Ce mémoire porte sur des aspects reliés à la migration et la représentation, notamment à la façon dont l’émigration a été racontée dans la littérature colombienne et la manière dont les émigrants ont été représentés dans les romans Lucas Guevara (1914), de Alirio Díaz Guerra, et Paraíso travel (2002), de Jorge Franco, tous deux écrivains colombiens. Nous développerons à cette fin notre analyse à partir des trois concepts: identité, altérité et espaces physiques, qui sont au cœur de ce genre de récits. Ainsi, nous abordons ces notions séparément, et en même temps, nous identifions les relations existantes entre chacune d’elles. En fait, l’un des résultats de cette étude porte sur la façon dont ces romans sur l’émigration traitent le problème de l’identité en relation avec les représentations de l’altérité et des espaces physiques. Des aspects tels que la séparation de deux traditions culturels différentes (l’hispanique versus l’anglo), la confrontation des personnages provenant d’un contexte religieux et conservateur avec l’ambiance libérale et sécularisante de New York, les conséquences du contact des émigrants avec la société étrangère et leur transformation ultérieure, la marginalité des émigrants colombiens aux États-Unis, leur manque de communication, les représentations des hommes, femmes, immigrants et natifs, ainsi que la façon dont les romans glissent quelques indices sur la condition de l’individu moderne et postmoderne, font partie des sujets analysés dans notre étude. / This study addresses issues related to migration and representation, in particular it considers how emigration has been recounted in Colombian literature and how emigrants have been represented in Alirio Díaz Guerra’s Lucas Guevara (1914) and Jorge Franco’s Paraíso travel (2002). Our analysis of the novels is based in three main concepts: identity, alterity and physical spaces, which are instrumental in the articulation in the novels plot and characters. For the purposes of this study, we treat these three concepts separately while still considering the existing connections between them. Some of the findings of this work are related to how these novels about emigrants raise the problem of identity and how identity is tightly connected to alterity, as well as to individual othering and the representation of physical spaces. Some of the topics this study considers are the following: the standoff of two different cultural traditions (Hispanic versus Anglo), the confrontation of traditionally educated Latin American individuals with a liberal and secularizing environment as that of New York City, the consequence of migration and the ulterior transformation of the characters, the marginality of Colombian emigrants in the United States of America, the problem of communication, the representation of men, women, immigrants and natives, as well as the way both novels slip some clues about the condition of the modern and postmodern individuals. / Este trabajo trata sobre aspectos relacionados con la migración y la representación, particularmente sobre la forma en que la emigración ha sido narrada en la literatura colombiana y la manera en que los emigrantes son representados en dos novelas de escritores colombianos: Lucas Guevara (1914), de Alirio Díaz Guerra, y Paraíso travel (2002), de Jorge Franco. Para ello hacemos uso de tres conceptos que son la base de nuestro estudio: identidad, alteridad y espacios físicos. La elección de estas nociones como ejes de análisis se basa en que, efectivamente, se trata de tres problemáticas que están en el centro de las narraciones. Por tal motivo, tratamos los tres conceptos por separado, sin olvidar las conexiones que existen entre ellos. Algunos de los hallazgos de nuestro análisis se relacionan con la forma en que estas novelas plantean el problema de la identidad de los emigrantes, cómo la identidad se relaciona con la alteridad y cómo ambas cosas se articulan a su vez con las descripciones y representaciones de los espacios físicos. El enfrentamiento entre tradiciones culturales diferentes (lo hispano versus lo anglo), la confrontación de dos personajes venidos de un contexto religioso y conservador con un contexto liberal y secularizante como el de Nueva York, las consecuencias de ese encuentro y la posterior transformación de los protagonistas, la marginalidad de los emigrantes colombianos en los Estados Unidos, su incomunicación, las representaciones de hombres, mujeres, inmigrantes y nativos y, en fin, la manera en que ambas novelas arrojan pistas sobre la condición de los individuos moderno y posmoderno, forman parte de los tópicos analizados en nuestro estudio.

Peruvian composers Armando Guevara Ochoa (1926–2013) and César Vivanco (b. 1949) borrow and transplant musical elements from Andean folk tradition into their compositions for the modern classical flute. Guevara Ochoa's Yaraví, Danza y Huayno and Vivanco's Fantasía Andina are solo flute pieces rooted in Peruvian folklore traditions and Andean instrumental performance. The purpose of this dissertation is to provide flutists with technical and interpretative guidance in preparing these pieces. Yaraví, Danza y Huayno, a suite of three short dances, and Fantasía Andina, a free-meter piece in an improvisational style, incorporate elements that utilize the performance techniques of Andean instruments, with use of quotations from traditional Andean folk music. References to quenas (traditional vertical flutes), zampoñas (panpipes), pututos (ceremonial natural horns), charangos (Andean guitars) and Andean harps are integrated within the works and fused with themes borrowed from iconic pieces such as El cóndor pasa, and traditional harmonic, melodic and rhythmic structures of the huayno (fast festive dance) and yaraví (slow melancholic song). The techniques and traditions borrowed from Andean folk music are not notated in these scores due to the limitations of musical notation. Performers are expected to portray the Andean musical identity of the composers' intent. This dissertation assists performers unfamiliar with the traditions of Andean music to identify and understand the implicit Andean roots in both works and develop techniques to accurately represent sounds of Andean Peruvian traditions, with a deeper, culturally informed interpretation of this music.

