<p> Esta investigaci&oacute;n explora, a trav&eacute;s de la novela de El sue&ntilde;o del celta (2010) de Mario Vargas Llosa, una nueva postura sobre lo que implica ser un h&eacute;roe. El cuestionamiento que surge sobre el concepto heroico es lo que posibilita examinar la composici&oacute;n heroica del personaje principal de El sue&ntilde;o del celta, Roger Casement. Se conceptualiz&oacute; al personaje como un h&eacute;roe moderno, ya que el rasgo que lo identifica es su car&aacute;cter contradictorio. Para demostrar la caracterizaci&oacute;n de Casement como h&eacute;roe moderno se estudiaron diversas instancias narrativas que representaban tanto los rasgos heroicos como antiheroicos. Tambi&eacute;n se examin&oacute; la ambig&uuml;edad del personaje a trav&eacute;s de sus textos escritos y por medio de la construcci&oacute;n narrativa de la obra. </p><p> A trav&eacute;s de este estudio se lleg&oacute; a la conclusi&oacute;n de que Roger Casement, forma parte de la disgregaci&oacute;n &eacute;pica del h&eacute;roe que propuso Mija&iacute;l Bajt&iacute;n. Seg&uacute;n la teor&iacute;a de Bajt&iacute;n, Casement como h&eacute;roe novelesco se caracteriz&oacute; como un personaje inconcluso y con m&uacute;ltiples matices. Lo que permiti&oacute; demostrar que los g&eacute;neros literarios como la &eacute;pica y la novela pueden influenciar en c&oacute;mo se constituyen los personajes heroicos. En fin, en esta investigaci&oacute;n se cuestiona la conceptualizaci&oacute;n del h&eacute;roe tradicional trabajada por Hugo Francisco Bauz&aacute; en su libro El mito del h&eacute;roe: morfolog&iacute;a y sem&aacute;ntica de la figura heroica y por Joaqu&iacute;n M. Aguirre en su art&iacute;culo H&eacute;roe y sociedad: El tema del individuo superior en la literatura decimon&oacute;nica. Tanto Bauz&aacute; como Aguirre sostienen que el h&eacute;roe cl&aacute;sico manifiesta juicios elevados de valor, no son cobardes ni sienten miedo, sino m&aacute;s bien exteriorizan los rasgos heroicos m&aacute;s elevados. Entre ellos, el m&oacute;vil &eacute;tico de su acci&oacute;n, la transgresi&oacute;n, la ilusi&oacute;n, el sentido de mediaci&oacute;n, el valor, el deseo de vencer, el sentido de b&uacute;squeda, el valor que los dem&aacute;s le otorgan, entre otros. </p><p> No obstante, la nueva postura heroica que presenta El sue&ntilde;o del celta propone que el verdadero hero&iacute;smo no consiste en carecer de miedo, sino en superarlo. Ya que el verdadero h&eacute;roe es aquel que, a pesar de ser consciente de todas sus deficiencias, como el miedo y la debilidad, logra superar y enfrentar los problemas. Son estas caracter&iacute;sticas las que permiten presentar a Roger Casement como un h&eacute;roe en contraposici&oacute;n al h&eacute;roe tradicional al mostrar un car&aacute;cter contradictorio y aproximarse a la ambig&uuml;edad de la condici&oacute;n humana.</p><p>

<p> Antipoetry, a form of poetry developed by the Chilean poet Nicanor Parra, instances a privileged example of a self-regulatory trait of the poetic genre which responds to poetry&rsquo;s need to destroy itself in order to renew itself. This need reveals a structural mechanism or a logic of autoimmunity, which informs the possibility of language and, moreover, of all living beings. </p><p> Antipoetry&rsquo;s departure from the Nerudean poetic tradition justifies the use of a colloquial language that also preserves and continues Neruda&rsquo;s interest in opening a space for the &ldquo;popular&rdquo; in poetry. Against Neruda, Antipoetry also consciously repels romantic and heroic aesthetic principles and ideas. </p><p> Parra&rsquo;s aesthetic principles, however, do not result solely from avoidance. Parra is a realist poet heavily influenced by physics. His poetry needs to mirror reality. The principles of relativity and indetermination play major roles in his poetic experimentations, and will come to the aid of Antipoetry&rsquo;s need to create in times of censorship. Parra&rsquo;s experiments with language are in large measure interpretations of the laws of physics. In this regard, his scientific realism is related to Gertrude Stein&rsquo;s work. The poetry and poetics of the latter provides a touchstone and a constant reference in <i>Autoimmunity in Antipoetry</i>. </p><p> Like all artistic expressions during the Chilean military dictatorship of Augusto Pinochet, Antipoetry was forced to negotiate what could be said with what the poet wanted to say. The necessary negotiation that Parra&rsquo;s poetry needed to undergo gave rise to many experiments with language, including systematic ambiguity, contestation of the authority of the author, and of his own authorial control over his poetry. The use of masks, the multiplication of referents, and the systematic use of contradiction name some of Antipoetry&rsquo;s tools for obstructing the univocal determination of meaning. </p><p> Antipoetry&rsquo;s systematic explorations toward the creation of a poetry that attempts to fight all forms of dogmatism nevertheless reaches a limit in its figuration of gender. Antipoetry&rsquo;s gender politics makes concessions to a type of gender dogmatism (sexism and homophobia) that contradicts the antipoetic program and reveals an inherent fear of gender contamination that jeopardizes Antipoetry&rsquo;s most fortunate aspects.</p><p>

