Este estudo apresenta a escritora chilena María Luisa Bombal ao cenário da crítica literária brasileira, destacando brevemente suas obras, porém detendo-se em A amortalhada, escrita em 1938. Assim, buscar-se-á mostrar alguns recursos recorrentes nesta obra da autora, sobretudo no que tange à(s) voz(es) apresentada(s) no desenvolver-se da narrativa, ou seja, analisar como se dá o discurso. Em particular, na pesquisa, tratar-se-á de ritmo, rima e sinestesias, recursos que contribuem para que a obra seja de uma simbologia, rara e precisa. / We intend to introduce this study about Chilean writer María Luisa Bombal´s life and work to the scenery of Brazilian literary criticism, trying to analize more closely La amortajada (The shrouded woman) (1938) considered extremely important in Chilean and international literary milien. We will emplacize certain narrative devices like the use of differet voices in the discourse, all along the plot, rhythm, rhyme and synesthesy which contribute to the creation of a typical symbology, rare and need.

[pt] O relato brevíssimo é um espaço particular que vem experimentando um crescimento sustentado desde meados do século XX, especialmente na América Latina. Uma plétora de escritores e de antologias organizadas nesse formato invadiu o mercado editorial hispano-americano nos últimos anos. Trata-se da microficção, uma narrativa que cabe no espaço de uma página. Muitas das ferramentas narrativas dos pequenos relatos provêm do conto, do qual herda a capacidade de criar uma tensão, um ritmo que se traduz na sua pulsão interna, embora nelas também haja ressonâncias de outros gêneros. Na economia da linguagem da microficção esconde-se um olhar lúdico com forte presença do humor e da paródia no tratamento de certas temáticas. Situações do cotidiano, contos populares ou versões corriqueiras de clássicos da literatura misturam-se com ângulos inéditos da condição humana. Vozes aparentemente anônimas trazem de um lugar de não-tempo e de não-espaço histórias que provocam um despertar dos sentidos sobre aquilo que, em princípio, parece inexplicável. A perspectiva de análise a que nos propomos é a da recriação da tendência atual da praxis cultural de desintegração dos gêneros, examinando alguns de seus antecedentes, várias das características que constituem as microficções, como também a idéia de resistência que a atomização da narrativa em pequenos blocos (fragmentos) acarreta. A dissertação aborda a microficção como uma forma de escrita fragmentária e faz algumas leituras sobre a sua relação com a geometria de fractais a partir da obra de Ana María Shua, Luisa Valenzuela e Marina Colasanti. / [en] The very short stories belong to a particular narrative space which has been experiencing a sustained growth since the middle of XX century, especially in Latin America. During the last years, many writers and anthologies around this narrative form have appeared in hispano-american book market. It`s the microfiction, a narrative that fits in a single page. Many narrative tools of these fictions arise from the short stories, from which they inherit the capacity of recreate tension. A rhythm that is translated in an internal pulse, even though resonances of other genres can be identified in these minimum stories. Microfiction´s language economy hides a ludic glance with a strong presence of humor and parody in the treatment of certain themes. Everyday situations, popular tales or hilarious versions of literature`s classics are blended with unknown perspectives of the human condition. Stories are told by apparently anonimous voices from a field of no-time and no-space inducing the awakening of senses over those things that in principle seem unexplainable. The analytical perspective that this study proposes is the recreation of the current cultural praxis trends of genre disintegration, by looking at some of its previous manifestations, its constitutive characteristics, as well as the implications of the resistance that the atomization of narrative in small fragments brings about. This thesis embraces microfiction as a fragmentary narrative, also analysing its relationship with fractal geometry throughout Ana Maria Shua, Luisa Valenzuela and Marina Colasanti`s work.

