Informe de Seminario para optar al grado de Licenciado en Historia / En el presente trabajo mi intención es comprender a la derecha chilena durante el transcurso del siglo XX, específicamente, desde los inicios de la década de los ’60 hasta el fin de los ’80, época que coincide con los últimos 4 años de la administración del presidente, Jorge Alessandri Rodríguez y el término de la Dictadura Militar encabezada por el Gral. Augusto Pinochet Ugarte.

El trabajo analiza la obra poética de Basilio Fernández, un autor creacionista, discípulo de Gerardo Diego, que, tras publicar algunos poemas en revistas de vanguardia de los años 20 y 30 en España e Italia, se sume, hasta su muerte, en un ejercicio secreto de la poesía. Basilio Fernández aunó el vanguardismo de su juventud y el existencialismo de su madurez, y alumbró una poesía en la que la metáfora, la aliteración y la fantasía se conciertan para expresar su dolor por haber renunciado a su destino –a su condición de escritor– y, por ende, a los ideales de juventud: la libertad, el amor y la literatura. La tesis incorpora una biografía del poeta, cuya principal fuente de información son los trabajos publicados por su sobrino Emiliano Fernández. Atiende, en particular, a los hechos de su juventud y primera madurez, hasta principios de los años 40, esenciales para configurar su fibra moral, su sensibilidad estética y su proyecto literario, como su relación con Gerardo Diego, profesor suyo en el Instituto Jovellanos de Gijón, y con Luis Álvarez Piñer, compañero de estudios y alumno, asimismo, de Diego. La tesis fija, asimismo, el corpus poético de Basilio Fernández, integrado por unos 140 poemas. Ni las dos ediciones de su poesía completa, de 1991 y 1992, ni las dos antologías de su obra, de 2007 y 2009, incluyen todos los poemas que escribió, algunos de los cuales permanecen inéditos en el archivo personal de Gerardo Diego. La tesis analiza la obra de Basilio Fernández, creacionista, existencial, órfica y biográfica. En tanto que poesía creacionista, esgrime el poder alumbrador de la metáfora y de la imaginación errabunda. La libertad asociativa del surrealismo, que le acompañará indeclinablemente, es objeto de un examen pormenorizado. El carácter existencial de su obra, de inspiración barroca y romántica, pero exacerbado por el nihilismo contemporáneo, se refleja en la evocación del pasado, la preocupación por el paso del tiempo, el canto a lo perdido, el tedio de los días y el sinsentido de la vida, plasmados en algunos motivos recurrentes: el ubi sunt, el agua estancada, el río que pasa, y la caída, desdoblada, a su vez, en la hoja seca y la torre inclinada. El sentido existencial se proyecta también en la sociedad, que el poeta considera corrompida y fútil. Frente a los oprobios de la vida, sus únicos consuelos son el amor y Dios, aunque el primero es solo un recuerdo que se diluye en el caminar inexorable hacia la muerte. Únicamente el amor a Dios le ofrece la esperanza de una existencia sin sufrimiento. La poesía de Basilio Fernández es órfica, porque cree en la naturaleza vivificadora de la palabra y canaliza el descenso a los infiernos de su intimidad, que revela su insatisfacción y su dolor. Finalmente, es también biográfica, por cuanto los hechos y decisiones de la vida del poeta determinan el tono y el propósito de su obra, y porque sus circunstancias personales se transparentan en un amplio abanico de símbolos, analogías y opciones léxicas. El trabajo analiza el aparato simbólico, los mecanismos constructivos, los recursos estilísticos –anáfora, similicadencia, paradoja, aliteración, personificación y metáfora– y el cuerpo de pensamiento que integran la poesía de Basilio Fernández. También, algunas claves de su formación, visibles en el recurso a la métrica y la en intertextualidad. Se presta una atención singular a todos aquellos motivos o expresiones que den cuenta del conflicto existencial, y se subraya su dimensión vitalista, que opone al sentido de la declinación y la muerte una palabra sensorial y luminosa, una permanente celebración de la materia. / ABSTRACT OF THE DOCTORAL THESIS "BASILIO FERNÁNDEZ’S POETRY: SPLENDOR AND BITTERNESS", BY EDUARDO MOGA The thesis analyzes Basilio Fernández’s poetic work. As a disciple of Gerardo Diego, he was a creationist author, who, after publishing several poems in avantgarde magazines in the 1920’s and early 30’s in Spain and Italy, went into silence for the rest of his life, although he never quitted writing poetry, secretly. Basilio Fernández combined the avantgarde spirit of his youth and the existentialism of his adulthood, and brought about a poetry in which metaphor, alliteration and fantasy joined in order to express his pain for having given up his destiny –becoming a writer– and, hence, having forsaken his purest ideals and wishes: freedom, love and literature. The thesis includes a biography of the poet, which focuses on his youth, until the early 1940’s, which is essential to understand his moral attitudes, his aesthetic sensitivity and his literary project: mainly, his relationship with Gerardo Diego, who was his teacher and mentor in Gijón, and with Luis Álvarez Piñer, his classmate and friend, and also a Diego’s disciple. The thesis also determines Basilio Fernández’s poetic corpus, with around 140 poems, some of which have never been published yet. Basilio Fernández’s poetry is creationist, existential, orphic and biographic. He believes in the creative power of image. The freedom of association, inspired by surrealism, has a significant presence in it. As a existentialist writer, he is overwhelmed by the passage of time, the memory of the past, the lost world of his youth and the spleen of his current life. Some motives reflect all these concerns: the ubi sunt, the stagnant waters, the flowing river and the notion of falling –i. e., the dry leaf and the leaning tower. Human society is also corrupt. His only reliefs are love and God, although love is just a vanishing memory. God alone offers hope and consolation. Basilio Fernández’s work is orphic, since it believes in the power of language to bring what is dead back to life and to carry out a true descensus ad inferos, which reveals the poet’s unsatisfaction and suffering. It is also biographic, for the facts of the poet’s life determine the substance and purpose of his poetry.

