L’objectif de cette recherche est d’étudier comment le champ littéraire latino-américain des années 50 est devenu un lieu de création symbolique alternatif. Le projet de modernisation en Amérique latine a abouti au questionnement de la représentation des sujets. Certains discours ont ainsi essayé d’intégrer des minoritaires en leur donnant la parole, comme par exemple les femmes et les paysans. Le champ littéraire a donc ouvert des espaces pour des individualités désireuses de participer à la construction d’un nouveau projet de nation, où des identités hétérogènes seraient acceptées. Dans cette perspective, nous nous intéresserons à l’œuvre de deux écrivains, Gloria Stolk et Juan Rulfo, qui dans les années 50 au Venezuela et au Mexique, ont réussi à construire un nouvel espace de création plurielle et à transformer la figure d’auteur. Notre analyse porte sur deux niveaux : l’un sur le discours de chacun et l’autre sur leur profil. D’une part, ils élaborent leur fiction sur la base de sujets qui les concernent. D’autre part, ils émergent en tant qu’auteurs avec de multiples facettes. / This research centers its study in how the Latin-American literature in the 50’s became a place of alternative symbolic creation. The modernization project in Latin-America resulted in the questioning of the subject representation. Some speeches intended to combine minorities, like women and peasants. The literary field has thus opened space for individuals willing to participate in the development of new project of nation, where diversity would be accepted. From this perspective, we are interested in the work of the Venezuelan writer Gloria Stolk, and Mexican Juan Rulfo. During the 50’s, they were able to establish a new space that diversify and transform the traditional role of the author. The analysis in this study considers two dimensions: the speeches and the profiles of these two authors. On one side they developed fiction around characters of their interest, on the other side they emerged as authors with multiple roles

Si, en littérature, le début scelle l’entrée dans un univers, la fin, lexicalement, porte toujours en elle à la fois la clôture et l’intention. Nous nous intéressons ici aux œuvres conclusives, aux textes qui ferment l'œuvre des auteurs. La narration y met en marche un mécanisme d’achèvement, de récapitulation – voire de déconstruction – de l’œuvre. Nous avons choisi d'étudier cinq auteurs (Reinaldo Arenas, Julio Cortázar, Juan Carlos Onetti, Augusto Roa Bastos et Ernesto Sábato) comme autant de voies différentes de tirer leur révérence littéraire. On examinera les différents chemins et modalités possibles de cette écriture finale. Dans ce travail, nous avons tenté de clarifier la notion d’« écriture testamentaire », souvent trop floue. Les propositions théoriques d’Edward Said autour du « style tardif » ont représenté une orientation importante à la délimitation de la notion. Le « tardif », par ses positionnements parfois radicaux, est ainsi venu secouer et questionner les caractéristiques plus vagues du « testamentaire » pour en dessiner, à travers des constantes et des variantes, une notion voisine et complémentaire. / Beginnings and ends are always decisive in literature as they represent the entrance to a universe and its closing. We chose here to study the last works of five important Latin American authors of the 20th century (Reinaldo Arenas, Julio Cortázar, Juan Carlos Onetti, Augusto Roa Bastos and Ernesto Sábato) as different ways to close their own work, using various modalities of final writing. The main focus of our attention will be on those various closing modalities. To illustrate the complexity of the notion, we will have to categorize it, from mechanism of fulfillment, completion, recapitulation – or even demolition - of the work. Edward W. Said’s theory on “late style” will help us to define and clarify the notion through its permanent features and variations.