Denna uppsats undersöker hur samma historiska händelse kan ha olika betydelser i film. Idag är människor mer benägna att se en film om en historisk händelse än att läsa en historiebok, och detta innebär att vi måste lära oss att förstå de konventioner som används för att placera historia på film. Historiefilmen kan sägas besitta en palimpsestisk historiskt medvetenhet där lager av fakta och myt smälter samman, hellre än att skiljas åt. Men för att en historisk händelse ska passa in i filmens tidsram måste den bearbetas och detta resulterar i att vissa människor, händelser och rörelser prioriteras, medan andra utesluts. Därför undersöker denna uppsats vad som lagts till / uteslutits och effekterna på sammanhanget och trovärdighet, hur filmen hävdar sin autenticitet, och hur upphovsmannen påverkar trovärdigheten. Analysresultaten av två filmer om den kubanska revolutionen, visar att beroende på vilken del av den historisk händelsen som skildras, skapar filmerna helt olika berättelser med olika budskap. Medan filmen Che-Argentinaren (2008) fungerar som en hyllning av gerillanledaren Che Guevara som Kubas frälsare, visar en vänsterideologi och uttrycker USA förakt, skildrar däremot den andra filmen The Lost City (2005) revolutionens baksida. Den visar en högerideologi, familjevärderingar och USA som frihetens och drömmarnas land. Båda filmerna använder sig av liknande stilistiska strategier för att uppnå illusionen av autenticitet, och filmernas upphovsmän påverkar filmernas trovärdighet i olika grad. Vad jag i uppsatsen till sist menar är att historiefilmen inte bör tas som sanning, utan har en viktig roll som intresseväckare, som förhoppningsvis leder till att åskådaren blir intresserad av att söka sig mer kunskap. / This paper examines how the same historical event can have different meanings in films. Today people are more likely to watch a film about a historical event than to read a history book, and this means that we must learn and understand the conventions used to place history on film. The history film can be said to possess a palimpsetic historical consciousness in which layers of fact and myth come together rather than be separated. But for a historical event to fit within the film's time frame, it must be processed and this results in that certain people, events and movements are given priority, while others are excluded. Therefore, this paper studies what has been added/excluded and the effects on the context and credibility,how the film claims its authenticity, and how the author/filmmakers affects the credibility. The results of the analysis of two films about the Cuban revolution, shows that depending on which part of the historical event depicted, the films create entirely different stories with very different message. While the film Che-Part One (2008) serves as a celebration of the guerrilla fighter Che Guevara as Cuba's savior, according to a leftist ideology and the film is expressing U.S. disdain, the other film The Lost City (2005) however, portrays the revolutions backside, it shows a right-wing ideology, family values and the U.S. as the land of freedom and dreams. Both films use similar stylistic strategies to achieve illusion of authenticity, and the films' creators affect the films credibility in different amounts. What I finally conclude, is that the history film should not be considered as truth, but serve to arouse interest, which will hopefully lead the spectator to seek more knowledge about the historical event.

1 Abstract A Group of revolutionaries led by Fidel Castro has been struggling to overthrow the Cuban President Fulgencio Batista since the half of 1950s. After they succeeded on New Year's Eve 1959 the Revolutionary Cuban Government changed strategy in all aspects of the state administration. One of the most visible change happened in the sector of foreign policy. Cuba began to act not only as a sovereign country in relation to the neighbouring states which led to the conflict with the United States, but also began to actively export her model of revolution. The main initiators in this turn were Ernesto "Che" Guevara and Fidel Castro. The first region where Havana attempted to export the revolution was Latin America. Nevertheless, all attempts failed during 1960s. At the same time, the process of decolonisation in Africa visited by Guevara in the middle of 1959 was in progress. In Egypt, he established his first contacts with revolutionary leaders and subsequently informed Havana about the situation. The socialist character of a number of revolutionary movements was close to Cubans, so they started to widen relationship with them. First aid to Africa was sent by Cuban government at the end of 1961 to Algeria which fought for independence on France since 1954. Strengthening of relations between Havana and...

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on José Gómez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gómez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gómez Sicre’s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the “intellectual.” Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the “new man.” I reconstruct how the phrase “new man” became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Ché Guevara. Throughout this dissertation, I indicate how Gómez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today. / text

Following the 1959 victory of the Cuban revolution, the United States government along with the CIA and their Cuban émigré allies immediately undertook a campaign of subversion and terrorism against the Cuban revolution. From 1959 until 1963 a clandestine war was waged between supporters of the revolution and the counter-revolutionary organizations backed by Washington. This project is a new synthesis of this little-known story. It is an attempt to shed light on a little known aspect of the conflict between the United States government and the Cuban revolution by bringing together never-before seen primary sources, and utilizing the two distinct and separate historiographies from the U.S. and Cuba, concerning the clandestine struggle. This is the story of Cuba’s resistance to intervention, the organization of the counter- revolution, and finally how the constant defeat of CIA plots by the Cubans forced changes in U.S. strategy concerning intervention in Cuba and in other parts of the developing world that would have far-reaching and long-last effects.