To date, the Latin American essay remains little studied, certainly compared to other literary genres such as the novel, poetry and theater. This thesis examines prevailing theorists' conceptions of the essay and its historical development in Latin America. Employing the notions of cultural identity and difference, which have long been central to Latin American critical thought, this study distances the development of the essay in Latin America from Spanish colonial writings of the sixteenth century. In its place, this study proposes an innovative classification scheme that incorporates cultural codes as its main criteria in order to provide a more equitable treatment of essays from areas that have traditionally been marginalized in standard chronologically based classification schemes. Some of the paradigms used in this study to defend the integrity and specificity of the Latin American essay and culture are Inca Garcilaso de la Vega's affirmation of the values of the continent's indigenous pre-columbian heritage, Domingo Faustino Sarmiento's discursive reinvention of South America, and Jose Marti's notion of hibridez—a cultural and racial complex mixture rooted in the region's history—as an affirmation of a continental Latin American cultural identity. This thesis demonstrates that since Latin American essays diverge thematically from colonialist discourse, studies of the origins of the Latin American essay do not have to perpetuate the colonialist legacy. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

In the eyes of the American public excellence is often overshadowed by brilliance of personality. This is particularly true in the portrayal of many of the country's military leaders in World War II. A prime example of this phenomenon is Douglas MacArthur, whose larger than life persona made him a newspaper fixture during the war despite a series of strategic and tactical blunders that would have led to the sacking of a less visible (and publicly popular) leader. At the level of divisional commanders, this triumph of brilliance over excellence is best exemplified by the two primary leaders of the country's 1st Infantry Division, Terry de la Mesa Allen and Clarence R. Huebner. One was a hard-drinking, swashbuckling leader who led by almost the sheer force of his personality; the other, a plain spoken, demanding officer who believed that organization, planning and attention to detail were the keys to superior battlefield performance. The leadership differences between Allen and Huebner have been documented in multiple publications. What has not been documented is the life of the truly overshadowed general - Huebner. Huebner's transition to the leadership of the 1st Infantry Division (1st ID) constitute only a small period in a military career that spans almost fifty years and two world wars. Huebner's story is cyclic in that throughout his life, his actions regularly complete a full circle with a return to key organizations, areas or relationships from where they started. In many respects, Huebner's story parallels the 20th century biography of the army itself. His is an American military story. This thesis is focused on Huebner's life in the years prior to the 1st ID's landing at Omaha Beach.

Este trabalho aborda a linguagem poética de Alberto Caeiro, poeta fictício criado por Fernando Pessoa, cuja obra está reunida nos títulos O Guardador de Rebanhos, O Pastor Amoroso e Poemas Inconjuntos, a partir da ideia de que seu olhar para o real se constitui num processo de indagação sobre os limites do conhecimento e da constituição da experiência humana da realidade, sobre o signo, sobre a natureza da linguagem poética e da linguagem em geral. Para esta reflexão, uso a Semiótica de Peirce, a Lingüística de Saussure, a teoria da linguagem de Benveniste, a poética das sensações de Fernando Pessoa, trabalhos de Perrone- Moisés, além de outros autores, como Seabra, Dessons e Meschonnic. A poesia de Caeiro é interpretada como um embate com os limites impostos pela mediação sígnica, embate que é ao mesmo tempo metáfora dessa poesia e é metaforizada por ela. Consciente da não transparência da linguagem como retrato do real e do pensamento, Caeiro faz dessa condição assunto e instrumento de seu discurso. Nesse processo, a língua é repensada e refundida em seus fundamentos, indo aos limites de sua capacidade de significação e aos limites entre o que é e o que não é poesia e entre o que é e o que não é língua. A noção de arbitrário do signo linguístico e a dicotomia língua e fala são repensadas, com base na ideia de limitação do arbitrário de Saussure e nas ideias de enunciação e discurso de Benveniste. A poesia de Caeiro é tomada no campo da linguagem, e apresentada como resultado de uma operação de homologia entre língua e outros sistemas, tornando-se assim capaz de evocar seu objeto. O discurso poético é interpretado ainda como um dizer que é fazer, mas não é tão particular a ponto de ser um semântico sem semiótico, pois é arte que se faz na língua, no que difere das artes não verbais. A linguagem poética tem a capacidade de acentuar os traços da linguagem em geral, sendo útil para a compreensão do fenômeno linguístico. Caeiro não é um poeta só de sensações, pois a intelectualização faz parte de sua criação e de sua poesia. Não é também o poeta das coisas: o real não é o objeto dessa poesia; é antes meio para veicular a emoção poética que se constrói, além disso, em seu próprio dizer. Coerente com um sujeito feito de aspectos, que tenta conciliar em si a unidade e a multiplicidade do real, a linguagem de Caeiro é constituída de tensões internas. Discursivo e poético integram o seu dizer. O embate de Caeiro é uma busca, mas ele não encontra a solução. Ele é um intervalo de encantamento. / This thesis approaches Alberto Caeiro’s poetry, fictitious poet created by Fernando Pessoa, whose work is gathered into the titles The Keeper of Flocks, The Amorous Shepherd and Detached Poems, from the idea that his looking to the real is a process of inquiry on the limits of knowledge and on the constitution of human experience of reality, on the sign, on the nature of poetic language and of language in general. For this analysis, I use Peirce's Semiotics, Saussure's Linguistics, Benveniste's theory of language, Fernando Pessoa’s poetic of sensations, works of Perrone-Moisés, beyond other authors, as Seabra, Dessons and Meschonnic. Caeiro's poetry is interpreted as a struggle against limits imposed by mediation of the sign, struggle that is metaphor of this poetry, which is also metaphor of that struggle. Aware of the non-transparency of language as photograph of reality and thought, Caeiro makes this condition object and instrument of his speech. In this process, the langue is rethought and recast in its fundamentals, reaching at the limits of its capacity to signify and at the limits between what is and what is not poetry, and between what is and what is not langue. The notion of arbitrary of linguistic sign and the dichotomy of langue and speech are reconsidered, based on the idea of limitation of the arbitrary of Saussure and the ideas of enunciation and discourse of Benveniste. Caeiro's poetry is taken in the field of language, and presented as a result of an operation of homology between langue and other systems, thus being capable of evoking its object. Poetic discourse is still interpreted like a saying that it is doing, but it is not so particular in order to be a semantic without semiotic, because it is art that is made into the langue, which differs from the non-verbal arts. Poetic language has the capacity to accentuate the features of language in general, being useful for understanding the linguistic phenomenon. Caeiro is not only a poet of sensations, because intellectualization makes part of his creation and of his poetry. He is not also the poet of things: the real is not the object of this poetry; it is rather a means to convey the poetic emotion that is built, furthermore, on your own saying. Coherent with a subject made of aspects that attempts to reconcile in him the unity and multiplicity of the real, Caeiro’s language is constituted of internal tensions. Discursive and poetic speeches integrate his saying. The fight of Caeiro is a searching, but he does not find the solution. He is a pause of enchantment.

