Thesis (M.A.)--Miami University, Dept. of Spanish and Portuguese, 2003. / Title from first page of PDF document. Includes bibliographical references (p. 121-122).

abstract: The revolution that took place in Nicaragua during the 70's led the country into misery; this war was a consequence of the Somoza dictatorship that had been in power for forty-five years. The Nicaraguan people were hoping to recover their peace and freedom by rising in arms against the dictatorship. Augusto Cesar Sandino is known to be the most significant patriotic figure for the Sandinista revolutionaries. His legacy inspired the foundation of the revolutionary party Frente Sandinista de Liberación Nacional (FSLN). The FSLN was able to overthrow the Anastasio Somoza regime and declared their victory on July 19, 1979. The memories of the Sandinista Revolution are portrayed in the autobiographies of two Nicaraguan writers: Gioconda Belli and Sergio Ramirez. El país bajo mi piel (2001) y Adiós muchachos. Una memoria de la revolución sandinista (1999) are the texts analyzed in this study as part of those remembrances that revive the most significant events of the revolution from very unique perspectives. In order to develop this analysis we have consider the theoretical work of Phillip Lejeune. We have based our research in his definition of autobiography, his concept of autobiographical pact and the idea of contract between author and reader. Also, we have incorporated Evelyne Ender´s research on memory as the principal element in the literary construction of reminiscences. Ender explains the role of the rememberer, who is responsible of constructing their memories based on a subjective, cognitive, emotional and esthetic performance. At the same time, we have included the concept of biographical space explained by Leonor Arfuch, which is perceived as multi-faced space where different tendencies coexist. The purpose of this study is to explore the autobiographies of these Nicaraguan writers as an esthetical process where remembrances of the Sandinista Revolution come to live in a prose reflective narrative. Analyzing Belli and Ramirez's memoirs, we perceived their private and public stories of life that depict the most significant events of their lives and nation. The Sandinista Revolution is part of the Nicaraguan history and it cannot be forgotten that's the purpose behind this autobiographies to document these transcendental happenings. / Dissertation/Thesis / M.A. Spanish 2012

