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Humorous and sarcastic on every page, the historical novel Los perros del paraíso (1983) by Abel Posse, presents itself as an iconoclast and subversive response to the historical account of the so-called discovery of the New World and the role played in it by Christopher Columbus. In this post-Boom narrative, linear time collapses and events conflate to depict a fantastic world where anachronism makes almost anything possible. Comic and grotesque in their attributes, characters appear performing a colonial play in which the absurd is apparently the sole stable rule. However, underneath this joyful surface, a colonial reason flows to confirm European Self and Indigenous Other in their classical division of ideological labor: master and slave, superior and inferior. A mystic Columbus, convinced he has finally found the Earthly Paradise and naïve Caribbeans, who believe conquerors are their returned gods reshape the myths of Latin American history not only as a total non-sense, but even worse, as an eternal condemnation of continuing its present condition of subordination. This process of mythification of history implies what I call its dehistorization, which means its epistemological cancellation as an explanatory discourse of human events. The ontological degradation of Columbus to an ape self-exiled from social life, and of indigenous as both cannibals and the perros del paraíso deprived from having a voice and having the will to rebell is the most eloquent proof that debasement of history is a consequence of the survival of a colonial point of view, which structures this novel as a whole.

El objeto de estudio de este trabajo de investigación es la visión de la educación del autor cubano José Martí presente en los escritos de los últimos años de su vida, efectivamente de 1882 a su muerte en 1895. El punto de partida del estudio es la afirmación del crítico uruguayo Ángel Rama (1926-1983) de que la preocupación principal de Martí durante esa época era la incorporación de la modernidad en América Latina. La hipótesis que se intenta probar en este trabajo es que esa mirada hacia la modernidad asume inflexiones particulares aplicadas a la visión educativa del autor. Para una adecuada consideración de tal hipótesis, el trabajo se divide en tres partes. En la primera, se plantean los desafíos, metas y paradojas de la modernidad latinoamericana. En la segunda, se analiza la visión de la educación presentada en los artículos de la prensa de Martí durante dicho período. Y en la última parte, se considera la visión de la educación y de la infancia presentada en La Edad de Oro, la revista infantil que Martí escribió entre julio y octubre de 1889. El objetivo final de esta tesis es detallar la manera en que la preocupación de Martí por la incorporación de la modernidad en América Latina se manifiesta en sus ideas sobre la educación y se extiende también hacia su visión de la historia y de la naturaleza.

ABSTRACT TRADITION AND RUPTURE IN THE POETRY OF CARLOS DE LA OSSA FEBRUARY 2009 GUSTAVO ADOLFO CHAVES B.A., UNIVERSITY OF COSTA RICA M.A. UNIVERSITY OF MASSACHUSETTS-AMHERST Directed by: Professor Márgara Russotto, Ph.D. The present thesis examines the seven poetry books by Costa Rican poet Carlos de la Ossa (San José, 1946) entitled Imprimatur. This author is of one of Costa Rica’s post avant-garde poets who most clearly expresses the coexistence of a traditional lyric style (centered around the themes of love, God and loneliness, for instance) and everyday language (through records of political facts and personal experience) in his poetry. The purpose of this work is to analyze the distinctive features of Carlos de la Ossa’s poetics considering his formal particularities, his aesthetic and ideological sources, and his historical context. We attempt to explain how his poetry presents a mixture of traditional and innovative poetic languages, as well as the importance of this mixture in his poetry. Furthermore, we discuss the relationship of these characteristics with similar literary processes within both the Costa Rican and Latin American poetries. The central hypothesis of this study is that, in the poetry of Carlos de la Ossa, it is possible to identify an organic coexistence of traditional poetic registers with constant appearances of rupture elements. The study identifies a connection between Carlos de la Ossa’s poetry, romantic and existentialist ideas, and modernista aesthetics. In order to meet these objectives, this thesis revisits the literary criticism on the poetry of Carlos de la Ossa, especially the labels applied to his work (such as metaphysical, mystical, difficult and existentialist), and connects it to other studies of the historical context in both Costa Rican and Latin American literature. Methodologically speaking, this thesis presents a theoretical and critical approach based on non-linear categories, and it studies the specific characteristics of the author’s poetry. The methodology consists mainly of a close reading of the poems of Carlos de la Ossa, and a theorization of the sequential character of the Imprimatur books, intended to underline both the traditional and the innovative elements in his poetry and its general significance in contemporary poetics.

The subject matter of this work is the long poem entitled Invenciones del recuerdo, written by Silvina Ocampo (1903-1993) between 1960 and 1988, a period of time which covers the majority of the developmental stages of this author’s literary career. The hypothesis that this study intends to prove is that Invenciones del recuerdo, by using the form of the long poem, a literary form of the Latin American Modernity, exceeds its own material limits in order to occupy other texts. Through its extensibility, comparable to a river that overflows its banks, Silvina Ocampo’s long poem establishes a dialogue with several short stories and poems written by her with the purpose of revealing essential concerns and characteristics of her writing. This statement is proven with a three-part investigation. The first part addresses the problem of the literary genres and its relation with the form of the long poem. The second one contextualizes Silvina Ocampo’s literary work that is its place and reception within the literary history of Argentina. The third one applies the combined observations of the first two parts to an analysis of Invenciones del recuerdo. The main goal of this thesis is to give a proper place to Silvina Ocampo within Latin American literary history, a place which eluded her due to the prominence of other writers who surrounded her such as Victoria Ocampo, Adolfo Bioy Casares and Jorge Luis Borges. Moreover, this thesis recognizes Silvina Ocampo’s proposal and practice of a unique and individual aesthetic which is unlike that with which she has been associated.

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