La presente tesis tiene dos objetivos generales. Primero, analizar la estructura de poder que se ha instituido en los espacios agrícolas costeños articulados a las dinámicas del capital agroindustrial. A continuación, examinar de qué manera el primer fenómeno ha transformado la organización de la economía agrícola local; específicamente, los impactos sobre la apropiación de la tierra y el trabajo agrícola. Para desarrollar estos dos objetivos, abordamos el caso del Centro Poblado Santa Elena, provincia de Virú, departamento de La Libertad; espacio agrícola histórico que ha intensificado su articulación productiva a las agroindustrias de caña de azúcar y alcachofa en los últimos diez años. La metodología usada ha sido cualitativa y etnográfica, por lo que no pretende generalizar ni representar sino aprehender ‘desde dentro’ y profundizar en el tejido de relaciones de poder y económicas que son estructura de este nuevo periodo. Nuestra principal conclusión es que los nuevos capitales agroindustriales han constituido un sistema de dominación sobre la actividad agrícola, que ha generado radicales cambios en las lógicas de reproducción de los actores locales en el espacio y en el tiempo. Resaltan, sobre todo, las nuevas dinámicas de exclusión del acceso y producción de la tierra, y de expansión del mercado de trabajo agrícola. En ese sentido, esta tesis invita a una reflexión posterior sobre los nuevos procesos de diferenciación y desigualdad que vienen tomando lugar a nivel local en un contexto de consolidación de nuevos latifundios agrícolas.

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This master thesis presents a study of the authorship of the Italian writer Elena Ferrante, focusing on hermain concepts “la frantumaglia” and “la smarginatura” in relation to the question of literary truth. Thepurpose is to examine the fascinating interaction between meta reflection and narration through anintratextual reading of her poetics elaborated in La frantumaglia (2013, 2016) and all novels publishedso far. With references to the theories of Sigmund Freud and Jacques Lacan, la frantumaglia and lasmarginatura are interpreted as the unconscious and different mental disorders that characterize the crisisof the female protagonists. The analysis examines literary truth on three literary levels: the verbal,considering the Neapolitan dialect related to the city of Naples as a representation of both maternalorigin and patriarchal oppression, the stylistic, viewing la smarginatura as literary style, and finally, thesymbolic, connected to what Ferrante calls the “symbolic sphere of the authentic”. Furthermore, anintellectual approach to truth is discussed as a contraposition to the others. In applying the methodologyof Michael Riffaterre, the analysis of the stylistic and symbolic truth dimensions shows how theiridiosyncratic traits are extended and transformed throughout the Ferrantian work. The thesis alsosuggests a different interpretation of the intimate relationship between mother and daughter, one of theauthorship’s central themes. Unlike previous studies with a psychoanalytical approach that affirms theexistence of a pre-oedipal phase free from patriarchal intrusion, this analysis demonstrates how Ferranterepeatedly reveals this idea as an infantile fantasy. Instead, the thesis argues that the only real synthesisis found at the level of writing itself, in the merging of the perspectives of the two protagonists in thecycle of L’amica geniale (The Neapolitan novels). This synthesis is further conceived as the authenticidentity of the anonymous author herself.

