No description available.

No description available.

This thesis investigates the political and social contexts of the adaptation of the 1992 novel The Children of Men, written by prolific British mystery writer P.D. James, to a 2006 US film of the same title, directed by Alfonso Cuarón. Both novel and film share the same premise, imagining a future world where human reproduction is no longer possible; however, each deals with drastically different ideological and political concerns. As a case study of the politics of adaptation, this project considers adaptation as both a product and a process, analyzing representation, medium specificity, genre and political contexts as well as issues of production and reception. / text

My dissertation analyzes the role of Ovid’s Heroides in Alfonso X’s General Estoria, a massive historical compilation in six volumes that the “Learned King” commissioned in 1272. The way in which eleven of these fictional epistles were incorporated by the Alfonsine translators sheds light on how ancient texts were perceived by medieval scholars. According to the study, King Alfonso relies on Ovid as an accurate historical source and uses the epistles of the heroines as historical documents while preserving their literary dimension. The thesis is divided into six sections. Chapter one introduces the topic of translation in relation to history and literature and argues for the use of a culturesemiotic perspective in the study of medieval translations. Chapter two looks into the General Estoria in order to frame the generic register/s to which the Heroides and Ovid belonged in Alfonso’s historic discourse. Some of these issues include literature and its historical value, and how the ancient past (in this case the times of characters in the Heroides) was used in order to investigate and interpret the concerns of the present, and form decisions about the future. Chapter three speculates on the bearing that the habitus or socio-cultural conditioning of a potential translator like Archbishop Jiménez de Rada could have had in the Alfonsine approach to translation. Chapter four analyzes the uses of and references to Ovid as a writer and his works throughout Europe in order to recreate the position both him and his works held in the socio-cultural milieu of thirteenth-century literature, history, epistolography, and rhetoric. Chapter five focuses on how the Latin text was initially adapted and segmented according to translation patterns and norms. This observational analysis of the Heroides in the GE approaches the text from the perspective of the discipline of Descriptive Translation Studies (DTS). My research does not seek to propose or refute any theories but, rather, to make a contribution to DTS in the form of an observational analysis.

Submitted by PPG Teologia (teologia-pg@pucrs.br) on 2018-07-17T18:24:24Z No. of bitstreams: 1 PUC-PERISSE-2018.pdf: 1061459 bytes, checksum: e76439dc0a4798c84195d762be757226 (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-07-24T11:56:13Z (GMT) No. of bitstreams: 1 PUC-PERISSE-2018.pdf: 1061459 bytes, checksum: e76439dc0a4798c84195d762be757226 (MD5) / Made available in DSpace on 2018-07-24T12:03:40Z (GMT). No. of bitstreams: 1 PUC-PERISSE-2018.pdf: 1061459 bytes, checksum: e76439dc0a4798c84195d762be757226 (MD5) Previous issue date: 2018-06-26 / The definition of encounter, according to the Spanish philosopher Alfonso L?pez Quint?s, is the starting point for to draw around the encounter as a theological category. The purpose was to clearly identify the essential characteristics and the fruits of the interpersonal encounter, as well as the discovery of the values and the longing for transcendence. When contrasting the theory of the encounter of L?pez Quint?s with the work of different philosophers, theologians and thinkers who focused on the idea of "encounter with God", it is possible to glimpse and make explicit, in the work of this author, the main features of a legitimate theology of the encounter. / A partir do pensamento do fil?sofo espanhol Alfonso L?pez Quint?s, tenciona-se delinear nesta disserta??o o encontro como categoria teol?gica, identificando com clareza as caracter?sticas essenciais, as exig?ncias e os frutos do encontro interpessoal, da descoberta dos valores que decorrem do encontro e do desejo de transcend?ncia. Contrastando a teoria do encontro de L?pez Quint?s com o trabalho de diferentes fil?sofos, te?logos e pensadores que se debru?aram sobre a ideia de um ?encontro com Deus?, ? poss?vel vislumbrar e explicitar na obra deste autor os principais tra?os de uma leg?tima teologia do encontro.

No description available.