A partir de la teoría del trauma propuesta por Cathy Caruth en los años noventa del siglo pasado, los estudios del trauma volvieron a obtener la atención de la crítica literaria. Si bien el enfoque de Caruth es en primer lugar psicoanalítico se fundamenta también en perspectivas historiográficas y sociológicas. En consecuencia, su teoría nos es muy útil para analizar una selección de obras de Luisa Valenzuela cuya trama se desarrolla bajo la última dictadura militar argentina (1976-1983). Específicamente queremos analizar la influencia que el encierro tiene sobre los personajes, partiendo de un análisis que trabaje conjuntamente tanto la representación del espacio narrativo como la representación del trauma. El método que se utilizará será el de una lectura minuciosa —close reading— de los relatos, articulando las nociones de casa y la dialéctica de lo dentro y lo de fuera de Bachelard para trabajar el encierro en los espacios públicos y privados, por un lado, y una construcción del trauma siguiendo a Caruth desde tres perspectivas psicológicas para entender mejor la tortura, por el otro. De esta forma, nuestra contribución consiste en llevar a cabo una lectura de la obra seleccionada de Valenzuela para poder entender en qué medida el encierro influye sobre el trauma provocado por la tortura durante la época dictatorial. / Since the theory of trauma was proposed by Cathy Caruth in the nineties of the last century, trauma studies have once again obtained the attention of literary criticism. Although Caruth’s approach is primarily psychoanalytical, it is also based on historiographical and sociological perspectives. Consequently, her theory is especially useful to the current study when analyzing a selection of works by Luisa Valenzuela, that take place during the last Argentinian military dictatorship (1976-1983). Specifically, it is intended to analyze the influence that confinement has on characters, beginning from an analysis that regards both the representation of the narrative space and the representation of trauma. The method applied will be that of a close reading of the stories, articulating Bachelard's notions of house and dialect of inside and outside to examine, on the one hand, confinement in public and private spaces and, on the other hand, a construction of trauma that follows Caruth’s theory from three different psychological perspectives to better understand torture. Along these lines, this study’s contribution consists of carrying out a reading of Valenzuela's selected literary works, in order to understand to what degree confinement influences the trauma that torture causes during the dictatorship.

Para apreciar en profundidad la obra de la escritora chilena María Luisa Bombal (1910-1980) es necesario comprender las múltiples funciones que desempeña la naturaleza con respecto a las protagonistas en la narrativa bombalina. Esta tesina tiene el propósito de analizar la relación entre mujer y naturaleza en la novela La última niebla ([1934] 2005) de María Luisa Bombal desde un enfoque escasamente adoptado por la crítica, a saber, el ecofeminismo. La crítica anterior destaca los vínculos sexuales y eróticos que la naturaleza cumple con respecto a la protagonista, pero en este trabajo parto de la hipótesis de que la naturaleza cumple otras funciones más relacionadas con el nivel espiritual y de auto-sanación en la novela que no han sido abordadas en trabajos anteriores. Esta tesina responde a dos preguntas de investigación que buscan examinar las funciones que cumplen los pasajes de la naturaleza con respecto a la construcción de la subjetividad de la protagonista y analizar los tipos de vínculos que establece la protagonista con la naturaleza como medio para resistir el sistema cultural impuesto. Para dar respuesta a tales preguntas analizo e interpreto un conjunto de escenas donde aparece la naturaleza en la obra a partir de los presupuestos teóricos de las teorías ecofeministas, principalmente de Warren (2010) y Puleo (2009). En primer lugar, analizo la naturaleza como otredad liberadora, donde la naturaleza cumple una función de mimetización con respecto a la protagonista, abriéndole un espacio donde esta puede cuestionarse los valores impuestos en la casa conyugal y en la sociedad. En segundo lugar, me concentro en el análisis del desarrollo de una conciencia eco-naturalista donde hallo que la naturaleza cumple una función de sanación del cuerpo de la protagonista a partir de la fusión con el cuerpo natural, y esto la conduce a un despertar de su conciencia con respecto a la relación entre su cuerpo, el medio natural y el cosmos. Finalmente, examino la naturaleza como refugio sanador de la identidad herida, donde la protagonista misma hace uso de funciones re-generativas basadas en ciclos de la naturaleza para reconstruir su subjetividad. El despliegue del mundo natural en la novela estudiada desde la perspectiva eco-feminista revela que la importancia de los pasajes naturales en la novela se extiende más allá de la posibilidad de liberación sexual de la protagonista y permite desplegar una multiplicidad de funciones que el mundo natural cumple en este caso para la protagonista de esta novela, y por extensión para el ser humano. / nej

No description available.

