Texte remanié de: Thèse de doctorat--Etudes ibériques--Paris 10, 2002. Titre de soutenance : Max Aub et la France ou L'espoir trahi ? / Bibliogr. p. 383-398. Index.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 415-418.

No description available.

D.L. A 130-2008

This dissertation examines transnational flows and identities in the work of four European filmmakers and writers that have done extensive work in Latin America around the mid-twentieth century. Not renouncing to the thematic and formal analysis of representation in the works themselves, it focuses more broadly in the modes of production and circulation of cinematic and literary creations. More specifically, it pays close attention to the location in which the work was produced, understood as a conglomerate of circumstances, places, people, as well as symbolic and cultural demands that exert pressure on the author. Understanding that a transnational piece establishes a multi-national dialogue, I emphasize the frequently unacknowledged dialogue that these authors establish with the Latin American tradition and culture. Not only were they conscious of the symbolic landscape in which they were working, but also their production represents a valuable contribution for such landscape, even when their primary audience might be European. The case studies include: an introduction on the globalization of “Tercer Cine”; Werner Herzog and his two Amazonian feature films in Peru; Luis Buñuel and his abundant Mexican production, with special attention to his American and French co-productions shot in Mexico; Max Aub and his Mexican stories and chronicles; and Witold Gombrowicz’ Trans-Atlantyk, as well as his translation of his novel Ferdydurke into the Spanish language. / Romance Languages and Literatures