Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

This study examines the literary works of the Argentine writer, Leopoldo Lugones (I874-I938), from an integral perspective. Although Lugones attained almost immediate recognition as one of the most outstanding and representative Argentine writers and published numerous books, he is known today primarily and almost exclusively for his contribution to the "modernist" movement in Argentina and Hispanic America. His poetry has not been duly considered within the context of the totality of his writings. The significance of the integral relationship that exists between his thought and his artistic expression has been neglected by his critics or at best only superficially viewed by them. This dissertation seeks to throw new light on the literary works of Leopoldo Lugones by examining the convergence of his thought and his art on a central issue identified in this study as "the quest for national identity in the writings of Leopoldo Lugones." The far-reaching effects produced by the cosmopolitan immigration and the positivist philosophy of progress, also of foreign origin, represented a contradictory view to Lugones's concept of the Argentine realities. His reaction is clearly evidenced by the intense and continuous search for an authentic national image for his country. The problem of national identity thus became one of the foremost preoccupations of his thought and a predominant theme of his writings. In order to counteract the European cultural influence in Argentina and the materialistic philosophy of non-Argentine origin, Lugones attempts to revive the "gaucho" legacy and to promote a departure from the prevailing materialistic interests by adopting a more meaningful system of values based on what he terms the principle of "spiritualization". Furthermore, the concept of "spiritualization" functions as an underlying theme in Lugones 's writings, securing the unity of the totality of his works. This study attempts to determine to what extent Lugones unfolds a systematic program corresponding to his ideal view of national identity, and how the author directs his aesthetic work to achieve his central objective. The first chapter of this thesis establishes the historical background of Argentina from the period of national emancipation (1810) to the generation of Leopoldo Lugones. The second chapter outlines a biographical profile of Lugones in an attempt to trace the personal traits that caracterize his literary creations. Chapters three and four examine respectively Lugones's concept of "spiritualization" and the author's concern with the cultural dimension of his native country. The fifth chapter approaches Lugones's treatment of national identity from the archetypal perspective, examining the author's deductions from the Greek myth of Prometheus, the national forefathers and the exemplary traits of the "gaucho". The sixth chapter investigates how the poetic writings of Lugones reflect the author's primary objective of the search for national identity. The analysis is centred on three principal areas: (1) the continuity of thought between the author's prose writings and his poetry, (2) the social function of aesthetics and (3) the role of poetry in the formation of a national language . The conclusion sums up the findings of this study, confirming that Lugones's literary creations represent a reflection of the objective formulated at the outset of his literary career. It may be restated, therefore, that the literary productions of Lugones confirm the author's intense commitment to the creation of a genuine national identity for Argentina. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The diploma thesis attempts to identify transcendental elements of "Yzur", a short story by Leopoldo Lugones. The thesis propounds several theoretical-practical methods regarding the matter. One of the methods is to compare "Yzur" to "Persona", the work of art of the Swedish film maker and screenwriter Ingmar Bergman. The comparison of both texts is based on their complementary reading. It is possible to determinate this way the transcendental points of the short story emerging from the following interlaced levels of the texts: the linguistic level, the stylistic level, the structural level, the thematic level and the interpretative one. One of the most outstanding transcendental elements of "Yzur" is precisely the richness of the possible interpretations. Other important transcendental features include the ambiguity, the contrasts and the active participation of the reader. Key words: Leopoldo Lugones, Persona, Ingmar Bergman, transcendental

This project is a comparative study of Irish and Latin American modernisms and the literary responses to the advent of recorded sound. It focuses particularly on George Bernard Shaw's Pygmalion, Flann O'Brien's The Third Policeman, Leopoldo Lugones's short stories "La fuerza omega" and "Yzur," and Jaime Torres Bodet's novel Proserpina rescatada. It examines how each author grapples with the dislocation of the human voice from the body made possible through new recording technology. This selection of texts displays a range of engagements with this new technology, from a critique of rising positivism and machines in the early twentieth century, to experiments with aural metaphors in the wake of sounded film, and finally to the 1930s, when sound recording becomes an arm of government surveillance against its citizens. In each instance, the circulation of sound technology causes a shift in modes of representation that require new definitions of what it means to be human in an increasingly mechanized world.

