Tesis--Facultad de filología--Madrid--Universidad complutense de Madrid, 2004. / Bibliogr. p. 515-531.

Thesis (M.A.)--Butler University, 1929. / Includes bibliographical references (leaves 81-82).

This thesis presents a study of events in the life of Gertrudis Gómez de Avellaneda, a lyric poetess and dramatist during the Romantic period, as motivating forces in her literary career. As might be expected in the case of a true representative of the Romantic period, Avellaneda's passions and personal life are reflected in all of her works. She uses human and divine love as the main themes throughout all of her literary production, especially in her lyric poetry and the four tragedies chosen for this study: Munio Alfonso (1844), El Príncipe de Viana (1844), Saúl (1849), and Baltasar (1858).

Not withstainding the adverse criticism given the prose works of Gertudis Gomez de Avellaneda by such men as Fitzmaurice-Kelly as less notable, I have found her novels and tales to be worthy of consideration. They are extremely romantic, some being full of the fantastic and grotesque, while others are historical similar to those of Sir Walter Scott. These romantic novels have a genuine and natural charm which makes them very pleasing to read. Most of them have been called sentimental tras , but still they contain numerous qualities of romanticism at its best. It will be my duty and pleasure to bring out these characteristios as Avellaneda portrayed them and thus prove that there is something more to her novels and tales than most critics believe.

El tema de esta tesis es la relación entre Cervantes y Avellaneda en el plano paremiológico. El propósito del estudio es realizar un análisis contrastivo y diferencial entre el Quijote de Cervantes y el de Avellaneda en lo atinente al uso de refranes y sentencias. / The subjet of this thesis is the relationship betwen Cervantes and Avellaneda in the paremiological plane. The aim of this book is to make a contrastive analysis with proverbs and sentences used in the Quixote by Cervantes and by the other writer, Avellaneda.

This dissertation analyses, through a theoretical framework and a critical approach, letters of Cuban writers Gertrudis Gómez de Avellaneda and Juana Borrero. While love letters have captured the interest of some scholars, such as Claudio Guillén, Cintio Vitier and Alexander Roselló Selimov, the conflict that the analysis of non-literary texts poses has prevented further research in this field. Therefore, I propose a systematic method of analysis encompassing but not limited to evaluating letters based on their purpose, intent, interpretation, and temporal and spatial composition; analyzing the perspective and function of epistolary entities, and examining the textual signs that distinguish the epistolary forms from the literary forms. With this analytical tool, I examine a selection of letters of Gómez de Avellaneda and demonstrate that the writer displaces her identify from the autobiographic self to the epistolary self, in order to manipulate the perspective of her addressee. Caught between the Neoclassical way of thinking and the Romantic aesthetics, her assertive discourse, also reflected in her epistolary work, contributed to the incursion of women writers into the social and professional life of the nineteen century. Following the same method of investigation, an analysis of letters written by Borrero proves that, by building a world of delusion, hallucination and fantasy the writer brings to prose what first generation of female modernistas had done in poetry. In both cases, my focus is on the strategies that turn these letters into instruments of power, process that transformed the love-letter paradigm and forever renovated the women epistolary genre. This dissertation further explores the possibility of initiating a cycle in the study of personal letters to uncover a forgotten genre, mission that might build a bridge to embrace the new forms of written communication that scholars have already begun to explore in contemporary literature.

Tesis para optar al grado de Magíster en Literatura / La investigación que aquí se desarrolla analiza el quehacer literario de la escritora cubana Gertrudis Gómez de Avellaneda (1814-1873), específicamente su segunda novela titulada Dos mujeres, la cual fue publicada en España entre 1842 y 1843 por medio de entregas como folletín. El foco central de este estudio es el análisis y posterior interpretación de los discursos que la autora logró materializar y concretar en el escrito recién mencionado. Dicho de otro modo, este trabajo ha tenido como fin explicitar el tratamiento narrativo, literario y crítico que Gómez de Avellaneda dio al matrimonio y al divorcio, elementos constitutivos de Dos mujeres. Por otro lado, también se precisan las formas en que la autora participó diferencial y efectivamente dentro del espacio público y campo cultural existentes durante el siglo XIX. Gertrudis Gómez de Avellaneda logró construir, en aquella época, una trayectoria literaria que hoy es muy reconocida, pero que la llevó a enfrentarse con varios obstáculos relacionados, sobre todo, con el hecho de ser una mujer escritora.

This dissertation focuses on a recent but growing movement in Argentina, state-sponsored formal institutions of popular music education. The musics taught in these schools – tango, jazz, and Argentine folk idioms – have historically been excluded from the country’s formal music education systems. Recent moves to standardize and legitimize these musics in this new institutional context raise questions of canon formation, pedagogical praxis, aesthetics and musical meaning that have implications far beyond the classrooms where they are implemented. I examine two of these schools based in and around the capital city of Buenos Aires: the Escuela de Música Popular de Avellaneda, and the Tango and Folklore department of the Conservatorio Superior de Música “Manuel de Falla.” I adopt an ethnographic approach that considers broad structural and policy issues of power distribution, state intervention, and cultural nationalism. I also examine how these structures play out in discourse and practice within and beyond the classroom, shaped by and in turn shaping students’ and teachers’ aesthetics, politics, and subject positions. I then analyze the output of several musical groups composed of current students and recent graduates of these programs, exploring the notion of an emerging institutional aesthetic and the extent to which these institutions act as homogenizing influences or engender creative divergence. Finally, applying Pierre Bourdieu’s concept of a field of cultural production, I question the extent to which this new “música popular” is truly popular, ultimately arguing that it occupies a sort of third space between mass culture and high culture, replicating some avant-garde assumptions about the role of art as anti-commercial, yet simultaneously embracing a symbolic economy that valorizes populist and subaltern identities and ideologies. / text

Thesis (Ph. D. in Spanish)--Vanderbilt University, Dec. 2007. / Title from title screen. Includes bibliographical references.

Univ., Diss.--Köln, 2001.