No description available.

Thesis (M.A.)--University of Nevada, Reno, 2008. / "December, 2008." Includes bibliographical references (leaves 64-67). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

Thesis (Ph.D.) - University of St Andrews, May 2007.

Thesis (Ph.D.)--Michigan State University. Dept. of English, 2008. / Title from PDF t.p. (viewed on July 22, 2009) Includes bibliographical references (p. 248-259). Also issued in print.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2004. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 315-351).

No description available.

Orientador: Miriam Viviana Garate / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T05:48:13Z (GMT). No. of bitstreams: 1 Cardoso_CamilaChaves_M.pdf: 1293948 bytes, checksum: a6914bc8f526dfd0babefe7b6d978426 (MD5) Previous issue date: 2007 / Resumo: A presente dissertação objetiva analisar as imagens duplas e a voz narrativa em segunda pessoa do singular de Aura de Carlos Fuentes. Busca-se explicitar o modo como essa estratégia narrativa, ao ¿invocar¿ à instância de leitura, termina por provocar no leitor os mesmos efeitos presentes nas personagens: a duplicação. Contudo, primeiramente, apresenta-se o autor e a obra em questão, bem como os demais textos com os quais dialoga; posteriormente, faz-se um exame da constituição do tema do duplo nas personagens, e, por fim, relaciona-se esse tópico com a figura do leitor. Propõe-se, para ¿fechar¿ essa leitura, um paralelo entre a narração em segunda pessoa e o narrador em primeira pessoa, mais freqüente na literatura fantástica dos séculos XVIII e XIX / Abstract: This dissertation aims at analyzing the double images and the narrative voice in the second-person singular in the work Aura, by Carlos Fuentes. The main objective is to elicit how this narrative strategy, which appeals to the instance of reading, eventually provokes in the readers the same effects observed in the characters: that of duplication. To achieve this aim, the work firstly presents the author and the work cited, as well as other texts with which it establishes a dialogue. After that a study is made of the constitution of the theme of duplication in the characters and, finally, this topic is related to the reader. So as to ¿close¿ this reading, a parallel is established between the narrative voice in the second person and the narrative voice in the first-person, which is more common in fantastic literature written during the 18th and 19th centuries / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

This dissertation explores the social relations of indebtedness. In this project I read Latinx and Latin American texts not often placed in conversation—Tomás Rivera’s …y no se lo tragó la tierra, Carlos Fuentes’ La Frontera de Cristal, Rosario Ferré’s Maldito Amor, and Angie Cruz’s Let It Rain Coffee—and explore their thematic and formal engagements with debt. I consider the problem of the visibility, representation, and understanding of indebtedness and argue that, to engage with the invisible logic of debt requires engaging the formal logic—the temporal, narratological, and rhetorical features—of the text. Each chapter treats each of these texts as a case study, and analyzes a different historical context and a different form and scale of debt—from the individual and informal in Rivera’s text to the sovereign and neocolonial in Ferré’s. Unlike other scholars who read for representations of high finance, the stock market, and debt relations, I read texts where questions of credit, finance, and the market are represented in subtle ways, attending to how the ideologies that precede debt are negotiated in the intimate spaces of the home and the family. I ask questions like what kind of ideas about the American Dream, family sacrifice, and national progress prop up debt regimes or what ideas about national progress justify sovereign debt to understand the generation and maintenance of an indebted subjectivity, not merely on an institutional and abstract level, but from below. Reading for debt’s logic is not an attempt to expose the latent ideology of the text or how it mimetically reflects reality but rather to show how the text’s critical engagement of related ideologies—those of progress, development, and liberalism—also encode questions related to credit, debt, risk, and loss. The texts I bring together offer a certain comparative, theoretical, and historical value in foregrounding narrative’s ability to generate relationships of debt and expose the literary techniques deployed to conceal debt’s logic. I show how attending to debt in these texts reframe struggles that tend to be thought of in spatial terms—displacement, migration, expropriation, extraction—and help us see them in temporal ones. Unlike engagements of finance and indebtedness that focus on its asocial and alienating qualities, I show how these texts render visible the deeply intimate nature of indebtedness and how debt mechanisms both produce and are produced by social relationships. Throughout the project, I argue that the relations of intimacy—the stories told that produce closeness, the care from which value is extracted for the production of profit, and the relations created between the debtor and the creditor—are the necessary conditions for contemporary debt and finance across the Americas.

En el mundo globalizado actual constatamos que "hibridez" es la conditio de nuestro ser, pensar y actuar que se concretiza en diversos campos del conocimiento y en diversas disciplinas con diversas aplicaciones, siendo asimismo el resultado de diversas "estrategias de hibridación" discursiva, artística, política, sociológica, filosófica, medial..., que hacen posible una negociación o el cotidiano lidiar de la diferancia y altaridad.:Pasajes heterotópicos – Transculturalidad – Figuras de la hibridez. - Resumen

La elección de los autores y obras aquí estudiados se debe a que son parte de una experiencia, epistemología y concepto de arte "orillas", de los "márgenes", entendido como una perenne oscilación, travesía y recorrido entre los dos lados de las orillas/márgenes. Los autores elegidos son habitantes de varios mundos, al menos de dos, y este "entremedios", esta producción en las intersecciones, es lo que marca su escritura, discurso y performances, en definitiva, su forma de producción.:El naranjo como figura de los pasajes transculturales. - Cartografías de la Otredad: "Cross-Cultural-Border-Land" : Guillermo Gómez Peña, Gloria Anzaldúa y Alberto Kurapel. - Resumen