abstract: RESUMEN Esta tesis investiga la escritura femenina testimonial de tres obras latinoamericanas. El testimonio de Asunta Quispe Huamán, publicado en Gregorio Condori Mamani. Autobiografía (1977), producido por Ricardo Valderrama y Carmen Escalante; Ese infierno: conversaciones de cinco mujeres sobrevivientes de la ESMA de Munú Actis, Cristina Aldini, Liliana Gardella, Miriam Lewin y Elisa Tokar (2001); y La distancia entre nosotros (2012) escrito por Reyna Grande. Los testimonios han sido analizados a través de diversas premisas teóricas compuestas de las ideas sobre la heterogeneidad latinoamericana de Antonio Cornejo Polar y teorías sobre el territorio, espacio y geografía de Henri Lefebvre, Rogerio Haesbaert, Edward Soya, Gilles Deleuze que nos han servido de plataforma para nuestro estudio. Asimismo se ha recurrido a escritos sobre el cuerpo y la frontera con teoristas feministas como Lucia Guerra, Nelly Richards, Jean Franco, Gloria Anzaldúa y Rosi Braidotti, entre otras. Este estudio se ha propuesto demostrar que estos testimonios Latinoamericanos en su polifonía social y cultural emplean discursos de dimensión multifocal que les permite reterritorializarse desde las márgenes a través de tácticas de resistencia en un proceso de permanente descolonización. Esos cuerpos nómades han sido hablados y programados por el discurso legitimador para desterritorializarlos pero ellos vuelven a reterritorializarse como “líneas de escape” que se transforman creando interconexiones de supervivencia creadora. Consecuentemente, a través del nomadismo de los sujetos analizados se forma una resistencia política que representa nuevos horizontes que son los proyectos en variados ámbitos: de género, raciales, culturales, de justicia del espacio y ambientales. Todos éstos en contrapunteo con el discurso hegemónico. / Dissertation/Thesis / Embargo / Doctoral Dissertation Spanish 2019

In the last few decades, Dominican female writers have contributed significantly to the literary representation of the city of Santo Domingo and urban life. This dissertation studies how these female writers produce a cultural paradigm for criticizing the urban crisis in the Dominican Republic that at times is at odds with much narrative written by men and with key concepts in Urban Theory that are taken for granted. The authors I study, Ángela Hernández, Emilia Pereyra, Emelda Ramos, Aurora Arias and Rita Indiana Hernández, understand the city and redefine the urban model by expressing their dissatisfaction in the civilizing and modernizing potential of urban space in their texts. I specifically analyze novels and short stories through a reinterpretation of Henri Lefebvre’s concept of “the Right to the City” that considers issues such as gender, race and identity by using an interdisciplinary theoretical framework that includes Geography, Urban Studies, Feminism, Queer Studies and Sociology.

The Central American literary community and historiographical critics maintain a constant dialogue in regards to banana literature. Authors such as Asturias, Fallas, and Amador capture the pervasive nature of the banana enclave in their works. My research reveals the ways in which capitalist power controls and redefines spaces in the banner enclave. By taking a closer look these novels reveal the monopolistic power of the United Fruit Company exploits and destroys the natural space, this manuscript becomes a geographical map of the fictionalized banana enclaves, exposing the capitalist oppressing forces, which dominate nature and control the company workers. Chapter one explores different historical interpretations of the banana enclave, focusing on the geographical spaces in Guatemala, Honduras, and Costa Rica. The second chapter discusses the novel Prisión verde (1950), by Ramon A. Amador, and pointed to enclave plantations and neighboring towns as weaponized spaces that control the inhabitants. Chapter three focuses on Mamita yunai (1941), by Carlos L. Fallas, to show how the banana enclave exploits natural spaces and leave a country ruined by corruption. The fourth chapter concentrates on the banana trilogy by Miguel A. Asturias composed of Viento fuerte (1950), El papa verde (1954) y Los ojos de los enterrados (1960), and examines how geographical spaces in the banana enclave intertwine with total economic, political, and social control in Guatemala. In sum, this thesis brings to light the narrative techniques these authors use to construct and manipulate space within the banana enclave, as a reflection of the capitalist world of Central America.

This dissertation examines the collegial and collaborative relationship between the Swiss-French writer Blaise Cendrars and the Brazilian writer Oswald de Andrade in the 1920s as an exemplar of shifting literary influence in the international modernist moment and examines how each writer’s later accounts of the modernist period diminished the other’s influential role, in revisionist histories that shaped later scholarship. In analyzing a broad range of source texts, published poems, fiction and essays as well as personal correspondence and preparatory materials, I identify several areas of likely mutual influence or literary cannibalism that defied contemporaneous expectations for literary production from European cultural capitals or from the global south. I argue that these expectations are reinforced by historical circumstances, including political and economic crises and cultural nationalism, and by tracing the changes in the authors’ accounts, I give a fuller narrative that is lacking in studies approaching either of the authors in a monolingual context.