Made available in DSpace on 2016-03-15T19:45:56Z (GMT). No. of bitstreams: 1 Sonia Maria Ernandes Serrano.pdf: 707957 bytes, checksum: 4259a35831c911725be5b5f3bddb3e2b (MD5) Previous issue date: 2014-02-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta investigación de maestría propone el estudio de lo insólito en dos relatos de autores hispanoamericanos: El almohadón de pluma (1907), del escritor Horacio Quiroga y ¿Una mariposa" (1906) de Leopoldo Lugones. Examinamos la trayectoria de las protagonistas y sus relaciones amorosas, el desarrollo de lo insólito como rastro de desequilibrio en los textos y el conflicto entre lo natural y lo sobrenatural, aflojando los límites entre lo real y lo irreal, llegando a su límite con el extraño. Basándonos en las teorías de autores consagrados, como Todorov y Filipe Furtado, estudiamos cómo ellos definen lo insólito y analizamos cómo él se establece en las narraciones. Hicimos una comparación entre los cuentos, reflexionamos y tratamos de encontrar explicaciones para esos eventos. De esta manera creemos cooperar para la aclaración de lo insólito como rasgo estético presente en el corpus de análisis. / Este trabalho propõe o estudo do insólito em dois contos de autores hispano-americanos: El almohadón de pluma (1907), do escritor Horacio Quiroga, e ¿Una mariposa? (1906), de Leopoldo Lugones. Examinamos a trajetória das protagonistas e suas relações amorosas, o percurso do insólito como traço de desequilíbrio nos textos e o conflito entre o natural e o sobrenatural, afrouxando as barreiras entre o real e o irreal, chegando ao limite com o estranho. Baseando-nos nas teorias de renomados autores, como Todorov e Filipe Furtado, estudamos de que maneira eles definem o aspecto insólito e analisamos de que forma ele se institui nas narrativas. Estabelecemos uma comparação entre os contos, refletimos e tentamos encontrar explicações para esses eventos. Desta forma acreditamos colaborar para o esclarecimento do insólito como um traço estético presente no corpus de análise.

Epistemic injustice is a relatively new philosophical term for a rather old phenomenon. A situation is said to be epistemically unjust when someone is wronged in his capacity to possess or convey knowledge. While anyone can be the victim of a testimonial injustice, the epistemic injustice that occurs in an exchange of testimony, people with marginalized identities systematically suffer from this kind of injustice. By relying on negative identity prejudices, a person in a position of power consciously or subconsciously undermines a marginalized individual’s capacity for knowledge. In this paper, I argue that persistent testimonial injustice can inhibit the formation of one’s identity. Then I explore the role that communities may play in ameliorating this harm. I suggest that communities are conceptualized differently depending on their purpose (e.g. psychological melioration or political resistance). In the final part of this paper, I examine two conceptions of communities put forth by María Lugones and Iris Marion Young and determine whether they can provide both psychological and political resources for resistance.

RADKA SOTÁKOVÁ: CIENCIA Y MITOLOGÍA EN LOS CUENTOS DE LEOPOLDO LUGONES (Science and mythology in the short stories by Leopoldo Lugones) ABSTRACT The fantasy short stories by Argentinian Leopoldo Lugones are traditionally divided in two mutually exclusive and opposite groups: the mythological and the science based ones. In this paper, we analyze the short stories from the author's collection Las fuerzas extrañas and the critical papers on fantasy literature and Leopoldo Lugones to study the possible division. We base our study on three aspects: the distribution of characters throughout the book; the description of the forces that create the supernatural element; and finally on the references that appear abundantly in the collection. We observe the correlation of the three aspects with the traditionally delimited types and try to establish whether this division can be considered suitable and exact enough to capture the spirit of the short stories.

