Universidad, Diss--Bremen, 2000.

Este libro reproduce la Conferencia Magistral dictada en Lima por Mario Vargas Llosa, con motivo del otorgamiento de la distinción universitaria de Profesor Honorario de la Universidad Peruana de Ciencias Aplicadas (UPC).

Made available in DSpace on 2017-07-10T18:55:27Z (GMT). No. of bitstreams: 1 Adenilson.pdf: 852661 bytes, checksum: 4a2524dd78bf691d264817ad0133d46c (MD5) Previous issue date: 2013-03-07 / Fundação Araucária / This study presents a reading of narratives that, on the borderline between fiction and history, focus the tessiture of their plots on one single theme: the war of Canudos. Based upon the theoretical presumptions related to the writings of history in confluence with those of fiction and memories, as well as upon studies directed towards the modalities of historical novels developed since the 19th century up to today, we sought to establish a path that encompasses the reading of novels here denominated as canudenses . In this set of works we sought, primarily, to establish some relevant aspects of novels published along the period of 1898 to 2006. These novels establish a trajectory of the theme since the traditional models (LUKÁCS, 1977), passing through the critical readings of the past by the new Latin American historical novel and the historical metafictions (AÍNSA, 1988, 1991; MENTON, 1993; HUTCHEON, 1991) until the recently hybrid writings guide by mediation (FLECK, 2007, 2008, 2011). They are: Os jagunços (1898), by Afonso Arinos; João Abade (1958), by João Felício dos Santos; A casca da serpente (1989), by José J. Veiga; Canudos as memórias de Frei João Evangelista de Monte Marciano (1997), by Ayrton Marcondes; Veredicto em Canudos (2002) by Sándor Márai; and Luzes de Paris e o fogo de Canudos (2006), by Angela Gutiérrez. On a second moment, we focus ourselves on the analysis of La Guerra del fin del mundo (1981), by Mario Vargas Llosa, and O pêndulo de Euclides (2009), by Aleilton Fonseca, in order to demonstrate distinct biases related to the evolution of the approaches on this shared theme. In this corpus, we sought to make evident the strategies used by the novelists to propitiate the confluences of history and fiction, as well as the narrative resources used in this process of rereading the past through novelist art which go further than the conflicts of the war itself. / Este estudo apresenta a leitura de narrativas que, no limiar entre a ficção e a história, focalizam a urdidura de seus enredos numa temática comum: a Guerra de Canudos. Apoiados nos pressupostos teóricos relativos às escritas da história em confluência com a ficção e a memória, bem como em estudos direcionados às modalidades de romances históricos desenvolvidos a partir do século XIX até a atualidade, procuramos estabelecer um percurso que embase a leitura dos romances aqui denominados canudenses. Desse conjunto de obras, apresentamos, num primeiro momento, alguns aspectos relevantes de romances publicados no período de 1898 a 2006. Estes traçam uma trajetória da temática desde as modalidades tradicionais (LUKÁCS, 1977), passando pelas releituras críticas dos novos romances históricos e metaficções (AÍNSA, 1988, 1991; MENTON, 1993; HUTCHEON, 1991) até as escritas atuais voltadas à mediação (FLECK, 2007, 2008, 2011). São eles: Os jagunços (1898), de Afonso Arinos; João Abade (1958), de João Felício dos Santos; A casca da serpente (1989), de José J. Veiga; Canudos as memórias de frei João Evangelista de Monte Marciano (1997), de Ayrton Marcondes; Veredicto em Canudos (2002) de Sándor Márai; e Luzes de Paris e o fogo de Canudos (2006), de Angela Gutiérrez. Num segundo momento, voltamo-nos à análise de La guerra del fin del mundo (1981), de Mario Vargas Llosa, e O pêndulo de Euclides (2009), de Aleilton Fonseca, a fim de demonstrar distintos vieses relativos à evolução das abordagens sobre essa temática em comum. Nesse corpus buscamos evidenciar as estratégias utilizadas pelos romancistas para propiciar as confluências da história e da ficção, assim como os recursos narrativos empregados nesse processo de releitura do passado pela arte romanesca que vão além dos conflitos da própria guerra.