Memoria (licenciado en ciencias jurídicas y sociales) / Esta investigación se ha propuesto demostrar que don Miguel Luis Amunátegui, como parte de su programa liberal, se avocó a la investigación, documentación y articulación de una determinada historia narrativa de Chile, y que ésta labor es la que posibilitó la posterior construcción de una historia filosófica, constituyéndose esta última como su punto de llegada, pero también el punto de partida, matizando así la tesis de Barros Arana sobre el mismo asunto. 7 Asimismo, luego de probado lo anterior, esta investigación pretende ir un poco más lejos. El recorrido por la obra de don Miguel Luis Amunátegui nos ha evidenciado uno de sus propósitos y preocupaciones fundamentales: el estado de la instrucción pública primaria y secundaria en Chile. En efecto, muchos de sus escritos y discursos –en calidad de parlamentario y académico- demuestran que su labor no se restringió a investigar qué había acontecido en Chile, sino que de forma principal, cómo Chile debía enfrentar sus innumerables carencias y vacíos. En este contexto, la memoria también se ha propuesto demostrar que los escritos programáticos acerca de la instrucción primaria y las propuestas sobre instrucción pública en general elaborados por don Miguel Luis Amunátegui, constituyen una búsqueda de los mecanismos idóneos para poner al mundo empírico con todas sus limitaciones a la altura de los logros del pensamiento humano, es decir, es la manera mediante la cual los hechos y el intelecto no se segregan sino que se comportan de manera conjunta

This thesis compares and contrats the abnormal escapism of characters created by Eugene O'Neill, Henrich Ibsen, and Thomas Hardy.

Slated as an economic outlet for Germany, the Baghdad Railway was designed to funnel political influence into the strategically viable regions of the Near East. The Railway was also designed to enrich Germany's coffers with natural resources with natural resources and trade with the Ottomans, their subjects, and their port cities... Over time, the Railway became the only significant route for Germany to reach its "place in the sun," and what began as an international enterprise escalated into a bid for diplomatic influence in the waning Ottoman Empire.

The rise of the middle class to power and influence in European culture and politics in the nineteenth century created the conditions of modern life which to many European intellectuals were distasteful and ominous. They viewed urbanization, commercialization, industrialization and the qualities of life that they engendered, such as anxiety, limitation of freedom, and pervasive mediocrity in cultural expression, as being inimical to the traditional and more reliable values of European civilization or, in some instances, as being incapable of providing the bases for a free and humane existence. This study focuses on the attack on bourgeois society in Europe in the late nineteenth and twentieth centuries in an attempt to expand the definition of “cultural despair,” a term to which it is related. Although others have discussed this general topic, cultural despair, the present study takes for its starting point the limited outlines offered in Fritz Stern’s The Politics of Cultural Despair. This is undertaken for the dual purpose of exposing to historical scrutiny a background theme of European intellectual activity of the former and present centuries, and to help construct a historiographical tool with which the historian can seek to understand more readily the impact of the rise of the middle class and its consequences on the mind of Europe. To reinforce the understanding of the topic of cultural despair, the essay offers four illustrations of cultural despair from traditions of the European intellectual milieu. These are the revolutionary, represented by Pierre-Joseph Proudhon and the critique of bourgeois economics; the literary, represented by T. S. Eliot and the critique of modern culture; the Catholic, represented by Emmanuel Mounier and his critique of bourgeois life; and the existentialist, represented by Jean-Paul Sartre and the redefinition of freedom in modern life. Finally, this effort concludes with an attempt to synthesize the attitudes of these four men in their relation to the general subject.

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