Práce se zabývá situací v Mexiku před prezidentskými volbami v roce 2006. Nejprve je zhodnoceno funkční období odstupující administrativy prezidenta Vicenta Foxe Quesady a poté je v kontextu popsané společensko-ekonomické reality v zemi analyzován průběh předvolební kampaně.

My dissertation examines concepts of creative agency in early modern thought and baroque poetics, with an emphasis on the theater of Pedro Calderón de la Barca (1600-1681). Calderón and his contemporaries inherited from theology the idea that creative authority and power are concentrated in divinity, while humanity cannot, in a strict sense, create at all. While ancient philosophical and scriptural sources often describe a demiurgic God in anthropomorphic terms, the Christian doctrine of ex nihilo creation separates categorically an omnipotent deity from human "makers," who may refashion pre-given materials but not engender anything radically new. In the sixteenth and seventeenth centuries, however, this hierarchy was challenged by literary, political, and psychological insights that endow humanity with an exalted creative potential and an enhanced efficient power over the world. As paradigmatic of this intellectual-historical movement towards the envisioning of a demiurgic humanity, I analyze the "human dignity" tradition and the literary-psychological discourse surrounding the faculty of the ingenio. The intersection of theological ideas with these currents of thought produces a fruitful tension in baroque literature, particularly in the work of Calderón. I argue that Calderón was deeply troubled by the Faustian undercurrent of his century, and that this concern plays out not only in his explorations of the question of poetic "darkness," but also in his treatment of biblical and mythological creator figures like Solomon, Nimrod, Prometheus, and the craftsmen of holy and idolatrous images. Throughout the thesis, I place Calderón's ideas on creative power and efficient knowledge or ciencias in relation to other early modern figures like Huarte de San Juan, Francis Bacon, and Giambattista Vico. This thesis is a contribution to the study of baroque poetics, of early modern Spanish theater, and of the place of aesthetics in the intellectual landscape of the seventeenth century. / Romance Languages and Literatures

Memoria para optar al Título de Periodista / El autor no autoriza el acceso a texto completo de su documento / La siguiente investigación periodística, sobre un hito literario contemporáneo, es el primer intento del campo académico por reconstruir la historia de vida del poeta chileno Boris Calderón Soto (1934-1962) y situarlo en la escena cultural de la década del ‘50. Su muerte prematura, a los 28 años de edad, deja un halo de misterio en torno a su obra poética e historiografía. Calderón es un poeta con un breve pero profuso trabajo autoral, publica tres libros: Estío en la Materia (1954), El Libro de los Adioses (1956) y Canciones para una Niña que se Llama Francisca (1959). La recepción de sus obras, con una escritura simbolista, profunda y auténtica, le augura un sitial en las letras chilenas. El poeta en un estado intimista no pretende representar la realidad en sus textos, sino toma elementos de ésta y la transfigura, donde la palabra no sólo nombra al mundo sino que lo forma. No obstante, la crítica literaria y el campo de análisis académico, insistentemente, omiten su figura en una época convulsa y excitante.

The ancient concept "The world is a theatre" has been used by poets and philosophers at all times when talking about human conflicts or when describing human society. By focusing on the historical function of this use, the present dissertation examines four plays by Pedro Calderón de la Barca in relation to the schism of the Swedish Wasa dynasty: El sitio de Bredá, La protestación de la fe, La vida es sueño, Afectos de odio y amor. A parallel between Calderon's "auto sacramental" El gran teatro del mundo, Descartes' so called "mask" and the Neoplatonic "Art of Memory" (Giulio Camillo, Giordano Bruno, Robert Fludd) is established in order to explore the ontological and social background of the linguistic term "discourse". The heretic picture created by the European Counter Reformation is studied as the mimetic configuration of a collective fetish. Stephen Greenblatt's notion of "social energy" and Julia Kristeva's account of the fetish in poetical language, are, in this context, discussed with the intention to investigate how Calderón, to the Spanish audience, describes Wladislav Sigismund Vasa visit to Breda's siege and Queen Christina's convertion to the Catholic faith. The political and ideological debate of laws ruling the succession in Catholic and Protestant kingdoms are considered when discussing Diego de Saavedra y Fajardo's (from Catholic Spain) and Schering Rosenhane's (from Lutheran Sweden) political reflections on the issue; this is also compared to the ideological foundations of Calderon's play El gran teatro del mundo. Both King Sigismund Vasa's personal struggle to retain the Swedish crown and Queen Christina's abdication, are considered in the light of Calderon's La protestación de la fe and Rosenhane's political vision in his Hortus Regius. A special investigation is dedicated to the striking contrasts between the original emblems of Hortus Regius and those found today in Rosenhane's palace, having been painted there on the initiative of Rosenhane himself. The Catholic agitation against Machiavelli's definition of "virtue" and the Machiavellian and Catholic interpretation of "reason of state", are related to Calderon's theatre with the intention of evaluating the geopolitical aspects of Calderon's most famous play, La vida es sueño, and also with the purpose to initiate a discussion about the theatrical nature of political behaviour. The dissertation concludes by studying and comparing Calderon's, Bernardino de Rebolledo's (Spanish ambassador to Denmark at the time) and Francisco Bances Candamo's views on Queen Christina's personal aversion to marriage, with special attention paid to the symbolic dimensions of Queen Christina's Amaranta Order.

