For almost five centuries Enrique de Villena (1384-1434) has been branded as a sorcerer and dismissed as both incredulous and superstitious because of his interest in the so-called "occult" sciences. Partly for this reason, until very recently, his writings have attracted little serious scholarly attention, and an edition of his complete works has only been available since 1994. The present thesis is an overall study of Villena's works within a conceptual framework which reflects the ideological bases wich served as Villena's own point of departure. Drawing on studies of traditional societies by specialists such as Ren6 Gu6non and Ananda K. Coomaraswamy, we are able to formulate a well-defined paradigm that explains not just the philosophical foundations of Ancient and Medieval science and literature, but of all human activity in societies which regard their ultimate foundations as resting on a set of divinely-revealed precepts. Chapter 1 provides a critical review of the main contributions to Villena studies, and defines seven fundamental characteristics of traditionalism (also known as the Philosophia perennis) which, in Chapter 2, we are able to identify in Villena's works. Chapter 3 illustrates the existence in the works of Villena of the two classes of traditional authors, and eight of the most common synonyms for their cognitive organs. Chapter 4 presents the function of the restorer and eleven aspects of the traditional author's modus scribendi as found both in traditionalism and in Villena's works. Chapter 5 selects some distinctive notions which characterize five branches of traditional science so as to illustrate their presence in the scientific works of Villena. This thesis demonstrates that the works of Enrique de Villena can only be fully understood when read in the light of traditional philosophy. It also shows that Villena was attempting to revive this Philosophia perennis in the first half of the fifteenth century, a Philosophia which, because of its faith-based tenets and the need for a special intellectual initiation into the comprehension of its precepts, was being rejected by the increasing rationalism of the age.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica. / El presente trabajo corresponde a un análisis de lectura de una obra narrativa hispanoamericana contemporánea. La labor aquí ejercida es en gran medida el resultado concreto de la adquisición de conocimientos teóricos conceptuales a través del Seminario de Grado, denominado: “Narrativa Contemporánea, desde la binariedad a la intersticialidad”, impartido por el profesor se or Francisco Aguilera G. Durante el transcurso de este, fue posible conocer en una mayor profundidad los aspectos fundamentales que conforman la actual escritura hispanoamericana valorando, tambien, el paradigma estetico y poetico en la cual se funda y genera.

Made available in DSpace on 2016-08-29T14:11:35Z (GMT). No. of bitstreams: 1 tese_9541_Francielli Noya Toso dissertação.pdf: 932061 bytes, checksum: 4f95cc35df50411167ed37786db3e052 (MD5) Previous issue date: 2016-02-01 / FAPES / O romance Doutor Pasavento, de Enrique Vila-Matas, aparece no cenário contemporâneo como uma narrativa que intenta recuperar um lugar de destaque para a literatura. Seu narrador, um escritor veterano que busca o início da escrita, quando esta paradoxalmente desaparece, está circulando pelo mundo e registrando sua experiência num diário. Ele recorre à tradição literária e se constrói como um complexo personagem de papel que ora se desfaz de sua condição ficcional ora encarna o destino da literatura, que, para ele, é desaparecer. Considerando esses movimentos do narrador, esta dissertação propõe uma análise da prática autorreflexiva na prosa literária do escritor catalão Enrique Vila-Matas, com especial atenção para o romance Doutor Pasavento (2009). O ponto de partida teórico dessa proposta se localiza no contexto de debate denominado por alguns estudiosos contemporâneos como retorno do autor, que coloca em questão os diversos procedimentos autorreferenciais em algumas narrativas mais recentes, ao mesmo tempo em que repensa o postulado da morte do autor. Tendo em vista os estudos contemporâneos voltados para a escrita de si em convergência com os pensamentos de Maurice Blanchot, Roland Barthes, Michel Foucault, entre outros, essa pesquisa verifica como o texto de Vila-Matas, através de seus recursos metaficcionais, dialoga com esses pensadores e demais textos da tradição filosófica e literária. Para tanto, essa investigação leva em conta como as estratégias autobiográficas foram apropriadas e deslocadas no romance em pauta, considerando uma época em que, diante do irrefreável avanço da atividade midiática, tornou-se ainda mais problemático definir limites categóricos entre a realidade e a ficção. A questão em torno dos efeitos da atividade midiática sobre o sistema literário faz parte das reflexões dos narradores vila-matasianos, contribuindo para um dos temas obsessivos do autor catalão: o desaparecimento. Esse tema é discutido aqui a partir da lógica da visibilidade no cenário contemporâneo, que oferece diversos recursos para expor o sujeito. Dessa forma, a temática central do romance de Vila-Matas ganha uma abordagem paradoxal, ao considerar o jogo de aparecer/desaparecer na escrita literária em relação com as forças de exposição e apagamento oferecidas pelos aparatos midiáticos. O romance O mal de Montano (2005), que participa junto com Doutor Pasavento (2009) de uma sequência conhecida como tetralogía del autor, também possui um espaço importante nesta dissertação, uma