Thesis--Université Paris III. / Includes bibliographical references and index.

Thesis--Université Paris III. / Includes bibliographical references and index.

This dissertation presents a study of the narrative of the Mexican writer Jose Revueltas (1914-1976), with special attention given to three of his novels: Los muros de agua (1941), Los días terrenales (1949) and El apando (1969). Our analysis explores two fundamental aspects found in the aforementioned novels. First, we posit the presence of a situation of idialogy, a conceptual notion of our own creation that reflects discursive expressions which tend toward ideological marginality of characterization and introspection as a narrative vehicle. Idialogy is the synthetic result of M. Bakhtin's concepts of ideology and the dialogic. Idialogy is reflected in novelistic texts through discursive practices that include dialogized interior monologues and internal dialogues in order to create discourses of resistance that are opposed to a dominant discursive situation. In our view, the character structure of Revueltas' novels responds to this idialogical situation as they are eminently marginal. The second aspect analyzed is the relation of time and space in the novels in question. In order to approach this aspect, we will refer to the Bakhtinian concept of chronotope and to Joseph Frank's idea of spatiality in the form. Revueltas' novels display a tendency to condense narrative times and spaces. Through this condensation one observes at once another tendency which is to reduce or retract spaces and detain time. Therefore, time becomes an evocation of the past and space takes precise geometrical forms. In particular, we study the formation and development of a chronotope of the prison. From the prison space of the Islas Mari as in Los muros de agua to a background of political and ideological clandestineness in Los días terrenales, ending with the presence of a reductionist carceral geometry in El apando, the chronotope of the prison serves as a framework for the inscription of counterdiscourses of the marginal elements in Revueltas' novels.

No description available.

Among other paradigm shifts, in the last decades Latin America has underwent not only the privatization and corporatization of the historical State, but also the de-materialization of the book in paper and ink. Far from a death knell, however, this apparent limit has instead given rise to a further visibility of the support, material, and conditions of production of the historical book object. This dissertation will reconstruct through period sources, critical essays, fiction, photography, and film the hallowed, yet troubled, status of the State-sponsored book. Tracing an arc from the utopian 1960s and increasingly privatized 1990s and 2000s, I consider imaginaries of reading through the materials and cultural politics that comprise books in the most concrete of senses—paper, format, copyright policy, and reproduction technologies, in particular Xerox, linotype, and mimeograph. These elements form subjectivities that extend beyond what is normally understood as the reader to broader collective narratives. Something as simple as paper made of tobacco or sugarcane, for example, may link questions as diverse as anti-colonialism, the popular national subject, and racial, ethnic, and gender alterity. Conversing with and, simultaneously, contesting the work of critics such as Roger Chartier, Pierre Bourdieu, Jacques Rancière, and Johanna Drucker, I argue that what at first may seem anecdotal is instead a map of the material, spatial, and subjective distribution of knowledge told through the material life of books. The following chapters, will address the nascent critical discourse on book materiality in Latin America, and then turn to three case studies drawn from Cuba, Chile, and Venezuela that variously imagine new subjectivities of the reader.

No description available.

<p> La poes&iacute;a de la escritora Rebeca Uribe (1911-1949) pertenece a un corpus literario que requiere ser atendido por la cr&iacute;tica. La presente investigaci&oacute;n tiene como objetivos dar a conocer las composiciones er&oacute;ticas de esta autora mediante el an&aacute;lisis cr&iacute;tico y metodol&oacute;gico, as&iacute; como brindar un primer acercamiento que fomente estudios posteriores. En esta investigaci&oacute;n se propone que los poemas er&oacute;ticos de Rebeca Uribe presentan una voz l&iacute;rica que se entrega totalmente al ser amado con la finalidad de ser correspondida con la misma intensidad, y practica una sexualidad liberada que se manifiesta en la experimentaci&oacute;n de relaciones er&oacute;tico-amorosas de tipo bisexual. Por estas razones, las composiciones sensuales de esta autora se revelan como transgresoras de un discurso patriarcal que en la primera mitad del siglo XX mexicano dictaba c&oacute;mo deb&iacute;a experimentarse la sexualidad femenina y restring&iacute;a su representaci&oacute;n en las obras literarias. </p>

Thesis (PH.D.) -- Syracuse University, 2007. / "Publication number AAT 3281719"

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

abstract: In Angel Rama's La Novela Latinoamericana 1920-1980 (1982), the influential critic discloses a map of 20th century Latin American narrative. Rama stresses three literary styles merging into the phenomenon called Boom: fantastic, regional and realistic. On the other hand, another influential critic such as Nestor Garcia Canclini, in his article "Aesthetic Moments of Latin Americanism" suggests the 60's and 70's as a period in which art worked as a herald of utopia, trying to include in the present a future that seemed feasible. Rama's narrative map does not even mention writers as Manuel Puig and Rubem Fonseca. Both, the Argentine and the Brazilian, were censored by authoritarian governments. At the same time, their works deliver plastic representations of crime; therefore, I argue that these literary works, along with those created by Armonia Somers (Uruguay), Dalton Trevisan (Brazil) and Rodolfo Fogwill (Argentina) provides a representation of reality that confronts two mainstream discourses: one concerned with nationalism (authoritarian discourse) and another concerned with utopia (Boom discourse). The narratives I study disclose body and crime representations that do not address a symbolic conflict with modernity like the authoritarian and the Boom discourse do; yet modern elements are integrated into these narratives. This study focuses on Un Retrato para Dickens (1967) by Armonia Somers; O Vampiro de Curitiba by Dalton Trevisan; Feliz Ano Novo (1976) by Rubem Fonseca; The Buenos Aires Affair (1973) by Manuel Puig; and Los Pichy-cyegos (1983) by Rodolfo Fogwill. This study assumes that the technological/digital development has modified the perception of last sixty years in Latin American Literature. This work is engaged in developing a new perspective over 20th Century Southern Cone Narrative and it interprets the Boom as a symptom of a wider picture: the development of a global cultural market. Accordingly, this perspective might explain partially the rise of new identities and the present status of Southern Cone Narratives. / Dissertation/Thesis / Ph.D. Spanish 2010