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper analyzes four short stories from Uruguayan writer Horacio Quiroga: Los mensú, A la deriva, Una bofetada e Los desterrados and four short stories from Brazilian writer Sergio Faraco: : A voz do coração, Noite de matar um homem, Guapear com frangos e Hombre, adopting the conception of border as a promiscuous place where the transgression is cultivated. The narratives are compared and related in the aspects in which the protagonists identities are constructed, especially in the relationship with their environments. When we discuss the question about the local identities and the borders in Latin America, we locate ourselves and establish our own positioning, also locating the other who is object of the discourse. To recognize the other implies recognizing oneself, and this process, since it is subject to constant transformations, involves to transit in the past and in the present, so the past can also be constructed and better understood. In order to do so, the way chosen is that in which the literary analysis dialogues with the historical contextualization of the spaces where the narratives are located, and also with the concept taken from Geography - of territorialization. To this concept we add the ideas of in-between place. and transculturation (respectively, according to Silviano Santiago and Ángel Rama), cardinals to a better understanding of Latin American literature. The comparison of the eight short-stories is started with the aspect of endurance, in which after the analysis we verified that is manifest in the authoritarian relationship of man against man, where the violence and the economic power are the vehicle of the ruling class oppression. The endurance is also the element that comes out in the conflict between man and nature at isolated and still wild territories, the environmental forces defeat the man and break his original harmony with the place. The ideal of the noble savage who lives in total equilibrium with his environment has no place at Quiroga s and Faraco s America. The nature, in this paper, is directly related to the inhuman realm, to the instincts opposed to the reason, to the expressions of violence not monopolized by the state, to the violence and brutality in its ancestral condition. So, either at the so called civilization or barbarity , the characters identity is formed in the confrontation and in the endurance (yet unfruitful) to the authoritarianism and to the environment. Finally, to think about borders means to bring out different ways of understanding life and different sensitivities. Through comparative analysis, it is possible to come upon different times and spaces and see how they dialogue, resemble and differ from each other. When we approached the short stories of Horacio Quiroga and Sergio Faraco, what was protruded was the condition of cultural and economic misery of the protagonists who, ignoring their condition, became victims of an authoritarian system which is not possible to challenge and, above all, from which is not possible to escape. / Adotando a concepção de fronteira como lugar promíscuo e onde se cultua a transgressão, este trabalho analisa quatro contos missioneiros do escritor uruguaio Horacio Quiroga: Los mensú, A la deriva, Una bofetada e Los desterrados e quatro contos regionalistas do escritor gaúcho Sergio Faraco: A voz do coração, Noite de matar um homem, Guapear com frangos e Hombre. As narrativas são comparadas e relacionadas no que diz respeito à maneira pela qual se constroem as identidades dos protagonistas espacialmente na relação com seu entorno. Ao discutir a questão das identidades locais e das fronteiras na América Latina, estamos situando a nós mesmos e estabelecendo nosso próprio posicionamento ao também situarmos o outro que é objeto do discurso. Reconhecer o outro implica em reconhecer-se, e este processo, por estar sujeito a constantes transformações, envolve transitar no passado e no presente, para que o passado também seja construído e melhor compreendido. Para tanto, o caminho escolhido é aquele em que a análise literária dialoga com a contextualização histórica dos espaços onde se situam as narrativas e também com o conceito, emprestado da geografia, de territorialização. A este conceito somam-se o de entre-lugar e transculturação (segundo, respectivamente, Silviano Santiago e Ángel Rama), cardinais para uma melhor compreensão da literatura latino-americana. A comparação dos oito contos é feita desde o aspecto da resistência, em que após a análise verifica-se ser manifesta na relação autoritária do homem contra o homem, onde a violência e o poder econômico são o veículo de opressão da classe dominante. A resistência também é o elemento que se sobressai no conflito do homem contra a natureza - em ambientes isolados e ainda selvagens, as forças do meio o derrotam e sua harmonia original com o ambiente é quebrada . O ideal do bom selvagem que vive em equilíbrio total com seu meio não tem espaço na América de Quiroga e de Faraco. A natureza, neste trabalho, relaciona-se diretamente com o reino do inumano, dos instintos opostos à razão, das expressões de violência não monopolizadas pelo estado, da violência e brutalidade em seu estado ancestral. Assim, seja entre o que se convencionou chamar de civilização ou barbárie , a identidade dos personagens fronteiriços molda-se à ferro e fogo, no confronto e na resistência (ainda que infrutífera) ao autoritarismo e ao ambiente. Finalmente, pensar em fronteiras significa trazer à tona diferentes modos de perceber a vida e diferentes sensibilidades. Através de análises comparativas, torna-se possível abordar tipos de diferentes épocas e espaços e ver como dialogam, assemelham-se e diferenciam-se. Ao aproximarmos os contos de Sergio Faraco e Horacio Quiroga, o que se sobressaiu foi a condição de miséria cultural e econômica dos protagonistas que, ignorantes de sua condição, tornam-se vítimas de um sistema autoritário o qual não é possível contestar e, acima de tudo, do qual não é possível escapar.