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François-Antoine-Valentin Riccoboni (1707-1772) représente un paradigme de la rencontre des cultures théâtrales italienne et française au XVIIIe siècle, du point de vue des pratiques scéniques, de la dramaturgie, de la poétique et de la théorie du jeu. Son travail d’acteur participe de l’esthétique italienne visant un jeu plus simple et naturel, qui aura plusieurs échos dans la réforme de la pratique scénique française, la critique contemporaine et la théorie du jeu. Son œuvre se développe dans le sillon de la tradition de la Comédie-Italienne de Paris, démontrant la persistance des processus de composition poétique typiques du savoir artistique italien. Danseur et maître de ballet, François expérimente les possibilités du ballet-pantomime au carrefour des influences choreutiques anglaises, foraines, et du jeu pantomimique italien. Son Art du Théâtre (1750) représente la translation de sa pratique scénique dans le domaine théorique et esthétique. Manuel à l’usage des aspirants acteurs, il revendique aussi une théorie fondée exclusivement sur la pratique du plateau. Aussi, définit-il pour la première fois une théorie du jeu qui repose sur les qualités rationnelles et imitatives de l’acteur, laquelle influencera notamment le Diderot du Paradoxe. Divisé en quatre parties, notre travail reconstruit la vie de Riccoboni (I Partie) ; essaie de saisir son jeu scénique en italien à l’impromptu, en français, dans le chant et dans la danse (II Partie) ; analyse son œuvre dramatique (III Partie) ; étudie l’Art du Théâtre (IV Partie). Deux volumes d’annexes rassemblent des documents d’archives inédits, le répertoire raisonné et l’édition des œuvres inédites de François. / François Antoine Valentin Riccoboni (1707-1772) exemplifies the intersection between Italian and French theatrical cultures in the 18th century in terms of staging practices, dramaturgy, poetics, and the theory of acting. Rooted in the Italian aesthetic, his acting aimed to achieve a style that was simpler and more natural and would be echoed in a number of ways in the reform of French stagecraft, contemporary criticism and the theory of acting. His work develops in alignment with the tradition of the Comédie Italienne in Paris, thus demonstrating the longevity of the process of poetic composition characteristic of the Italian artistic expertise. Dancer and ballet master, Riccoboni experiments with the possibilities of the ballet-pantomime at the juncture of influences from English dance, fairgrounds, and Italien pantomime. His Art du Théâtre (1750) proposes the transposition of his stage techniques in the areas of theory and aesthetics. A practical handbook designed for aspiring actors, it claims also to be a theory based solely on stage experience. It articulates, for the first time, a theory of acting based on the rational and imitative qualities of the actor, which will influence notably Diderot in Le Paradoxe. Divided in four parts, this doctoral dissertation retraces Riccoboni’s life (Part I); attempts to understand his stage craft in Italian all’improvviso, in French, in song and dance (Part II); analyzes his dramatic works (Part III); and studies his Art du Théâtre (Part IV). Two volumes of appendices offer previously unpublished archival sources as well as the annotated inventory and edition of previously unpublished texts by Riccoboni. / François Antoine Valentin Riccoboni (1707-1772) rappresenta un paradigma dell’incontro tra la cultura teatrale italiana e francese nel XVIII secolo, dal punto di vista della pratica scenica, della drammaturgia, della poetica e della teoria della recitazione. La sua arte attoriale partecipa dell’estetica italiana, tesa ad una recitazione più semplice e naturale, che avrà delle eco importanti nella riforma della pratica scenica francese, nella critica contemporanea e nella teoria della recitazione. La sua opera si sviluppa nel solco della tradizione della Comédie Italienne di Parigi, dimostrando la persistenza di processi compositivi tipici del sapere artistico italiano. Ballerino e maître de ballet, François sperimenta anche le possibilità del ballet-pantomime all’incrocio delle influenze coreutiche inglesi, foraines, e dell’arte scenica e pantomimica italiana. Il suo Art du Théâtre (1750) rappresenta la traslazione della sua pratica attoriale nel dominio teorico ed estetico. Manuale pratico all’uso degli aspiranti attori, esso rivendica inoltre una teoria fondata esclusivamente sulla pratica del palcoscenico e definisce per la prima volta un processo interpretativo basato sulle qualità razionali e imitative dell’attore, teoria che influenzerà particolarmente il Diderot del Paradoxe. Diviso in quattro parti, il nostro lavoro ricostruisce la vita di Riccoboni (I Parte); cerca di restituirne la pratica scenica nella recitazione all’improvviso, in francese, nel canto e nella danza (II Parte); analizza la sua opera (III Parte); studia l’Art du Théâtre (IV Parte). Due volumi di appendici raccolgono documenti d’archivio inediti, il repertorio ragionato e l’edizione delle opere inedite di François.

This dissertation asserts that the tortuous relationship Spanish American literature had with cosmopolitanism since the Wars of Independence reached a turning point towards the end of the second half of the twentieth century. While the literary production of the nineteenth and most of the twentieth century was centred on the Spanish American nation and the continent, contemporary literature has become increasingly deterritorialized, and has begun to present narrative worlds and discuss issues that transcend this circumscribed universe. The discerning of this articulation of global issues in contemporary literature – which I contend is predicated on the concept of cosmopolitanism – is the primary objective of this investigation. The five novels examined here are Elena Poniatowska’s La “Flor de Lis” (1988), Mario Vargas Llosa’s El Paraíso en la otra esquina (2003) and El sueño del celta (2010), and Jorge Volpi’s El fin de la locura (2003) and No será la Tierra (2006). This study aims to describe and assess an evolving perspective on the treatment of cosmopolitanism in Spanish America. I trace the shift from the previous generations’ main preoccupation with aesthetic cosmopolitanism, which sought to engage Latin American literary discourse with the Western canon, to what I identify as the current political implication of the concept. To this end, I show that whereas mid-twentieth century authors displaced cosmopolitanism in favour of more politically expedient concepts, authors now plot it in their novels as a means of discussing issues of identity and citizenship in an increasingly globalized world.