vez que investe numa encenação da subjetividade que vem a ser continuada em Doutor Pasavento e, por isso, contribui para identificar os desdobramentos da prática autorreflexiva da prosa de Vila-Matas. Palavras-chave: Enrique Vila-Matas. Escrita de si. Desaparecimento. Doutor Pasavento. Retorno do autor. / The novel Doctor Pasavento, written by Enrique Vila-Matas, appears in the contemporary scenery as a narrative that intents to regain a prominent position in the literature. Its narrator, a veteran writer searching for the beginning of the writing, when it paradoxically disappears, it is circulating around the world, registering its experiences in a diary. He resorts to the literary tradition and builds himself as a complex character made of paper that sometimes destroys its fictional condition and sometimes embodies the destiny of the literature, that, for him, it is to disappear. Considering the narrator's actions, this dissertation proposes an analysis of the self reflective practice in the literary prose of the writer Enrique Vila-Matas, with special attention to the novel Doctor Pasavento (2009). The theoretical starting point in this proposition is in the context of the discussion coined by some contemporary scholars as "the return of the author", which questions many self referential procedures in some recent narratives, and at the same time rethinking the premise of the death of the author. Taking into consideration the contemporary studies turned to the self writing in convergence with the thoughts of Maurice Blanchot, Roland Barthes, Michel Foucault, and others, this paper verifies how Vila-Matas' writing, through his meta fictional resources, discusses with those thinkers and other writings of the philosophical and literary tradition. This research takes into consideration how autobiographical strategies were taken and relocated in the said novel, considering a time where, before the unstoppable growth of the media activity, it has become even more problematic defining categorical boundaries between reality and fiction. The points around the effect of the activity towards the media on the literary system is part of the reflection of the vila-matasians narrators, contributing to one of the author's obsession: the disappearance. This theme is discussed here from the visibility logic in the contemporary scenery, which offers many resources to expose the subject. That way, the central theme of Vila-Matas' novel gets a paradoxical approach, when considering the appearing/disappearing game in the literary writing in relation with the forces of exposition and fading offered by the devices of the media. The novel Montano's Malady (2005), that joins along Doctor Pasavento (2009) in a sequence known as "tetralogía del autor", also has an important role in this dissertation, once that it invests in the staging of the subjectivity that continues in Doctor Pasavento and, because of that, it contributes to the identification of the consequences of the self reflexive practice in Vila-Matas' prose.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-07-24T13:09:11Z No. of bitstreams: 1 2017_JessicadoNascimentoPortela.pdf: 1281903 bytes, checksum: 64b23fbe40f21a8d7899c7888d19e43d (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-13T21:33:12Z (GMT) No. of bitstreams: 1 2017_JessicadoNascimentoPortela.pdf: 1281903 bytes, checksum: 64b23fbe40f21a8d7899c7888d19e43d (MD5) / Made available in DSpace on 2017-09-13T21:33:12Z (GMT). No. of bitstreams: 1 2017_JessicadoNascimentoPortela.pdf: 1281903 bytes, checksum: 64b23fbe40f21a8d7899c7888d19e43d (MD5) Previous issue date: 2017-09-13 / Nesta dissertação será analisada a maneira como as noções de realidade e ficção são disseminadas na narrativa e como ocorrem esses processos especificamente em Doutor Pasavento (2009), obra de Enrique Vila-Matas, além de verificar a maneira como o personagem principal diante de sua busca por desaparecer, está na verdade em busca de afirmar seu eu. Para tanto, será analisada a posição de Andrés Pasavento, como autor, personagem e leitor, e ainda buscar-se-á reconhecer nos demais personagens, que em maioria também são autores, as conexões realizadas entre realidade e ficção. Ao pensar em caminhos estéticos que o autor pode seguir, utilizando-se do seu conhecimento e gosto literário em favor da literatura. Busca-se ressaltar o autor que influencia e é influenciado por sua própria obra e também por outras reais ou inventadas. Com o objetivo de evidenciar como estão unidas de forma indissolúvel realidade e ficção na obra por meio do artifício da intertextualidade, constatando que mesmo tratando tão profundamente do tema da desaparição o autor está em busca de auto afirmar-se através da escrita de ficção. / This dissertation will analyze the way in which the notions of reality and fiction are spread in the narrative and how these processes occur, specifically in Doctor Pasavento. Analyzing the position of André as author, character and reader, and still recognizing in other characters – pretty much authors, as well – the connections between empiricism and fiction. Thinking of aesthetic paths that the author can follow, using his knowledge and literary preferences in favor of literature. Highlighting the author who influences and it’s influenced by his own work and also by those actual or invented ones. Seeking to emphasize how reality and fiction are indissoluble linked in the work through intertextuality, confirming that even when dealing so deeply to the disappearance matter the author seeks self-assertion through writing fiction.