Made available in DSpace on 2017-07-10T18:55:42Z (GMT). No. of bitstreams: 1 Adenilson Albuquerque.pdf: 852661 bytes, checksum: c90248fc854c849e3833a5639db54824 (MD5) Previous issue date: 2013-03-07 / Fundação Araucária / El estudio aquí expuesto presenta la lectura de narrativas que, en el umbral entre la ficción y la historia, focalizan la urdidura de sus tramas en una temática común: la Guerra de Canudos. Apoyados en los presupuestos teóricos relacionados con las escritas de la historia en confluencia con la ficción y la memoria, bien como en estudios direccionados a las modalidades de novelas históricas desarrolladas a partir del siglo XIX hasta la actualidad, procuramos establecer un recurrido que embase la lectura de las novelas aquí denominadas canudenses. En ese conjunto de obras buscamos, en un primer momento, presentar algunos aspectos relevantes de novelas publicadas en el período de 1898 hasta 2006. Tales novelas establecen una trayectoria de la temática que va desde los modelos tradicionales (LUKÁCS, 1977), pasando por las relecturas críticas de las nuevas novelas históricas y metaficciones (AÍNSA, 1988, 1991; MENTON, 1993; HUTCHEON, 1991) hasta las escrituras actuales vueltas a la mediación (FLECK, 2007, 2008, 2011). Son ellas: Os jagunços (1898), de Afonso Arinos; João Abade (1958), de João Felício dos Santos; A casca da serpente (1989), de José J. Veiga; Canudos as memórias de frei João Evangelista de Monte Marciano (1997), de Ayrton Marcondes; Veredicto em Canudos (2002) de Sándor Márai; y Luzes de Paris e o fogo de Canudos (2006), de Angela Gutiérrez. En un segundo momento, nos volvemos al análisis de La guerra del fin del mundo (1981), de Mario Vargas Llosa, y O pêndulo de Euclides (2009), de Aleilton Fonseca, con la finalidad de demostrar distintos grados relativos a la evolución de los abordajes sobre esa temática común. En ese corpus buscamos evidenciar las estrategias utilizadas por los novelistas para propiciar las confluencias de la historia y de la ficción, así como los recursos narrativos empleados en ese proceso de relectura del pasado por el arte novelesco que van más allá de los conflictos de la propia guerra / Este estudo apresenta a leitura de narrativas que, no limiar entre a ficção e a história, focalizam a urdidura de seus enredos numa temática comum: a Guerra de Canudos. Apoiados nos pressupostos teóricos relativos às escritas da história em confluência com a ficção e a memória, bem como em estudos direcionados às modalidades de romances históricos desenvolvidos a partir do século XIX até a atualidade, procuramos estabelecer um percurso que embase a leitura dos romances aqui denominados canudenses. Desse conjunto de obras, apresentamos, num primeiro momento, alguns aspectos relevantes de romances publicados no período de 1898 a 2006. Estes traçam uma trajetória da temática desde as modalidades tradicionais (LUKÁCS, 1977), passando pelas releituras críticas dos novos romances históricos e metaficções (AÍNSA, 1988, 1991; MENTON, 1993; HUTCHEON, 1991) até as escritas atuais voltadas à mediação (FLECK, 2007, 2008, 2011). São eles: Os jagunços (1898), de Afonso Arinos; João Abade (1958), de João Felício dos Santos; A casca da serpente (1989), de José J. Veiga; Canudos as memórias de frei João Evangelista de Monte Marciano (1997), de Ayrton Marcondes; Veredicto em Canudos (2002) de Sándor Márai; e Luzes de Paris e o fogo de Canudos (2006), de Angela Gutiérrez. Num segundo momento, voltamo-nos à análise de La guerra del fin del mundo (1981), de Mario Vargas Llosa, e O pêndulo de Euclides (2009), de Aleilton Fonseca, a fim de demonstrar distintos vieses relativos à evolução das abordagens sobre essa temática em comum. Nesse corpus buscamos evidenciar as estratégias utilizadas pelos romancistas para propiciar as confluências da história e da ficção, assim como os recursos narrativos empregados nesse processo de releitura do passado pela arte romanesca que vão além dos conflitos da própria guerra

The work will focus on the comparison of Maria Vargas Llosa's autobiographical novel Aunt Julia and the Scriptwriter (La Tía Julia y el escribidor, 1977), where its one half tells a story of his marriage to his "aunt" and the other half presents fictional radio stories, and the autobiographical text What Varguitas didn't say (Lo que Varguitas no dijo, 1983), which is a response to this book, in which the author Julia Urquidi wrote her own version of the relationship with Mario Vargas Llosa. The work focuses on the differences between these two books, which tell the story of the same relationship, but from a different perspective. It will analyze the literary character of both works and with it the intention of both authors during the construction of their books. The work will analyze the composition, time, narrator and style of both books. Especially in the novel Aunt Julia and the Scriptwriter, it focuses on the author's play with autobiographical and fictional elements. The work tries to find an answer to the question of how much fiction can be combined with reality and to what extent it can be used in an autobiographical text and vice versa. The work also analyzes the text of Julia Urquidi and places it in the context of the work of Mario Vargas Llosa.