<p>Opponent: Anthony Allen Öhnström</p>

Magistro darbo objektas – žurnalistikos mokymas Vilniaus universitete nuo žurnalistikos studijų pradžios 1949 iki 1991 m., kai Spaudos žurnalistikos bei Radijo ir televizijos žurnalistikos katedrų pagrindu buvo įsteigtas Žurnalistikos institutas. Darbo tikslas – išanalizuoti žurnalistų rengimą Vilniaus universitete nuo 1949 iki 1991 m. Išsikelti uždaviniai: apžvelgti bendrąsias sovietinės aukštojo mokslo sistemos tendencijas bei žurnalistikos akademinių padalinių formavimosi procesus; išanalizuoti kas kelerius metus kitusias studijų programas; remiantis sukauptų dokumentų analize pristatyti etatinių ir ilgesnį laiką akademiniuose padaliniuose dirbusių dėstytojų valandininkų kolektyvą; pateikti dieninio skyriaus studentų stojimo ir priėmimo statistinius duomenis. Darbe naudojami teoriniai ir empiriniai metodai: lyginamasis istorinis, dokumentų analizės, apklausos. Magistro mokslo tiriamajame darbe daugiausiai remtasi Vilniaus universiteto archyve saugomais dokumentais (rektoriaus įsakymais, Istorijos ir filologijos (nuo 1968 m. – Istorijos) fakulteto tarybos bei Žurnalistikos katedros posėdžių protokolais, personalo bylomis ir kt.): tai bene vienintelis šaltinis, suteikiantis išsamių duomenų apie 1949–1991 m. žurnalistikos studijų organizavimą ir raidą. Taip pat panaudota informacija, gauta atlikus interviu su docentais Broniumi Raguočiu ir Liubomiru Viktoru Žeimantu. Magistro darbe remtasi Vilniaus universiteto istoriją analizuojančiomis knygomis, straipsnių rinkiniais... [toliau žr. visą tekstą] / The object of master‘s thesis is the Journalism studies at Vilnius University from its beginning in 1949 to 1991 when the Departments of Printed Journalism, Radio and Television were converted to the Journalism Institute. The main objective of this thesis is to analyze the journalism education in Vilnius University from 1949 to 1991. Primary purpose is to review the main tendencies of soviet high education system and to research the processes of reorganizing the academic departments of Journalism studies. In addition to analyze the changes that took place in Journalism study programme, to represent the academic staff, to introduce the statistics revealing how many school-leavers wanted to enter studies of journalism and how many of them succeeded. The researcher used theoretical and empirical methods: comparative historical, data analysis, interview research methods. The majority of the information and data sources were found in the Archives of Vilnius University (legislations of the rectors, History and Philology Faculty’s protocols (it was reorganized to History Faculty in 1968) council and Journalism Institute’s sessions, personnel department files): it was the only valuable source providing the accurate information about Journalism studies and their development in 1949-1991. Furthermore, the researcher used the interviews with docents Bronius Raguotis and Liubomiras Viktoras Žeimantas as an information source. The master‘s theses also include information concerning the... [to full text]

This doctoral dissertation is a study of three works: Marcela Serrano’s novel We Who Love Us So Much (1992), Ariel Dorfman’s play Death and the Maiden (1992) and its filmic version directed by Roman Polanski, and the documentary directed by Maria Elena Wood, The General’s Daughter (2006). Through the representations of subjectivist female characters in the works, we analyze what we call the vicissitudes of female identity in relation to the agitated sociopolitical circumstances that Chile lived from the sixties to 2006. In those decades, we observe the process of the construction of a revolutionary identity that culminates with the election of the Popular Unity government (1970-1973). Then, we examine the breakdown of female revolutionary identity during the violent repression known as the military dictatorship (1973-1990) after the coup d’état. Finally, we investigate the reconstitution of the identity of the women on the political left, a process assumed independently (rather than collectively) by women of varied characteristics and political orientations during the re-democratization period and until 2006. By analysing the female characters moving in literature, theatre, and film, we observe that these characterizations have helped to inform the readers/viewers through sharing stories of women, their limitations, their personal and collective visions presenting their doubts and fears on matters pertaining to them as female entities. But the greatest finding in this study is to discover that cultural products contain a number of female characters that can overcome their limitations in fiction, as is the case for women working in public spaces such as Michelle Bachelet, a “historical character” from The General's Daughter. They are firmly committed to the reality of women’s lives in Chile and deliver an optimistic message; women must continue integrating other women in order to end the discrimination that still exists in Chile.

This doctoral thesis studies the relationship between journalism and literature in contexts in which freedom of speech is at risk. It takes as primary sources a variety of nonfiction, crónicas, literary journalism and testimonial novels published by Latin American authors in Spanish, from the 1950s to the 2000s. I propose the concept ‘documentary narratives’ to refer to all literary modes of discourse which are related, in diverse degrees, to a journalistic representation of reality. My corpus covers a wide range of topics such as social protests, dictatorships, civil wars, natural disaster, crime and migration. While scholars have focused on the rhetoric and history of this kind of narratives, my reading considers the real, face-to-face encounter between the journalist and others. I argue that the representation of these encounters influences the pact with the reader and challenges the notion of truthfulness. I contend that documentary narratives can serve as a tool for the transmission of knowledge and the production of public debate in societies marked by political and social instability. In a world overwhelmed by data production and immersed in violent acts against those to be considered ‘Others’, I argue that storytelling is still an essential form of communication among individuals, classes and cultures. Contrary to the authors’s intentions of documenting others’ lives, I conclude that these stories offer an (interrupted) account of oneself, that is, the account of a contemporary storyteller pursuing a rarely fulfilled desire of getting to know the Other truly. The thesis has two appendices. Appendix 1 showcases archival material that support some of my arguments. Appendix 2 includes the transcripts of the interviews that I conducted with eight Latin American authors: Elena Poniatowska, Leila Guerriero, Cristian Alarcón, Arturo Fontaine, Santiago Roncagliolo, Francisco Goldman, Martín Caparrós, and Juan Villoro.