abstract: ABSTRACT This interdisciplinary study examines the linguistic strategies that determine perception of female representation in Peruvian feminist narrative during the late XIX century. It uses as reference narratives that are considered representatives of the literary tendencies of Latin América feminine trajectory. The feminine subject was studied in two novels of Mercedes Cabello de Carbonera: Los amores de Hortensia (1886) and Blanca Sol (1889). The novels were selected with the aim of capturing the evolution and the development of the female characters as self-realizing subjects. The theoretical framework is led by the speech act philosophy of John Austin, John Searle, and Victoria Escandell Vidal. The feminist literary theory is guided by the feminist principle of Judith Butler, Luce Irigaray and Julia Kristeva that relates to the development of female subjectivity; by Sandra Gilbert and Susan Gubar, and Virginia Woolf that reveals the dynamics of women’s creativity. Through a close analysis of the speech acts, the research demonstrates that the female characters used their tactics to complain and request on their attempts to uproot the hegemonic normative social structures. The speech acts are presented as key instrument for a better understanding of the complex mechanisms of language, through which the feminist ideology of the nineteenth century is transmitted and reproduced. Within feminist theory the purpose is to show how the performative nature of language can be applied to the concept of power as subversive resistance. While the evolution of the female protagonists through the different spaces they move were traced, the investigation’s central idea that envisions the feminine subject as a process, was also examined. After comparing and contrasting the portrayal of the protagonists, a thematic analysis was performed to capture the intricacies of meaning within the discourse. The analysis suggests that female representation in literature can be reexamined through historical, political, and socio-economic contexts, as well as through verbal expression. Mainly, the comventional norms that limited women to some social places and that oblige them to maintain proper conducts did not silence them entirely, as we can observe in the petitions and complaints that became transcendent acts of defiance. ABSTRACTO Este trabajo de investigación interdisciplinario examina las estrategias lingüísticas que condicionan la percepción de la representación femenina y feminista en la narrativa peruana de finales del siglo XIX. El sujeto femenino se ha estudiado en dos novelas de Mercedes Cabello de Carbonera Los amores de Hortensia (1886) y Blanca Sol (1889), éstas se seleccionaron con el objetivo de entender la evolución de los personajes femeninos como sujetos que se auto-realizan. El marco teórico para este estudio es guiado por la filosofía hermeneútica de John Austin, John Searle y Victoria Escandell que se basan en la naturaleza performativa de las expresiones lingüísticas. El análisis de género se basa en la teoría de Judith Butler Luce Irigaray y Julia Kristeva que se relacionan con el desarrollo de la subjetividad femenina; en la ideología de Sandra Gilbert y Susan Gubar y Virginia Woolf que exponen las dinámicas de creatividad de la escritora. A través del análisis de los actos de habla, la investigación sugiere que los personajes femeninos usan estrategias de quejas y de pedidos con el intento de eliminar las estructuras sociales hegemónicas. Los actos de habla se presentan como un instrumento necesario para un mejor entendimiento de los mecanismos del lenguaje, por medio de los cuales se transmite la idea feminista del siglo XIX. La teoría feminista tiene como objetivo, explicar cómo la naturaleza performativa del lenguaje se puede adaptar al concepto de poder como resistencia subversiva. Se investiga la idea central de nuestra pesquisa que percibe al sujeto femenino como un sujeto en proceso. Después de comparar y contrastar el perfil de los personajes protagónicos, se lleva a cabo el análisis temático para captar las complejidades del sentido en el discurso. Esta investigación propone que la representación femenina puede ser reevaluada por medio de contextos históricos, políticos y socio-económicos y de expresiones verbales.¬ En general, las normas convencionales del siglo XIX que limitaron a la mujer a ciertas esferas sociales y que requerían de ésta una conducta discreta, no las silenciaron totalmente como se puedo apreciar en los pedidos y quejas que resultaron ser medios trascendentes de actos de desafío. / Dissertation/Thesis / Doctoral Dissertation Spanish 2015

abstract: The following thesis tries to rescue the novels Sab and Dos mujeres, written by the XIX century writer Gertrudis Gómez de Avellaneda, from the hegemonic discourse offered by the contemporary critics. This is possible by comparing the Epistolar novel Tu amante ultrajada no puede ser tu amiga with the two novels analyzed. Also, this thesis examines the epistolary novel as a set of documents that creates a literary work on their own. That is to say, it studies how these letters, written to her lovers during the years 1839 to 1854, create an autobiographical fiction, a novel of the romantic period, and a character that makes a myth out of the writer and poet Gertrudis Gómez de Avellaneda. / Dissertation/Thesis / Masters Thesis Spanish 2016

abstract: This dissertation analyzes three films from Mexico, Spain, and Argentina--Kilómetro 31, El orfanato, and Aparecidos (2007)--and their interplay with the historicism that has traditionally served as the default referent for "reality" in Western narrative. While grounding my approach in temporal critique, I borrow from deconstruction, psychoanalysis, and queer theory to explore ways in which ghosts and the rhetorical figure of the family are manipulated in each national imaginary as a strategy for negotiating volatility within symbolic order: a tactic that can either naturalize or challenge normative discourses. As a literary and cinematic trope, ghosts are particularly useful vehicles for the exploration of national imaginaries and the dominant or competing cultural attitudes towards a country's history, and thus, the articulation of a present political reality. The rhetorical figure of the family is also pivotal in this process as a mechanism for expressing national allegories, for articulating generational anxieties about a nation's relationship with its history, and for organizing societies and social subjects as such, interpellating them into or excluding them from national imaginaries according to its grammar/logic. The proposed trajectory through these films will help facilitate a study of the potential of these rhetorical figures to either reinscribe or question two of the most fundamental processes that go into the cartography of ideology: the imposition of (a) time and the negotiation of social subjectivity within it. Competing political narratives may use any number of rhetorical strategies to position themselves in time to promote their agendas while continuing to reinforce the overall framework that determines the parameters of what is visible, and thus debatable. As temporal anomalies who are defined by their (in)visibility, ghosts can be used to either reinforce this framework or they can be used to articulate alternative relationships to time, and consequently, other political possibilities. Ghosts, families, and children are especially volatile rhetorical figures because of their potential to expose the mechanisms of societal organization--the construction of social subjects through their relationship to the time and the families of which they are presumably products--as negotiable processes rather than self-evident truths. / Dissertation/Thesis / Ph.D. Spanish 2013