This study investigates the participation of cinema in the continuing debates over Mexican national identity. Part one lays out the problem of defining “Mexicanness” in contemporary society, and demonstrates that during the 1990s a new attitude emerged amongst a younger generation that sought to redefine the image of the cosmopolitan Mexican urbanite. This section is devoted to the problematics of traditional discourses on Mexican identity, as well as to a theoretical shift away from a nationalist paradigm of identity formation towards a more flexible model that takes into consideration the global processes shaping contemporary Mexico. Part 2 analyzes three early Mexican films made by Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu, respectively Cronos (1993), Y tu mamá también (2001), and Amores perros (2000). I demonstrate through a heuristic model of the Real, Imaginary, and Symbolic how these films allegorize Mexico’s “coming to age tale” under the weight of political and economic changes. Part 3 shifts to the Hollywood films by these directors. Using a scalar concept, I illustrate how these directors’ works yield a new model for understanding the interconnectedness between the national and the transnational in a way that neither term is necessarily privileged, but rather coextensive.

While historians have gone to great efforts in studying the belligerent powers during the First World War, very little attention has been paid to such neutral powers as Spain. Several European nations declared neutrality in 1914, but many strayed from this course in favor of active belligerence. Spain, however, remained neutral for the war's duration; thus, this thesis examines and explores the nature of Spanish neutrality during the First World War. Spain's decision to adhere to a neutral policy required serious consideration as it had to weigh the consequences and advantages of intervention; however, military and economic weakness, as well as diplomatic isolation pushed Spain towards neutrality. Some hoped by abstaining from involvement, their country would emerge at the war's end as the arbiter of peace, enabling Spain to regain prestige and reestablish itself as a major continental power. However, neutrality proved to be a difficult undertaking because Spain could not escape the hardships and effects of a continental war. As domestic crises enveloped the country, a divided public aligned itself into Francophiles and Germanophiles. Escalating domestic issues became exacerbated by diplomatic conflicts resulting from the German submarine warfare campaign, which challenged Spain's neutrality policy. Thus, Spain found itself in a precarious position during the war. While recognizing the necessity to maintain neutrality, it suffered serious consequences for its decision. It did not emerge from the war as an arbiter of peace, but suffered diplomatic humiliation over its failure to overcome the German submarine threat. The government's focus on foreign policy led its leaders to ignore the growing domestic discontent, which further destabilized an already unsteady government. As a result, governments rose and fell as all proved incapable of resolving Spain's ever-increasing problems. The case of Spain in the First World War demonstrates that neutrality is not necessarily the safe course that many believe, as no country can fully escape the effects of war. As a neutral, Spain faced incredible difficulties. The government's neutrality policy kept Spain out of the war, but the regime faced the significant consequences of this decision including its ultimate demise.

This study investigates the participation of cinema in the continuing debates over Mexican national identity. Part one lays out the problem of defining “Mexicanness” in contemporary society, and demonstrates that during the 1990s a new attitude emerged amongst a younger generation that sought to redefine the image of the cosmopolitan Mexican urbanite. This section is devoted to the problematics of traditional discourses on Mexican identity, as well as to a theoretical shift away from a nationalist paradigm of identity formation towards a more flexible model that takes into consideration the global processes shaping contemporary Mexico. Part 2 analyzes three early Mexican films made by Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu, respectively Cronos (1993), Y tu mamá también (2001), and Amores perros (2000). I demonstrate through a heuristic model of the Real, Imaginary, and Symbolic how these films allegorize Mexico’s “coming to age tale” under the weight of political and economic changes. Part 3 shifts to the Hollywood films by these directors. Using a scalar concept, I illustrate how these directors’ works yield a new model for understanding the interconnectedness between the national and the transnational in a way that neither term is necessarily privileged, but rather coextensive.

La tesis analiza la forma en la que son presentados los monjes, las órdenes y la cultura monástica en las Cantigas de Santa María (mediados del siglo XIII) de Alfonso X, el Sabio. Se estudian no sólo la aparición de los monjes, como personajes de las cantigas narrativas, y sus diversas actividades (liturgia, plegaria, trabajo manual, lectura, estudio, etc.), sino también las diferentes fuentes que posiblemente hayan estado en la base de la gran empresa de confección de las Cantigas, en el scriptorium alfonsi. Por un lado, clérigos, frailes y monasterios estrechamente ligados a la persona misma del rey Alfonso X y a su corte (Juan Gil de Zamora, Bernardo de Brihuega, Rodrigo de Cerrato, monasterio de Las Huelgas de Burgos, etc.). Por otro, un enorme acervo de obras marianas de procedencia monacal: colecciones de milagros en latín y romance; compendios de himnos, secuencias y otros cantos litúrgicos; y obras doctrinales que contienen la marialogía monástica de los siglos anteriores. Todo ello puesto al servicio de la creación de un cancionero mariano con un específico ideal cristiano, monárquico y laico.