O tema da presente dissertação consiste na análise do processo de construção da identidade de Amaranta, personagem da obra Cem anos de solidão, de Gabriel García Márquez. Serão observados, nesse sentido, os aspectos relacionados à identidade feminina voltada à representação da mulher e à fragmentação do sujeito no contexto fantástico da obra, assim como na verificação da reprodução de noções de regionalidade dentro dessa perspectiva. A estrutura do trabalho é composta por aspectos como, corporalidade da personagem, desenvolvimento do duplo em sua trajetória, opção pelo celibato, construção da maternidade e configuração da memória na velhice. Para tanto, servirão como aporte teórico os estudos sobre identidade e cultura, gênero e crítica feminista, regionalidade. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The subject of this dissertation is the analysis of the identity construction process of Amaranta, character of the book One Hundred Years of Solitude by Gabriel García Marquez. Aspects of the female identity related with woman representation and the fragmentation of the subject within the fantastic context of the book, as well as regional characteristics inside this perspective, are analyzed in this work. The structure of the present text is composed of several aspects, including the character corporality, the development of the double in her trajectory, her option for celibacy, the construction of motherhood, and the memory configuration during her old age. Studies about identity and culture, gender and feminist critics, and regionalism will be used as theoretical support for that analysis.

Crónica de una muerte anunciada, escrita por el premio Nobel Gabriel García Márquez, fue publicada en 1981 y ha sido objeto de muchos estudios literarios. Esta tesina tiene como propósito hacer una lectura de la obra partiendo de la hipótesis de que en ella hay una escondida historia incestuosa entre los personajes Poncio Vicario y Ángela Vicario. Se lleva a cabo un close reading del texto que ilustra varias ambigüedades y las contrastamos con teoría de la psicología y vemos la posibilidad de aplicar nuestra interpretación al relato. En el análisis se investigan tanto las características como el comportamiento de los personajes. Tratamos también la ocurrencia del incesto, dando un trasfondo de su frecuencia, el tabú relacionado con él y un breve resumen de su representación en la literatura y la mitología. La tesina entrega la conclusión de que hay varios indicios en la obra que nos hacen sospechar que contenga una historia subyacente incestuosa y que, por lo tanto, nuestra lectura es aplicable.

Unlike other song composers of the 19th century, Pauline Viardot wrote in many languages and national styles. Her songs, "Haï Luli!," "In der Frühe," "Morirò," "La nuit monte/ Già la notte," "Canción de la Infanta," "Юноша и дьва," "Le Rêve de Jésus," are examples of Viardot's ability to compose in many languages and national styles.

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This study examines Julia Alvarez's best-known works, García Girls and In the Time of the Butterflies, to explore the intertextuality within Dominican-American fiction through the vocabulary and methodology of trauma studies and witnessing. Alvarez's work indicates that traditional academic discourse about witnessing often translates trauma survivors into tourists by legally dispossessing them from the witnesses they could provide as they seek to assign blame and pass judgment on the source of their traumatic experience. This process of exclusion threatens to hinder the ability of Dominican-Americans to work through their shared, traumatic experience with the Trujillo regime. Furthermore, this study contends that as Alvarez privileges fiction and the imagination, instead of historiography, as the appropriate sites for witnessing, she invites other members of the collective to share their witnesses in an effort to populate the structure of the trujillato in order for the collective to better come to terms with their shared trauma.

En el presente trabajo llevo a cabo un estudio comparativo de las técnicas teatrales y metateatrales que utilizaron el novelista español del Siglo de Oro Miguel de Cervantes en la Segunda Parte de Don Quijote de La Mancha y el dramaturgo modernista italiano Luigi Pirandello en las obras teatrales Sei Personaggi in Cerca d'Autore y Enrico IV. Si bien estos dos autores han sido objeto de numerosos estudios por separado, en la actualidad no existen análisis comparativos de sus obras. Para investigar la utilización que hicieron de técnicas teatrales y metateatrales, parto del teatro griego clásico como tertium comparationis. Pese a que durante mucho tiempo el concepto de metateatro se consideró incompatible con el teatro clásico, la relación entre los dos ha comenzado a reconsiderarse en los últimos tiempos. En mi estudio me baso en las publicaciones más recientes sobre el tema y muestro la importancia del teatro griego clásico para la metateatralidad cervantina y pirandelliana. Lo hago, en primer lugar, trazando el interés de Cervantes por la cultura mediterránea (en concreto, por la Commedia dell’Arte italiana) y, a través de esta, por el teatro griego clásico. Luego me aproximo a través del folclore siciliano a la filosofía del teatro de Pirandello, la cual, aunque se suele identificar con los movimientos de vanguardia europeos de comienzos del siglo XX, se nutrió profundamente de la filosofía y la tragedia griegas. Seguidamente procedo a examinar las técnicas teatrales y metateatrales cervantinas y pirandellianas desde la perspectiva de algunos topoi clave del teatro griego clásico. Asimismo, hago un repaso por los temas clave que comparten Don Quijote de La Mancha, Sei Personaggi in Cerca d'Autore y Enrico IV y su relación con el teatro griego clásico mediante el análisis de las técnicas teatrales y metateatrales de las que se valieron sus autores. Por último, me enfoco en una de dichas técnicas (el uso de títeres) para ilustrar la recurrencia de motivos y temas entre lo clásico (el teatro griego), lo moderno temprano (Cervantes) y lo vanguardista (Pirandello). En este caso, voy más allá de Cervantes y Pirandello para incluir al poeta y dramaturgo modernista español Federico García Lorca, quien fue contemporáneo del dramaturgo italiano y que compartía con él el interés en renovar el panorama teatral de su época regresando al novelista español del Siglo de Oro y, por extensión, al teatro griego clásico.