Quel est le processus de création d’un monde de fiction ? Telle est la question qui motive ce travail. Cette thèse s’interroge plus particulièrement sur quels sont les processus mis en place par l’écrivain uruguayen Juan Carlos Onetti (1909–1994) pour créer Santa María, sa ville de fiction. Souvent décrite comme un locus horrendus, Santa María est une ville qui ressemble à plusieurs villes référentielles du Río de la Plata. Elle a été créée à partir des souvenirs et idéalisations d’un auteur qui a connu l’exil et a recréé un univers fictionnel dans lequel il reflète de nombreux éléments constitutifs de cette région d’Amérique du Sud, tout en la dotant de traits fictionnels représentatifs de la poétique onettienne. Cet espace de fiction est devenu le théâtre de la plus grande partie des œuvres d’Onetti, et le lieu de résidence de presque tous ses personnages, qui tentent d’échapper sans succès de ce monde centripète. Pour explorer les arcanes de la création onettienne, ce travail s’attache à étudier la configuration de l’univers diégétique des dix-sept romans et nouvelles ayant pour cadre Santa María, ainsi que les trois récits dans lesquels apparaissent quelques personnages récurrents de la « saga ». Cette analyse permet de déchiffrer des pistes textuelles, parfois cachées, souvent trompeuses, dans le but de déceler les rouages de la création littéraire de Santa María. Cette thèse s’attarde également sur l’importance de l’intertextualité, une constante dans ce corpus, qui participe à la cohésion et à la cohérence de l’univers fictionnel de Santa María. Ainsi, Santa María se déploie comme un monde possible, si non désirable, pour les personnages acteurs de la « comédie humaine » de Juan Carlos Onetti / What is the process of creating a fictional world? This question motivates this work, in particular, what are the processes put in place by the Uruguayan writer Juan Carlos Onetti (1909-1994) to create Santa María, his own city of fiction. Often described as a locus horrendus, Santa María is a city that resembles several referential cities of the Rio de la Plata. It was created from the memories and idealisations of an author who experienced exile and recreated a fictional universe in which he reflects the many constituent elements of this region of South America, while endowing it with fictional traits which are representative of Onettian poetic. This space of fiction has become the theatre of most of Onetti's works, and the home of almost all his characters, who try to escape without success from this centripetal world. To explore the mysteries of Onettian creation, this work focuses on the configuration of the diegetic universe of the seventeen novels and short stories of Santa María, as well as the three narratives in which some recurring characters appear. This analysis makes it possible to decipher textual tracks, sometimes hidden, often misleading, in order to detect the inner workings of the literary creation of Santa María. This thesis also focuses on the importance of intertextuality, a constant in this corpus which participates in the cohesion and coherence of the fictional universe of Santa María. Thus, Santa Maria deploys as a possible world, if not desirable, for the characters actors of the "human comedy" of Juan Carlos Onetti.

Este trabalho explora três possíveis significados para o \"romance histórico\" Amphitryon, de Ignacio Padilla, e, a partir disso, estuda modos de interação entre história e ficção. O primeiro sentido analisa-o como um livro na história, uma obra marcante que se escreveu sob o contexto de um manifesto célebre por tentar reorganizar a tradição literária latinoamericana. O segundo sentido toma-o como um livro de história, um romance que não só se aproxima de um gênero literário afeito aos fatos historiográficos, mas que, sobretudo, articula conteúdos históricos, literários e culturais sob formas narrativas que também derivam do século passado. O terceiro sentido, finalmente, o lê como um livro da história, uma narrativa que, pela disposição de relatos e narradores, simula o próprio mecanismo do fazer histórico. Conduzindo essas argumentações estão os princípios da dialética formaabertura e da interação autor-obra-leitor, derivados de Umberto Eco, a noção de leitura e escritura como forma de conhecer, cara a Jorge Luis Borges, e o paradigma indiciário, de Carlo Ginzburg. A tentativa final é fazer de um exercício de crítica literária uma reflexão sobre a história. Para tanto, insiste-se na analogia entre verificação e interpretação de dados e as mediações livro-leitor-leituras, e adota-se a \"espiral de leituras\" historicizadas como modo operativo que aproxima discursos ficcionais e discursos históricos, esboçando-se, então, paralelos e limites nos percursos da produção historiográfica e da produção ficcional ao longo do século XX. / This work explores three possible meanings for the \"historical novel\" Amphitryon, of Ignacio Padilla, and, from this, it studies ways of interaction between history and fiction. The first meaning analyzes it as a book in history, a remarkable work that was written under the context of a manifest notable for trying to reorganize the Latin American literary tradition. The second meaning takes it as a history book, a novel that not only comes close to the historiographies facts, but, above all, it articulates historical, literary and cultural contents under narrative forms that are also drawn from the last century. The third meaning, finally, reads it as a book of history, a narrative that, for the disposal of stories and narrators, simulates the mechanism of history. As a guide line for these arguments, there are the principles of the dialectic form-opening and the interaction author-work-reader, derived from Umberto Eco, the notion of reading and writing as forms of knowledge, from Jorge Luis Borges, and the evidential paradigm, of Carlo Ginzburg. The final attempt is to make a reflection on history from a literary critical exercise. In such way, one must insist on the analogy between verification and interpretation of data and the relations bookreader- readings, and adopts the historic \"spiral of readings\" as an operative way that approaches fiction and historical speeches, and so, outlining parallels and limits in the course of the historiography and fictional production throughout the 20th century.

