Depois de estudada essa relação, passamos no terceiro capítulo a outras formas de convivência, nas quais se observa a dimensão violenta e psicologicamente devastadora do meio social representado no livro, estando o narrador submetido a autoridades de toda ordem. No quarto e último capítulo abordamos o seu ambiente familiar, o impacto desse ambiente numa consciência que se constrói no centro de duas perspectivas conflitantes, e por conseguinte, de elementos que suscitam nela um embate intenso dos instintos, sobretudo os sexuais, com a auto-imposição de obedecer a um ideário conservador. / We propose in this paper to develop an analysis of the novel O braço direito, Otto Lara Resende, being based on a recurring image along the narrative, the cloister, whose strength can be understood in the reading by what it constitutes as an organizing element of the book structure especially the narrator character. The first chapter discusses the historical writing of the novel. Otto was an author who continued to work even after the text was published. O braço direito was published in 1963, reissued twice without any change, and reissued in 1993 entirely rewritten. The relationship between the narrator and the writing, which is shapped by a literary genre that underlies the narrative, the diary, is analyzed in the second chapter. Such relationship incorporates in its development some signs of oppression that make up the daily life of the narrator and are translated into his writing, as we intend to show, by maintaining such oppression, whereas writing that provides a space for reflection. After studying this relationship, we observe, in the third chapter, other ways of experiences, such as the violent side and psychologically devastating social environment depicted in the book, being the narrator submitted to authorities of all kinds. In the fourth and final chapter we discuss his family environment, its the impact on a consciousness that is built in the center of two conflicting perspectives, and therefore of elements that arouse in it a clash of strong instincts, especially sexual ones, with the self-imposition of obeying to a conservative ideology.

Este trabajo tiene como objetivo definir las representaciones de la villa y los vecinos de la villa dentro de los poemarios hasta hoy publicados por los poetas Gustavo Lara y César González. Para comprender la construcción de las representaciones y su valor distintivo, previamente buscaremos contextualizar las obras refiriéndonos a la historia de la literatura villera, especialmente a través de tres de sus principales representantes: Rodolfo Fogwill, César Aira y Horacio Verbitsky. Con una noción del panorama actual de la literatura villera, proseguiremos a profundizar en la cuestión de la raza y el género dentro de las representaciones bajo una perspectiva interseccional. Para respaldar teóricamente este proceso analítico y comparativo, utilizamos los estudios poscoloniales y culturales, entre cuyos autores contamos a Alejandro Solomianski, Gayatri Chakravorty Spivak y Walter Mignolo. A partir de esta propuesta y metodología, este estudio no solamente podría esclarecer la manera en que se construyen las representaciones literarias de la villa y sus vecinos, sino también difundir la voz de estos poetas villeros. / This work aims to define the representations of the villa and the residents of the villa in the works published by Gustavo Lara and César González. To understand the construction of these representations and their distinctive value, we seek to contextualize the works by referring to the history of the literature about the villas, focusing especially in three of its main representatives: Rodolfo Fogwill, César Aira and Horacio Verbitsky. With a clear understanding of the current landscape of the literature of the villas, we will continue with an intersectional approach, delving into the issue of race and gender in the representations. To support this analytical and comparative process, we base it within postcolonial and cultural studies, among which authors we find Alejandro Solomianski, Gayatri Chakravorty Spivak and Walter Mignolo. From this proposal and methodology, we hope this study not only can clarify how the representations of the villa and its neighbors are built, but also diffuse the voice of these poets. / Literaturas del empoderamiento

In Mexico there is an increasing lack of engagement of the Mexican government and its citizens towards resolving violence. In the 20th century alone events such as the Revolution of 1910, La Guerra Cristera, La Guerra Sucia, and most recently Los Feminicidios and Calderon’s War on Drugs are representative of an ethos of violence withstood and inflicted by Mexicans towards women, men, youth, and marginalized groups. This dissertation examines Los Feminicidios in Ciudad Juarez and the cultural production surrounding them: chronicles, novels, documentaries and films. In it I draw on Aristotle’s influential Nicomachean Ethics, Victoria Camps’ El gobierno de las emociones (2011), María Pía Lara’s Narrating Evil (2007), Vittorio Gallese’s and other scientists’ research on neuroscience empathy and neurohumanism, and socio-political essays in order to theorize how a pathos-infused understanding of ethos might engage a reading and viewing public in what has become a discourse about violence determined by a sense of fatalism. Specifically, I argue that narrative and its interpretations play a significant role in people’s emotional engagement and subsequent cognitive processes. I stress the importance of creating an approach that considers both pathos and logos as a way of understanding this ethos of violence. I argue that by combining pathos and logos in the analysis of a cultural text, we can break through the theoretical impasse, which thus far has resulted in exceptionalisms and has been limited to categorizing as evil the social and political mechanisms that may cause this violence. / text