Titre de l'écran-titre (visionné le 11 avril 2023) / Le présent travail de recherche-création porte sur les fonctions de l'imaginaire, particulièrement face à différentes contraintes auxquelles le récit, les personnages ou même l'auteur peuvent être soumis. La première partie étudie Cent ans de solitude de Gabriel García Márquez et le rôle que l'imaginaire y joue. Plus précisément, nous centrerons la recherche autour du personnage d'Aureliano Babilonia, dernier représentant de la famille Buendía. La deuxième partie, intitulée Borrados, met en scène un groupe d'enfants dans un centre de détention à la frontière des États-Unis et du Mexique. En réaction à l'ennui et aux difficultés qu'apporte leur vie en captivité, Pepe, le personnage principal, prend les rênes de la narration en créant un monde imaginaire où les enfants se réfugient. Parallèlement, les personnages se racontent des histoires tirées d'un livre trouvé et dont les éléments influencent peu à peu leur univers. L'imaginaire joue donc un rôle principal dans le quotidien de ces personnages restreints dans une situation de huis clos. / This research-creation paper deals with the functions of the imaginary, especially in the face of different constraints to which the narrative, the characters or even the author may be subjected. The first part studies Gabriel García Márquez's One Hundred Years of Solitude and the role that the imaginary plays in it. Specifically, we will focus the research around the character of Aureliano Babilonia, the last representative of the Buendía family. The second part, entitled Borrados, features a group of children in a detention center on the border of the United States and Mexico. In reaction to the boredom and difficulties that their life in captivity brings, Pepe, the main character, takes the reins of the narrative by creating an imaginary world where the children take refuge. At the same time, the characters tell each other stories from a found book, whose elements gradually influence their world. Imagination thus plays a main role in the daily life of these characters, who are confined in a closed situation.

The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”

A partir des années 1960, la fiction hispano-américaine connaît un essor sans précédent, auquel la critique littéraire internationale a donné le nom très contesté de boom. Le principal problème de ce terme est qu’il renvoie à un phénomène touchant à la fois la production et la diffusion de la littérature hispano-américaine.Notre travail prose une relecture du phénomène à travers l’étude de la traduction et de la réception de Julio Cortázar, Carlos Fuentes, Gabriel García Márquez et Mario Vargas Llosa en France et aux Pays-Bas entre 1960 et 1973.En retraçant l’historique des premières traductions et en analysant le contexte éditorial dans lequel elles sont arrivées, nous montrons l’existence d’écarts profonds séparant les deux pays dans la traduction des quatre auteurs, n’illustrant pas toujours leur position théorique au sein de l’espace mondial de la traduction, et le rôle importants joués par certains intermédiaires culturels. Par le biais d’une étude de traduction et de réception, nous mettons aussi en évidence le rôle de médiation joué par les traducteurs et la critique littéraire entre les œuvres originales et le lecteur final dans les deux pays de référence. / Spanish-American fiction has been developing unprecedented from the 1960’s, what has been given the highly contested name of boom by international literary critics. The main problem of that term is that it refers to a phenomenon affecting both the production and distribution of Spanish-American literature.Our work is a reading of the phenomenon through the study of translation and reception of Julio Cortázar, Carlos Fuentes, Gabriel García Márquez and Mario Vargas Llosa in France and in the Netherlands between 1960 and 1973.In tracing the history of the early translations and analysis of the editorial context in which they arrived, we show the existence of profound differences between the two countries in the translation of the four authors, which do not illustrate their theoretical position in the world space of translation, and the important role played by certain cultural intermediaries. Through a study of translation and reception, we also highlight the mediating role played by translators and literary criticism between the original texts and the final reader in the two reference countries.

This bachelor thesis focuses on the Czech translations of four pieces of short prose by Gabriel García Márquez, an important Colombian writer, each by a different Czech translator. The initial theoretical part deals with the author's life, work and with how his works were received in the Czech territory. The second part focuses on stylistic analysis of the Spanish texts chosen for the purposes of this thesis. The results serve for a better commensurability of the methods of translation in the following chapter. That is also why special emphasis is put on those characteristics of the author's style, which repeat in more than one of the texts. The third and most important part of this thesis consists of translation analyses of the four Czech translations. The thesis will conclude with a comparison of the translation methods used in the Czech translations, focusing on their semantic accuracy, acceptability in the target language and their adequacy to the author's style as manifested in the original texts. Key words: Gabriel García Márquez, literary translation, translation analysis, Hana Posseltová, Vladimír Medek, Blanka Stárková, Lada Hazaiová