The Austrian novelist Heimito von Doderer (1896-1966) gained his reputation after World War II with the novels Die Strudlhofstiege (1951) and Die Dämonen (1956). His interest in language, its functions and its innermost essence appears from his novels, his diaries and his essays. In order to express his energetic conception of language he used an individual and partly newly-created terminology.This dissertation deals in the main with an analysis of approximately 25 central sentences {Fundamentalsätze), containing more than 100 terms, according to the criteria of content and formal aspects. Chapter 5 focuses on Doderer's view of life (Lebensphilosophie), a combination of philosophy, psychology and religion. The role of memory, the exploration of thinking and the depiction of creativity constitute combined endeavours in his work, in which he was influenced by Weininger's and Swoboda's terms and theses. Chapter 6 treats linguistic terminology proper. Two different examples may demonstrate Doderer's remarkable intuition for linguistic essentials. Beginning with the indirect essence of language he supposes that there is no fundamental difference between the birth of language and the creation of metaphors. Secondly he conceives of a sentence as being formed as a structural unit, based on a formula (Strukturformel). Similar opinions are represented in modern linguistics.The formal aspects of his terminology are dealt with in Chapter 7, including the different types of terms and the possibilities of word-formation, to express definitions and thematic connections. In the novel Die Merowinger (1962) Doderer constructs a burlesque travesty of erudite professional language. / digitalisering@umu

Not available / text

This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.