Este trabalho tem como objeto de estudo as obras de João Guimarães Rosa Sarapalha, Corpo fechado e A terceira margem do rio e de Juan Rulfo Luvina e Pedro Páramo. Partindo destes materiais literários analisamos as categorias da transculturação, as relações entre escrita e poder e as implicações das teorias de Ángel Rama para a análise cultural da América Latina. Fundamentam este estudo as teorias críticas desenvolvidas por Roberto González Echevarría, Alberto Moreiras, Antonio Cornejo Polar e Jacques Derrida. Desta forma, o trabalho passa pela discussão de temas como a influência, a mediação e a representação do discurso antropológico na literatura, o debate entre a oralidade e a escrita e o papel paradoxal da literatura na América Latina. / This study aims at studying the works Sarapalha, Corpo fechado and A terceira margem do rio by João Guimarães Rosa and Luvina and Pedro Páramo, by Juan Rulfo. With this literary material as basis, the dissertation analyzes the category of transculturation, the relation between writing and power and the implications of Ángel Rama\'s theories for Latin America cultural analysis. The foundations of this study are the critical theories developed by Roberto González Echevarría, Alberto Moreiras, Antonio Cornejo Polar and Jacques Derrida. Hence, the work deals with the discussion of issues such as the influence, mediation and representation of anthropology in literature, as well as with the debate between orality and writing and the paradoxical role of literature in Latin America.

O presente trabalho se centra em uma nova leitura da geração literária de 45, no Uruguai. São estudados, principalmente, dois aspectos: primeiro, a análise dos elementos constitutivos do novo imaginário que a geração de 45 imputou à sociedade e, segundo, a identificação dos mecanismos de poder que a geração utilizou para alcançar um lugar de destaque dentro da sociedade de sua época. A tese que se propõe, ao contrário do que tradicionalmente afirmam os críticos literários é a de que a geração de 45, ao invés de romper totalmente com o imaginário anterior da sociedade uruguaia, é portadora de elementos que se originam em imaginários anteriores, elementos presentes na cultura uruguaia desde os primórdios de sua constituição.Trabalha-se, principalmente, o espaço ficcional urbano que a geração descortina em diferentes textos, por considerá-lo privilegiado para a constituição do novo imaginário. A abordagem se centra tanto na ficção - especialmente de J.C. Onetti, C. Martínez Moreno e Mario Benedetti - quanto em ensaios - C. Real de Azúa, E. Rodríguez Monegal e A. Rama / This work centres on a new reading of Uruguay\'s literary Generation of 1945. Two aspects are given special attention: the analisis of elements constituting the new imaginary that this generation would impose on society 2) the identification of power- acquiring mechanisms wielded by this generation to gain a dominant position within society at the time.The thesis put forward - as opposed to what literary critics have traditionally asserted-- is that instead of completely moving away from Uruguayan society\'s prior imaginary, the Generation of 1945 retains elements proceeding from preliminary imaginaries, which have been dragged forward within Uruguayan culture since the beginnings of its constitution. We work mainly upon the urban fictional space opened up by this generation in different texts, as it is considered privileged for the constitution of the new imaginary. Our approach centres both on fiction - especially J.C. Onetti, C. Martínez Moreno and Mario Benedetti - and essays - C. Real de Azúa, E. Rodríguez Monegal and A. Rama