<p>"Representaciones temporales en la construcción del espacio y el sujeto atlántico en el</p><p>siglo XVII" is a study of the different representations of time, temporality and space in</p><p>literary and historical texts such as the chronicles that originated in Peru and Spain. This</p><p>project seeks to understand the new configuration of time and space that appeared at this</p><p>time and that was represented in literary texts during the Spanish Baroque period. What is</p><p>most important is that the Atlantic is not only an ocean that separated two realities but</p><p>also a new space that made possible the emergence of a new subject who combined pre-</p><p>Hispanic culture and the occidental episteme. This new subject is the product of a</p><p>translation failure of the concepts that were transported back and forth across the</p><p>Atlantic. During the XVIIth century, many literary and historical texts are produced in</p><p>order to understand this new subject. As an immediate consequence of the encounter</p><p>between American and European epistemes, thinkers and writers in all Europe begin to</p><p>hesitate between "the real" and "the images"; a crisis of the real begins. In the Americas,</p><p>writers such as Guaman Poma or Sor Juana Inés de la Cruz who produce narratives which</p><p>seek to interpret the new realities brought about by the encounter with the Europeans,</p><p>whose writings do not follow to either indigenous or European conventions. These</p><p>writers mix pre-Hispanic and Western traditions to account for the new forms of</p><p>subjectivity that the conquest produced. Similarly, Spanish writers such as Cervantes or</p><p>Calderón re-work traditional European conventions in order to understand and interpret</p><p>this new historical moment/subjectivity.</p> / Dissertation

Although Calderon formulates an eloquent refutation of racialist discourse against Muslims, my thesis concentrates on the issue that his play-writing reinforces the Cristocentric ideology on the need for conversion. In order to determine some of his influences and inspirations, I have reviewed the literature dealing with the Muslim subject in Spain from approximately the eleventh to the seventeenth centuries. Drawing on postcolonial hermeneutics and social psychology, I explored the way in which the image of the Muslim is constructed, wavering between an aggressive representation meant to promote rejection, and a narcisistic reflection fostering the appropriation through conversion. Both postures presuppose a distinction upon religious levels which has remained constant throughout the literature studied in this thesis. / By analysing some plays by Lope de Vega and Cervantes it became obvious that the fast reflects, with some exceptions, the dominant prejudices of his audience by presenting stereotyped characters of Muslim descent. Cervantes, on the other hand, provides a polyphony of voices which makes his plays peculiarly ambiguous for the inattentive reader. These, although exceptional in their humane view of the world, consistently maintained Muslims and Christians distinct and separate, albeit within relatively expansive categories. / Calderon uses a lopesque model of the bobo and conserves Cervantes' Weltanschauung. Nevertheless, his main aim can be directly traced to the counter-expulsion polemics of sixteenth- and seventeenth-century intellectuals, who attempted to find a solid foundation on which to base Christian indoctrination. Utilizing a typologic and providential version of history, Calderon attempts to convince his Christian public that they should improve themselves spiritually in order to convert Muslims, who in turn should pursue proselitist activities in their respective countries. The Muslims predisposed to conversion are therefore presented as clearly differentiated from the ones who aren't, associating the first with courtly ideals and the others with diabolic manifestations. A necessary element for successful conversion of people of distinct cultures is the elimination of the myth of "purity of blood," which Calderon defeats categorically. All in all, his insistence upon the absolute necessity of a sincere application of Christian doctrine anticipates the disaster which those who conceived the conversion program could not avoid.