Comme le montre l’analyse de dix auteurs appartenant à trois domaines linguistiques différents, anglophones, hispanophones et francophones : Pedro Antonio de Alarcon, Jorge Luis Borges, Ruben Dario, Henry James, Howard Phillips Lovecraft, Léopoldo Lugones, Guy de Maupassant, Edgar Allan Poe, Jean Ray, Marcel Schwob, la géométrie est présente partout dans les récits fantastiques du xixe au xxe siècle. Cercles, carrés ou pyramides s’inscrivent dans l’architecture ou dans le physique du personnage. Ces formes, qui permettent de faire naître l’angoisse, imposent peu à peu la circularité (cercles, courbes, sphères) comme une figure dominante. Les espaces où évolue le protagoniste s’arrondissent autour de lui jusqu’à venir l’étouffer. Le mécanisme de la peur qu’engendre ce processus peut alors être centrifuge ou centripète : soit il découle du lieu où se trouve le héros fantastique soit il est produit par le personnage lui-même. De cette géométrie angoissante découle un procédé fondamental : celui de l’atmosphère fantastique. Celle-ci — faite, comme l’étymologie le révèle, d’une forme de vapeur (atmos) enveloppant le monde ou le sujet à la manière d’un globe (sphaira) — témoigne de l’importance non seulement des courbes, mais encore des divers états de l’eau : glace, neige, élément liquide ou gazeux. L’atmosphère montre ainsi à quel point le fantastique est lié à la femme, support essentiel de l’Unheimliche, en ce que cette dernière est à la fois — pour le personnage masculin et pour les auteurs ici analysés — une figure de l’Autre (unheimlich) et une manifestation de la Mère (heimlich) / As shown in the analysis of ten authors from three different linguistic areas, English, Spanish and French: Alarcon, Borges, Dario, James, Lovecraft, Lugones, Maupassant, Poe, Ray and Schwob. The geometry is everywhere in the fantastic stories from the nineteenth to the twentieth century. Circles, squares or pyramids are part of architecture or the character's physical. These forms, which allows the birth of anxiety, gradually impose the circularity (circles, curves, spheres) as a dominant figure. The spaces where the protagonist is evolving, curving around him till he suffocates. The mechanism of the fear generated by this process could be centrifugal or centripetal: it follows either the place where the fantasy hero is located or it is produced by the character himself. From this agonizing geometry, a fundamental process is set up : the fantastic atmosphere. This one done, as the etymology reveals, from a vapor shape (atmos) enveloping the world or the character in the manner of a globe(sphaira) - testify the importance not only about the curves, but equally the various states of water : ice, snow, liquid or gaseous element. The atmosphere shows how much the fantastic is linked to the woman, Unheimliche's essential support, in that this last one is both - for the male character and the authors analyzed here - a figure of the Other (unheimlich) and a manifestation of the Mother (Heimlich)

Esta tesis explora el poco estudiado libro Cuentos Fatales de Leopoldo Lugones, enfocándose en el eterno retorno de lo mismo en relación a las posibilidades de lo fantástico. Si bien el autor es frecuentemente recordado no por su escritura sino por su oscura historia y linaje, esto no desluce su trabajo, que debe ser apreciado por su valor. Se plantea repensar los cuentos para entender que el hecho de que la colección obedezca a ideas de la construcción del cuento fantástico clásico del siglo XIX no es un retroceso, como cierta crítica ha pretendido enmarcarlo, sino una exploración de las posibilidades de lo fantástico. Esto se logra mediante una repetición de temas, ideas y personajes, descolocados de su contexto original, haciendo evidente la repetición que ya se evidencia en las estructuras narrativas de los cuentos, las cuales son casi idénticas. Después de plantear el contexto y marco teórico, se demostrará esto esquematizando las estructuras de los relatos y, posteriormente, analizando cada uno de manera independiente, resaltando los elementos iterados que pertenecen a sendas tradiciones. De este modo, se demostrará que los espejos empleados por Lugones sirven como herramienta para reflexionar acerca de la combinatoria de posibilidades de lo fantástico. / Tesis

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