Not available / text

Most previous studies of Soviet montage cinema have concentrated on its aesthetic and technical aspects; however, montage cinema was essentially a rhetoric rather than an aesthetic of cinema. This thesis presents a comparative study of the leading montage film-makers – Kuleshov, Pudovkin, Eisenstein and Vertov – comparing and contrasting the differing methods by which they used cinema to exert a rhetorical effect on the spectator for the purposes of political propaganda. The definitions of propaganda in general use in the study of Soviet montage cinema are too narrowly restrictive and a more nuanced definition is clearly needed. Furthermore, the role of the spectator in constituting the rhetorical effectivity of a montage film has been neglected; a psychoanalytic model of the way in which the filmic text can trigger a change in the spectator’s psyche is required. Moreover, the ideology of the Soviet montage films is generally assumed to exist only in their content, whereas in classical cinema ideology also operates at the level of the enunciation of the filmic text itself. The extent to which this is also true for Soviet montage cinema should be investigated. I have analysed the interaction between montage films and their spectators from multiple perspectives, using several distinct but complementary theoretical approaches, including recent theories of propaganda, a psychoanalytic model of rhetoric, Lacanian psychoanalysis and the theory of the system of the suture, and Peircean semiotics. These different theoretical approaches, while having distinct conceptual bases, work together to build a new and consistent picture of montage cinema as a propaganda medium and as a form of political rhetoric. I have been able to classify the films of Kuleshov, Eisenstein and Pudovkin as transactive, vertical agitation propaganda and the films of Vertov as transactive, horizontal agitation propaganda. Furthermore, I show that montage cinema embeds ideology in the enunciation of its filmic text, but differs from classical cinema in trying to subvert the suturing process. I conclude that Vertov at least partly created a non-representational cinematography and that he could be regarded as being at least as much a Suprematist film-maker as a Constructivist one.

Les œuvres de John Dos Passos [1896-1970] sont souvent étudiées à l'aune - ou à l'ombre - de son parcours politique. L'enjeu de cette thèse est de revenir sur ce lien entre fiction et politique, en partant non plus des positions politiques de l'auteur mais des œuvres elles-mêmes, pour analyser si et en quoi la fiction peut se faire politique. Des romans de jeunesse aux œuvres de la maturité [notamment Manhattan Transfer et la trilogie U.S.A.], Dos Passos construit sa critique politique, fondée sur la remise en cause du récit linéaire. Il remplace la " destinée manifeste " de l'Amérique par le portrait des " deux nations " qui la composent, et travaille le genre du roman pour le défaire de sa dimension providentielle. En mettant à l'épreuve l'intrigue, le protagoniste et la temporalité, il inscrit cette critique politique au cœur même de l'écriture, et invite à porter un nouveau regard sur les œuvres politiques de l'entre-deux-guerres, et sur les liens entre modernisme et radicalisme, dénoués par la critique de la Guerre Froide. Ses œuvres mettent en scène la difficulté de construire une littérature protestataire dans un pays fondé sur des idéaux démocratiques. Plutôt qu'un perpétuel retour au mythe des origines, cependant, elles mettent en place un véritable dialogue avec les textes fondateurs, dialogue au sein duquel la fiction fait peu à peu émerger, entre les lignes, le non-dit du politique

Herbert Smenner was one of the most prolific architects in the east central Indiana area from 1920 up until his death in 1950. During those three decades, Smenner designed some of Muncie's most beloved and recognizable buildings, including churches, schools, homes, and governmental institutions. The purpose of this study is to study trends in architecture from 1920 to 1950 through Herbert Smenner's work, to determine if he followed these trends, and to see if these trends themselves influenced his work.Smenner was a very sought after architect in Muncie and the surrounding area. His main clientele were the upper class of Muncie, as well as being the choice for many public commissions. Smenner's work, for the most part, did follow the architectural trends of the time. He worked mostly in the revival styles, which was the primary mode of choice during the 1920's and 1930's. In the early 1930's he also designed several buildings in the popular Art Deco and Art Moderne styles. His innovative design the Harrison Township School in 1924, was popular among many regional architects who came to study the unique layout of the school.Smenner was a troubled man. Throughout his career he battled illness, depression and severe issues with his temper. His work was widely appreciated, but the man faced many trials in the public eye do to his personality and legal problems. Smenner was often known as a copy artist by his peers. Many of his contemporaries felt that Smenner never had the creative skills to be a true architect, and that he was simply a wonderful draftsman interpreting the designs of others. Sadly, he took his own life at the age of 52 only leaving behind his buildings as a testament to his life and accomplishments. / Department of Architecture

No description available.