The goal of this dissertation is to study the use, function and possibilities of the classical concept of imagination in the "comedias" of Pedro Calderon de la Barca (1600--1681). To begin, I explore the possibilities and limitations of imagination at three different levels: literary and aesthetic theory, psychological and gnoseological theory, and lastly that of cosmology. / Thus, after tracing the presence of the concept of imagination in all of Calderon's "comedias," I study its use in the dramatic discourse of Pinciano and Bances Candamo. Likewise, I discuss the ambiguities of this concept that Calderon himself openly explored in several of his plays. Later, I focus on an analysis and interpretation of imagination in La vida es sueno (Life is a Dream), particularly as it concerns the relationships between mankind and the universe, as well as the imaginative and dramatic possibilities of dreaming. / My next step deals with the relationship between theories of drama and imagination. This concentrates on: the way in which the author plays and manipulates the audience's affections, the creation of marvellous dramatic effects, and the relationship between imagination and performance. After, I analyze the interaction between physical senses and imagination, as well as the public's perception influenced by sophisticated staging techniques. Lastly, I discuss three crucial concepts, those of taste, public opinion and disillusionment ("desengano"), that are for Calderon obvious limitations to the possibilities of imagination.

Tesis

Informe de Seminario de grado para optar al Grado de Licenciado en Lengua y Literatura Hispánica / Facultad de Filosofía y Humanidades / La pregunta por la actualidad del género de la tragedia en nuestra época, podría en un primer momento, interesarse por las modificaciones, variaciones o similitudes que manifestaría el género desde sus orígenes en la Grecia clásica hasta nuestro tiempo; intentando establecer, si fuese posible, algunas continuidades que le dan validez a la utilización del término para las nuevas creaciones. Para Christoph Menke, filósofo y téorico alemán, la pregunta por la vigencia del género no responde sólo a cierta permeabilidad de su estructura, sino que al “hecho de que la tragedia sea actual o tenga un presente indica que su contenido experiencial tiene significado para nosotros”. Es decir, en la posibilidad de que esta manifestación artística consiga un efecto en el espectador, y que ese efecto produzca en éste un aprendizaje. Aprendizaje que surge de la puesta en tensión de los presupuestos en base a los cuales los sujetos conciben y se relacionan con la realidad y con los mecanismos de constitución de la sociedad y sus instituciones. Para Menke, es posible hablar de una nueva forma de tragedia en nuestro tiempo, en la medida que mira con una nueva óptica el proceso de apropiación que ha sufrido el concepto, los modelos teóricos que han dialogado con la categoría, para instalar finalmente su propio aparato teórico a través del cual nos presenta la posibilidad de la existencia de tragedias contemporáneas, entendidas como tragedias de la representación.

Tesis para optar al grado de Magíster en Literatura / La tesis aquí propuesta establece la poética singular presente en la dramaturgia del dramaturgo y director teatral chileno Guillermo Calderón, a partir del análisis de sus cinco primeros textos teatrales: Neva, Clase, Diciembre, Villa + Discurso; y comenta su último estreno antes de 2013, Beben. Se propone una contextualización histórica y artística del autor que explica el marco general de su escritura y de los dramaturgos que comienzan a aparecer desde el año 2000 en Chile. Se establecen los recursos constructivos y estructurales recurrentes dentro de su obra, identificando cada uno de ellos y definiendo sus modalidades de funcionamiento; como también los aspectos representacionales de las puestas en escena que recubren significados dentro de su poética, y las preguntas e ideas políticas y estéticas que se problematizan recurrentemente en sus obras: la Historia, la Memoria, el Teatro y la Representación. Se evidencia un modo particular de construcción del discurso político a partir de la reelaboración crítica de los Imaginarios sociales, y el avance de esta poética hacia la configuración de un nuevo marco representacional donde aparecen como fundamentales los aspectos éticos y políticos, que conforman una función particular atribuida al teatro, donde la problematización se presenta como mecanismo central, para, finalmente, proponer al dramaturgo como un escritor post postmoderno.