Thesis (B.A.)--Haverford College, Dept. of Spanish, 2002. / Includes bibliographical references.

Camila O'Gorman, a transgressive aristocratic woman who proudly defied the values of Family, Church, and Society in nineteenth-century Argentina, was executed beside her lover, the priest Ladislau Gutiérrez. Since her execution by dictator Juan Manuel de Rosas, her life and death represent a myth of rebellion and repression in the Argentine imagination, inspiring many works of literature and film. This dissertation studies three major works inspired by her life: the short story "Camila O'Gorman" (1876) by Juana Manuela Gorriti, the film Camila (1984) by María Luisa Bemberg, and the novel Una sombra donde sueña Camila O'Gorman (1973) by Enrique Molina. It proposes that each author shaped the images of the female protagonist by imprinting on the character of Camila the authors' personal reaction to the political climate in which they lived. Roland Barthes's Mythologies marks the main theoretical frame and distinctive theories on nationalism, narrative, film and genre are also applied. Chapter One situates the political climate of Camila's contemporary life. It studies the mythologies created to support and undermine Rosas' power. Moreover, it gives an account of three women who actively participated in politics: Mariquita Sánchez, Encarnación Ezcurra, and Manuela de Rosas. Chapter Two studies Gorriti as a nation builder. Her story "Camila O'Gorman" reinforces the ideals of a liberal progressive nation. By portraying Camila as a negative symbol, Gorriti adheres to the conservative view on women. Chapter Three inserts the life and work of Bemberg into the development of politics in Argentina. The film Camila addresses the parallel violence of the military regime in the 1980's. The character of Camila is portrayed as a defiant daughter, complying with the feminist views of the eighties. Chapter Four addresses Molina's Surrealist ideals, which determined his poetic analysis of Argentine history, foreshadowing the Proceso dictatorship. In his novel, Camila is represented as a Surrealist muse, who seeks liberty, love and poetry. The historical analogies recovered by the authors lead one to conclude that mythologies of Camila O'Gorman reappear in Argentina in times of political change and debate the rank of women in society.

This dissertation discusses the implied reader in the EnCuento series illustrated childrens stories. All the stories are written by well-known Hispanic authors. This work elucidates historical, cultural, and semiotic gaps in the reading process. It explores the ways in which textual elements- such as style, focalization, and manipulation of readers expectations - affect the implied readers ability to produce or extract meaning. Our study will add to knowledge of the function of the implied reader in childrens texts. This study is divided into four chapters, each focusing on the implied reader. Chapter 1 provides an introduction to the series discussing three books that are easy to understand, with simple vocabulary, chronological plots, and strong protagonists. Chapter 2 explores irony in two horror stories; Chapter 3 discusses books that promote a particular ideology. Finally, Chapter 4 explores books with protagonists who are outsiders. The books within each chapter have enough in common in terms of decodability that they seem to pursue the same kind of implied reader. Each chapter illustrates the way that style, point of view, manipulation of readers expectations, and telltale gaps affect the implied readers ability to make meaning. Within the series, each contributing author creates a system through which the reader can participate in the story. The authors intent is to communicate meaning to the implied reader. In sum, interpreting texts is communication between author and reader. In all of the EnCuento texts, authors employ response- inviting structures, making them interpretable on many levels. This study further analyzes EnCuento stories the better to decide if their primary purpose is didactic. Because of the political content of texts written for adults- as in the case of the stories written by Benedetti, Paz, and Valenzuela - I expected them to communicate a clear political message to their child readers. The thesis also inquires into whether books are, in fact written for children and children exclusively. Because the EnCuento authors are accomplished writers of adult literature, this study analyzes the degree to which the authors communicate specifically with a child audience. Finally, the dissertation analyzes the illustrations in several of the texts and finds that book illustrations are essential to making connections with the reader. It also explores cultural references to decide if they are specific to Latin America.

Univ., Diss--München, 2005.

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 276-290).