Dissertação (mestrado)—Universidade de Brasília,Instituto de Ciências Humanas, Departamento de Filosofia, Programa de Pós-Graduação em Filosofia, 2015. / Submitted by Tania Milca Carvalho Malheiros (tania@bce.unb.br) on 2015-10-29T14:06:15Z No. of bitstreams: 1 2015_GabrielSilveiradeAndradeAntunes.pdf: 2729560 bytes, checksum: eb1ba6d6717c24a63cb1a35e6bf803d7 (MD5) / Approved for entry into archive by Patrícia Nunes da Silva(patricia@bce.unb.br) on 2015-12-04T13:32:56Z (GMT) No. of bitstreams: 1 2015_GabrielSilveiradeAndradeAntunes.pdf: 2729560 bytes, checksum: eb1ba6d6717c24a63cb1a35e6bf803d7 (MD5) / Made available in DSpace on 2015-12-04T13:32:56Z (GMT). No. of bitstreams: 1 2015_GabrielSilveiradeAndradeAntunes.pdf: 2729560 bytes, checksum: eb1ba6d6717c24a63cb1a35e6bf803d7 (MD5) / Este trabalho visa pensar criticamente a perspectiva progressista moderna por sua relação com exercício de violência valendo-se em grande medida de interpretação e apropriação de conceitos das obras de Walter Benjamin e Enrique Dussel. Pensar esse tema deve contribuir no julgamento de processos históricos que se veem vinculados ao progresso moderno, especialmente neste trabalho o “descobrimento” da América, o submetimento e evangelização dos índios, a instrumentalização racial dos colonizados, a modernização do fazer filosofia no Brasil, a apreensão da alteridade pelo discurso iluminista europeu e o desenvolvimento técnico. A consideração da perspectiva progressista inicia-se com a detecção de vínculos com a violência no colonialismo moderno europeu, assim como na composição de concepções afirmativas da história em Rousseau, Kant e Hegel e na visão determinista e progressista da história que se apreendeu por aspectos da obra de Marx. Em seguida, faz-se abordagem da obra de Benjamin relacionando sua concepção da história com o contexto colonial latino-americano, elaborando seu potencial crítico contra outras formas de justificação da violência que as visadas originalmente pelo pensador. Observando uma assimetria entre cultura superior europeia e elementar nacional formulada por Benjamin a propósito da educação na Rússia bolchevique, articula-se uma crítica ao eurocentrismo do referido filósofo, denunciando insuficiência da perspectiva benjaminiana em detectar violência na constituição histórica daquela assimetria. Por fim, considera-se o pensamento de Dussel sobre a modernidade, onde o encobrimento do outro e a pretensa justificação da violência colonial compõem a perspectiva progressista da história num horizonte mundial geopolítico. Desse modo, a modernidade como emancipação racional europeia se processa, segundo Dussel, sobre o sacrifício do outro colonizado. Apresenta-se brevemente, por fim, os conceitos de libertação e transmodernidade como práticas de superação desse progresso de realização unilateral dos vencedores coloniais. / This work aims to think critically about the modern perspective on progress connected to the exercise of violence. Interpretation and appropriation of concepts taken from the works of Walter Benjamin and Enrique Dussel are largely implemented. By thinking this topic a contribution is made to the judgementof historical processes connected to progress, in particular theso-called "discovery" ofAmerica, the subjugation and evangelization of the Indians, the racial exploitation of the colonized, the modernization of the philosophy activity in Brazil, the apprehension of other ness bytheEuropeanen lightenment discourse and the modern technical developments. The consideration of the perspective of progress starts with the detection of crucial links with violence in modern European colonialism, as well as the composition of affirmative conceptions of history in Rousseau, Kant and Hegel and deterministic and progressive vision of history captured by some aspects in Marx'swork. Benjamin's conception of history is put in connection withthe colonial Latin American context, in order to develop their critical power agains to therforms of justification of violence not originally targeted by the Germanthinker. Observing an asymmetry between European culture and national cultures in one textof Benjamin concern ing education in Bolshevik Russia, the present essay articulates a critique of Eurocentrism of the Germanphilosopher, denouncing failures of Benjamin's perspective in detecting violence in the historical constitution of that asymmetry. Finally, we consider Enrique Dussel's thought on modernity, where the conceal ement of the other and the alleged justification of colonial violence constitute the view of progress in history in a global geo political horizon. Therefore, theEuropeanmodernity as a rational emancipation process is only possible, according to Dussel, on the sacrifice of the colonization of theother. The concepts of liberation and transmodernity are presented as practices of overcoming this kind of unilateral progress of the winners.