Thesis (Ph. D.)--University of Chicago, Dept. of Latin American Languages and Literatures, June 2001. / Includes bibliographical references. Also available on the Internet.

Esta disertacion estudia dos novelas de Gertrudis Gomez de Avellaneda y dos de Reinaldo Arenas: Guatimozin, ultimo emperador de Mexico (1846) y El cacique de Turmeque (1860), y El mundo alucinante (1969) y La Loma del Angel (1987). En tanto novelas historicas que son tambien re-escritura, este estudio examina junto con ellas sus hipotextos y metatextos: la Historia verdadera de la conquista de la Nueva Espana (Bernal Diaz), las Cartas de relacion (Cortes) y El carnero (Freile); las Memorias de S.Teresa de Mier, Cecilia Valdes (Villaverde), El siglo de las luces (Carpentier) y Biografia de un cimarron (Barnet). La lectura de estos textos se realize siguiendo principalmente los postulados teoricos de Benedict Anderson, Foucault, Genette, Hutcheon y Hayden White. Las novelas de Avellaneda y Arenas son analizadas dentro de sus respectivos contextos de fundacion nacional: la poetica romantica cubana de mediados del siglo XIX y la poetica de la Revolucion (1959). A Avellaneda y Arenas los une el hecho de ser dos escritores cubanos excluidos del grupo fundacional: Avellaneda como mujer que se niega a cumplir la funcion asignada a su sexo, y Arenas como cuidadano cuyas necesidades y deseos--los del homosexual, entre otros--no coinciden con los del ente abstracto de "el Pueblo". Sin embargo tambien ellos escriben novelas historicas: sus textos hacen parte del discurso sobre la nacion, si bien cuestionando sus supuestos de manera radical y haciendo patentes sus contradicciones. En buena medida para estos autores la realidad son textos: textos que son tema de su excritura y escritura que deviene por tanto re-escritura. La historia que escriben no es la nunca antes contada, sino la historia de como ese relato ha sido escrito; y es tambien la historia que quiere volver a contar el acontecimiento porque no comparte el relato que de el se ha hecho. Las novelas historicas de Avellaneda y Arenas son asi relatos escritos en contra de la historiografia patriarcal y evolutiva que homogeniza la realidad a costa de sus particularidades, y trivializa sus proyectos.

My dissertation is the first systematic study to bring together contemporary legal and literary theory to the analysis of the legal texts of Spain in the New World. By focusing on the Capitulaciones de Santa Fe (1492), and other legal documents, I argue that this legal corpus is also a narrative construct which blurs the distinction between fact and fiction. My purpose is to explore the rhetorical dimension of legal writing as a process of emplotment of colonial encounters. The poetics of legal narrative will be examined applying the theory of "law as literature," a recent cross-disciplinary approach. My point is that all the strategies and approaches developed in the field of colonial literary studies have neglected to examine this corpus of laws as cultural production. Nevertheless, it is precisely rhetoric which provides an accessible medium for exploring the connection between law and literature. My point is that colonial legislation can be understood in its complexity only when it is realized that legal discourse is not merely conceptual--that is, not reducible to a set of definitions--but also literary, by which I mean that its metaphorical and associative quality derives precisely of the need to address the question of imposing principles of social control, which are at the center of any legislative controversy. In other words, Spain's legislation in America should be studied not only as a set of rules or institutions, but as a kind of discursive practice of cultural dominance. This methodological approach is based on the assumption that a nexus between law and literature was at the center of the Conquest of America. Finally, I will conclude by summarizing the objectives of my work. This study should help to increase our understanding of the relation between law and literature. Cataloguing legal texts as new objects of study within Colonial Literature, invites us to raise new research questions which, among other things, challenges the category of what we consider as "colonial texts." The methodological consequences of this broadening of the range of objects of study represents an enrichment of perspectives in colonial literary studies.

Abstract not available

Thesis (Ph. D. in Spanish and Portuguese)--Vanderbilt University, May 2006. / Title from title screen. Includes bibliographical references.