(anglicky): The Peruvian author Mario Vargas Llosa (*1936) enjoys a high level of popularity in the Czech Republic. This is demonstrated by the number of translators, who focused on his work. A few of the translators translated more than one of his works (Vladimír Medek, Jana Novotná, Anežka Charvátová), however, most of them only translated one of his books, such as Alena Šimková (Death in the Andes) or Petr Zavadil (The Feast of the Goat). The first part of this thesis offers an exhaustive overview of the author's works, which have been translated into the Czech language, as well as an evaluation of the ways Czech readers got familiarized with his works and how their interest developed. In the next part, the thesis focuses on a specific translation of Death in the Andes by Alena Šimková. The commentary is based on a translatological analysis of the work with a focus on comparative analysis of the original and the translation; we will further try to determine whether the translator based her work on an existing English translation, and whether and how she follows up on previous translations of Vargas Llosa's works, with a focus on recurring characters and motives. In the conclusion of the thesis, we will attempt to map out the changes to the publishing market in the Czech Republic after 1989.

El presente trabajo estudia la ideología de los discursos narrativos de las novelas del escritor peruano Mario Vargas Llosa Conversación en La Catedral e Historia de Mayta. La manera en que cada discurso trata y expone, a través de los sucesos de sus historias, las diferentes ideologías políticas que selecciona es también una manera de expresar una opinión política, y por ende de poseer una ideología. Hemos abordado diferentes definiciones de ideología extraídas de Eagleton (1997) para tener una amplitud teórica en cuanto al tema. Mientras que para el análisis discursivo, entre otros, destacamos los aportes del semiólogo Umberto Eco (1976 &1979) y sus conceptos de autor modelo y lector modelo que nos han permitido desarrollar el análisis a un nivel textual. Mientras que en Conversación en La Catedral hay un discurso con una clara posición ideológica de izquierda, en Historia de Mayta sucede todo lo contrario e incluso el discurso llega a hacer proselitismo anti-izquierda. Hay un cambio de ideología entre uno y otro discurso que se desprende del análisis del contexto en torno a los tratamientos y a las funciones de los principales personajes de ambas novelas.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura.

This dissertation examines the presence of postmodern episteme in the Spanish American narrative discourse at the threshold of the 21st century with an emphasis on three writers: Carlos Fuentes Macias, Mario Vargas Llosa and Leonardo Padura Fuentes. Those authors are representative figures of this literary period in different regions, and they have written novels considered by the critique as postmodern. In their novels, this episteme is present in particular characteristics from this aesthetic and literary period, mostly the theoretical principles of Jean Francois Lyotard, Fredric Jameson, Jean Baudrillard, Umberto Eco, Michael Foucault, Paul Ricoeur, Brian McHale, Nicholas Zurbrugg, Ihab Hassan, Linda Hutcheon, Raymond Williams and Seymour Menton. All of these postmodern theories are reflected in the strategies and mechanisms used by these leading Latin American narrators and in the meaning that is conveyed through the novelistic discourse and how they point to the philosophical, aesthetical, and pragmatic cosmovision from this period. Chapter I functions as a theoretical approach to characteristics of Modernity, Postmodernity and their literary implications. Therefore, this study offers an outlook about what Postmodernity is from the sociological and anthropological points of view; what their key characteristics are; who the fundamental theorists are both in the international and Spanish American context; how Postmodernist‘s influence on art postulates a new aesthetic paradigm: the postmodern; and what formal, thematic and hermeneutic changes it has generated in the narrative genre. Finally, a critique and a personal stance in this polemic are offered. Chapters II, III and IV examine specifically the strategies and mechanisms used by these authors -Carlos Fuentes Macias, Mario Vargas Llosa and Leonardo Padura- to construct the postmodern narrative discourse in their respective novels -La silla del Águila, for Fuentes; La fiesta del chivo, for Vargas Llosa; and La novela de mi vida, for Padura-. These chapters disclose the presence of this episteme in the above mentioned works. The epilog concludes this study by pointing out the common characteristics of postmodernity present in each novel, and, in more general terms, the characteristics of this major Spanish American literary period in the narrative.

Thesis (B.A.)--Haverford College, Dept. of Spanish, 2009. / Includes bibliographical references.