The last decades of the 19th Century and the first decades of the 20th Century encompass a revolutionary movement worldwide. The growth and advances throughout all disciplines of study and especially the collaboration across Literature, Music, Performing Arts, Culture and Politics became stronger and more evident than ever before. As the Mexican Revolution (1910) developed in frightening fights, the country became increasingly insecure and violent. It was the duty of the living artist to create pathways to escape reality, embellishing the surroundings with its music, paintings and poetry. This climate is what paved the way to the bohemian living-style that developed in the main cities gaining power and acceptance, especially in Mexico City. Maria Grever, Tata Nacho and Agustín Lara represent a handful of composers/performers who wrote in the style of canciones contributing to the ideal of stability, hope and love in all forms and fashions. They represent the complexity of an era thru an outpouring of songs, depicting the romanticism of Mexico's ever changing times. They are also key figures for the growth and expansion of Mexican music throughout the world, aided by the technological advances such as the first recordings and radio broadcasting.

Thesis (M.A.)--Brigham Young University. Dept. of Visual Arts, 2005. / Includes bibliographical references (p. 79-86).

Al identificar ciertas temáticas recurrentes a lo largo de la obra del escritor Carlos Droguett, como la soledad, la violencia, el recuerdo, la historia, la catarsis, la escritura, entre otros, busco observar estos temas en la obra La señorita Lara, para así analizarlos e interpretarlos, destacando que, si bien son tópicos recurrentes, son tratados de manera única en cada una de sus obras. En el caso de La señorita Lara, estos temas son tratados de una manera profundamente íntima y personal, desarrollándose mediante la relación que Carlos, el narrador, y María Inés Lara viven (y sufren). En este sentido, es importante desmenuzar esta relación, observando cómo María Inés provoca en Carlos situaciones contradictorias que, si bien se presentan de manera violenta y dañan, al mismo tiempo, son motores de vida, construcción personal y de sentido.

Uppsatsen tar sig – med utgångspunkt i en analys av spelet Tomb Raider (2013) – an frågan om hur karakterisering genomförs inom interaktiva dataspel. Wahlsten väljer att använda sig dels av Sonja K Foss metod för narrativ analys, dels av Ian Bogosts procedurala retorik för att visa hur karaktären Lara Croft konstrueras under loppet av spelet. Dessa två metoder används för att kartlägga verktygen med vilka spelets narrativ presenteras, såväl de interaktiva som de icke-interaktiva. Uppsatsen visar tydligt och med många exempel att det finns en spänning mellan narrativets krav och spelarens intressen som ifrågasätter idén om att interaktiva spel i första hand påverkar genom immersion - tvärt om är spelen uppbyggda på så sätt att spelaren förutsätts dels identifiera sig med huvudkaraktären, dels ta avstånd från och använda denna som ’en virtuell leksak’ under loppet av spelet. Därmed pekar också Wahlsten ut ett tämligen okänt men mycket intressant forskningsområde för retorikvetenskapen. Wahlsten är medveten om att hans val av studieobjekt inte är självklart inom retoriken, men argumenterar väl för behovet av att studier av spel/Virtual Reality är och i synnerhet i framtiden bör vara, ett centralt område inom retorikforskningen / The essay asks the question how characterization in video games is accomplished, with the subject of analysis being the video game Tomb Raider (2013). Wahlsten chooses to use the methodology of Sonja K Foss for the narrative analysis, in addition to Procedural Rhetoric coined by Ian Bogost. These two methodologies are used to map out the tools used to construct the narrative of the game, which includes interactive one as well as non-interactive ones.   The essay clearly shows that there is a definite tension between the demands of the narrative on the player that puts into question the idea of interactive games mainly influencing through immersion. On the contrary, the game is constructed in such a way that the player is expected to identify with the playable character, while also motivating the player to distance itself from the character and use it as a sort of “virtual plaything”. Wahlsten thus highlights a fairly obscure but also highly interesting field of study within the Rhetorical sciences. Wahlsten is aware the object of study is not an obvious one within the field Rhetoric, but argues for the need of studies of games and Virtual Reality, and the importance of them for Rhetorical sciences in the future.