The main purpose of this paper is to compare the Opera Goyescas with the Goyescas Piano Suite in order to demonstrate how the composer used the pre-existant materials, and to what extent. The Opera Goyescas will be compared measure-by-measure with the sources from which Granados extracted materials. Scores for the two pieces of the Goyescas Piano Suite which are quoted directly and completely (El fandango de candil and El amor y la muerte) and the respective commensurate sections from the Opera Goyescas are included at the end of this document for study and comparison. A discussion of the operatic treatment of the pianistic materials is provided, demonstrating the techniques with which the composer worked in the recomposition of the Goyescas Piano Suite. Also included is a study of the individual pieces of the Goyescas Piano Suite (Books I and II), with emphasis on the fifth piece, El amor y la muerte. The developmental characteristics of that piece (which makes extensive use of motives and themes from the earlier four Suite pieces), will be discussed

For almost five centuries Enrique de Villena (1384-1434) has been branded as a sorcerer and dismissed as both incredulous and superstitious because of his interest in the so-called "occult" sciences. Partly for this reason, until very recently, his writings have attracted little serious scholarly attention, and an edition of his complete works has only been available since 1994. The present thesis is an overall study of Villena's works within a conceptual framework which reflects the ideological bases wich served as Villena's own point of departure. Drawing on studies of traditional societies by specialists such as Ren6 Gu6non and Ananda K. Coomaraswamy, we are able to formulate a well-defined paradigm that explains not just the philosophical foundations of Ancient and Medieval science and literature, but of all human activity in societies which regard their ultimate foundations as resting on a set of divinely-revealed precepts. Chapter 1 provides a critical review of the main contributions to Villena studies, and defines seven fundamental characteristics of traditionalism (also known as the Philosophia perennis) which, in Chapter 2, we are able to identify in Villena's works. Chapter 3 illustrates the existence in the works of Villena of the two classes of traditional authors, and eight of the most common synonyms for their cognitive organs. Chapter 4 presents the function of the restorer and eleven aspects of the traditional author's modus scribendi as found both in traditionalism and in Villena's works. Chapter 5 selects some distinctive notions which characterize five branches of traditional science so as to illustrate their presence in the scientific works of Villena. This thesis demonstrates that the works of Enrique de Villena can only be fully understood when read in the light of traditional philosophy. It also shows that Villena was attempting to revive this Philosophia perennis in the first half of the fifteenth century, a Philosophia which, because of its faith-based tenets and the need for a special intellectual initiation into the comprehension of its precepts, was being rejected by the increasing rationalism of the age. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The focus of my dissertation is the ‘problem of the Other.’ The central question is: how does one relate to the other without immediately taking away their alterity? If the Other is an absolute other, how can we relate in a way that is respectful and ethical? There are many examples of relationships among people that demonstrate ways that are ethical and ways that are not. I will be analyzing modernity/coloniality to understand in which ways this historical epoch demonstrated a lack of understanding of the Latin American Other. Afterward, I will offer a glimpse into the world of the Zapatistas and an educational experiment they called La Escuelita Zapatista. By undertaking close readings of Zapatista narratives, I hope to offer the reader an opportunity to identify the ethicality (or what I will call ‘ethicity’) of the Zapatistas’ pedagogy.

This thesis deals with the work of the Spanish writer Enrique Vila-Matas. The text firstly focuses on Vila-Matas himself and subsequently contemplates the role of this author within the scope of the Spanish, Hispanic and ultimately also international literary history. Given the fact that Enrique Vila-Matas is, in many aspects, an exemplary post-modern writer, it is interesting to follow the paralels in his narrative approaches and compare them with reflections of reality by various sociologists and philosophers, such as, for example, the French philosopher Francise Lyotard. Vila-Matas is a direct follower of the so called metaliterary approach to literature - literature about literature - the development of this method can be encountered in the Spanish prose of Jorge Luis Borges. This manner of writing is very close to the literary theories of Jacques Derrida or Julia Kristeva. Thoughts of these authors are easily applicable to the works of Vila-Matas due to the fact that they are essencially identical or better to say, they are fictionally implemented in the works of Vila- Matas. This part of the thesis focuses, among other issues, also on the very term intertextuality, a term very significant for the work of Vila-Matas. The last part of this paper deals with the analysis of several prosaic...