Texte remanié de: Tesis doctorale--Universidad de Burgos. / Bibliogr. p. 201-216.

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This study examines Carlos Fuentes' reflection on the interpretation of the past as well as on its fictional representation. For this purpose we study Terra nostra (1975), the Mexican writer's most ambitious novel, because it breaks with the main concepts of historiography and the historical novel. With a circular gallery of text-mirrors structure, the novel is meant to represent the simultaneous aspects of reality, and to present to the reader different interpretations of the past. Fashioned from the concept of intertextuality, the terms "intertemporality" and "interdiscursivity" are used to define the notions of time and the discursive composition of history, integrated in the novel. With the term intertemporality, we examine how Fuentes deconstructs the chronological notion of time, creating instead a simultaneous and dialectical relation between past, present, and future. With the term of interdiscursivity, we see how Fuentes, in his quest to examine Spain's history, integrates in Terra nostra the thought from Giambattista Vico, Erasmus, Americo Castro, and Michel Foucault, as well as important literary figures (James Joyce, Julio Cortazar, Miguel de Cervantes, and Jorge L. Borges). The integration of these thinkers and writers ables the reader to create an interdiscursive notion of history that establishes a dynamic relation between the different discourses on history. From an image used by Borges in "Las ruinas Circulates", an epistemological structure quite different from the one suggested by the three parts of the novel emerges, allowing the reader to read a more open work. Aura (1962) is also studied, because in many ways, it is a prelude to Terra nostra, and because it is an early reflection on the relation between history and fiction. Finally, using the concepts of the double and the other, we also study Una familia lejana, which examines the relation between France and Mexico. We conclude on some paradoxes brought up by those novels, especially Terra

This Master's thesis in creative writing consists of two parts: a novel and a critical study. The creative writing part is entitled La Cosworth. Carlos da Silva, the main character, seeks material goods to the detriment of his friends, family and happiness. He begins to decay simultaneously with his car and dies after it is completely destroyed in an accident. Product of his environment, he ceases to exist after he loses his car, which symbolizes his way of life and his existence. / La genese de Carlos et de sa Cosworth precedes the creative writing part and shows the evolution of the novel. Todorov recognizes two kinds of stories: based on plot or on the character. The critical study explains why La Cosworth is a character novel. It covers the genesis and changes of the characters. It explains the importance of the automobile in the story and the use of music as a means of framing and animating the narration. We will analyse the development of the chapters and the overall construction which are dependent on the evolution of the characters. And to conclude, we will discuss problems encountered while writing and the way they were resolved.

Thesis (Ph.D.)--University of Tulsa, 1977. / Bibliography: leaves 256-263.

Thesis (M.A.)--Florida State University, 2008. / Advisor: Ralph Berry, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed July 15, 2008). Document formatted into pages; contains vi, 7-57 pages. Includes bibliographical references.

Thesis (M.A.)--Columbia University.

Thesis (M.A.)--University of Texas at El Paso, 2009. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Originally presented as thesis, Universidade Federal de Minas Gerais, 1969 under title: Carlos Drummond de Andrade, o poeta "gauche," no tempo & espaço. / Bibliography: p. 261-279.