Debido a la posición geográfica de Latinoamérica en comparación con Europa, Estados Unidos quiso concentrarse en el desarrollo económico de la región y creó nuevas políticas que ayudarían al crecimiento económico en Latinoamérica. Sin embargo, estas políticas tenían un segundo interés, el cual era prevenir la proliferación del socialismo en Centroamérica, ya que después de la Revolución Cubana, Estados Unidos sintió que era necesario evitar que los países vecinos llegaran a ser una amenaza para sus intereses en la región. No obstante, la intervención del gobierno estadounidense en Guatemala, El Salvador y Honduras se diluyó y los gobiernos nacionales se convirtieron en los nuevos protagonistas de la violación de los derechos civiles y humanos. A consecuencia de esto, surgieron grupos y líderes que decidieron luchar por una nación más justa. Es por esto que he elegido trabajar con textos de testimonio que nos ilustran algunas de las consecuencias de seguir políticas que favorecen a los más privilegiados, tales como también la austeridad, la violencia y la violación de los derechos humanos. Asimismo, pretendo analizar algunos cuentos cortos para ilustrar el sentir de algunos intelectuales en respecto a las condiciones sociopolíticas de sus respectivas naciones. Due to the geographical position of Latin America in comparison to Europe, the United States focused on the economic development of the region and created new policies to help the economic growth in Latin America. However, these policies had a second interest, which was to prevent the spread of socialism in Central America, since after the Cuban revolution, the United States felt it necessary to prevent neighboring countries from becoming a threat to the region. Nevertheless, the U.S. government intervention in Guatemala, El Salvador and Honduras was diluted and national governments became the new protagonists of the violation of civil and human rights. As a consequence, there were groups and leaders who decided to fight for a more just nation. This is why I have chosen to work with testimonials that illustrate some of the consequences of following policies that favor the privileged, such as austerity, violence and violation of human rights. I have also analyzed some short stories (fiction) to illustrate the feelings of intellectuals in regard to the socio-political conditions of their respective nations.

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

<p>Este trabajo estudia el proceso de invención del espacio en el México colonial durante el siglo XVI y XVII, entendiendo la invención del espacio como la inserción de una conceptualización del entorno ajena a la experiencia de las comunidades indígenas nahuas. Primero se define la idea particular de cosmos, territorio y tierra manejada por los nahuas previo a la llegada española entendida como tlacauhtli, y su conformación mediante los principios de cahuitl (tiempo), ollin (movimiento), nepantla (equilibrio), y tonalli (fuerza) por medio del análisis de documentos prehispánicos y coloniales concernientes a la cosmología nahua. Luego, utilizando la propuesta de Aníbal Quijano sobre la implementación de la matriz colonial de poder en América, se analizan los aspectos de esta matriz en su relación con los procesos de dominación del territorio, motor de la creación del espacio en el México colonial, mediante los procesos de estructuración de los pueblos indígenas coloniales, la economía y el trabajo de la tierra, la deshumanización del espacio mexicano y la cartografía novohispana. Finalmente, se desarrolla la idea de subsistencia de los principios fundamentales del tlacauhtli a pesar de la implementación del concepto de espacio y de la dominación del territorio mexicano por parte de la corona española. En cada ámbito de la matriz, se develan resistencias de la antigua percepción del entorno nahua frente a los cambios impulsados por el proceso colonial.</p> / Dissertation

This dissertation examines transnational flows and identities in the work of four European filmmakers and writers that have done extensive work in Latin America around the mid-twentieth century. Not renouncing to the thematic and formal analysis of representation in the works themselves, it focuses more broadly in the modes of production and circulation of cinematic and literary creations. More specifically, it pays close attention to the location in which the work was produced, understood as a conglomerate of circumstances, places, people, as well as symbolic and cultural demands that exert pressure on the author. Understanding that a transnational piece establishes a multi-national dialogue, I emphasize the frequently unacknowledged dialogue that these authors establish with the Latin American tradition and culture. Not only were they conscious of the symbolic landscape in which they were working, but also their production represents a valuable contribution for such landscape, even when their primary audience might be European. The case studies include: an introduction on the globalization of “Tercer Cine”; Werner Herzog and his two Amazonian feature films in Peru; Luis Buñuel and his abundant Mexican production, with special attention to his American and French co-productions shot in Mexico; Max Aub and his Mexican stories and chronicles; and Witold Gombrowicz’ Trans-Atlantyk, as well as his translation of his novel Ferdydurke into the Spanish language. / Romance Languages and Literatures