Dissertação apresentada ao Programa de Pós- Graduação Interdisciplinar em Estudos Latino- Americanos da Universidade Federal da Integração Latino-Americana, como requisito parcial à obtenção do título de Mestre em Estudos Latino-Americanos. Orientador : Prof. Dr. Johnny Octavio Obando Morán / Submitted by Abraham Vargas Bautista (abrahamvbster@gmail.com) on 2017-06-15T21:46:37Z No. of bitstreams: 2 TESIS Abraham Vargas.pdf: 586807 bytes, checksum: 1d3c1871f083403c9a56b4e11da53397 (MD5) acta de defensa.pdf: 615439 bytes, checksum: c7912256641f977ca20f59909449d492 (MD5) / Approved for entry into archive by Nilson Junior (nilson.junior@unila.edu.br) on 2017-06-19T13:51:08Z (GMT) No. of bitstreams: 2 TESIS Abraham Vargas.pdf: 586807 bytes, checksum: 1d3c1871f083403c9a56b4e11da53397 (MD5) acta de defensa.pdf: 615439 bytes, checksum: c7912256641f977ca20f59909449d492 (MD5) / Made available in DSpace on 2017-06-19T13:51:08Z (GMT). No. of bitstreams: 2 TESIS Abraham Vargas.pdf: 586807 bytes, checksum: 1d3c1871f083403c9a56b4e11da53397 (MD5) acta de defensa.pdf: 615439 bytes, checksum: c7912256641f977ca20f59909449d492 (MD5) Previous issue date: 2017-03-28 / The work of Edgardo Rivera Martínez is characterized by his bringing into fiction his personal experiences, especially those of his childhood and adolescence in his hometown, Jauja, located in the central Andes. This work deals with the first two novels of the author, because in them - especially in País de Jauja - is portrayed a mestizo society that has managed to incorporate European knowledge while keeping the Andean identity alive. It is interesting the narrative of this author, especially because Latin American literature always - or generally - has represented the struggle of native cultures in maintaining their identity, which is threatened by the irruption of the 'white man' (European, or mestizo). In the work of this novelist from Jauja such a struggle is not present; conversely, the Andean subject freely incorporates foreign knowledge and even - if necessary - uses them to express their Andean identity. Here the notion of utopia has no relation with a society without hierarchies or with a perfect social organization; but rather to the capacity of a society -Jauja, in this case- to be able to actively assimilate, and in freedom, Western culture. In both novels, the commitment is to the mestizaje, but not the one that demands the loss of the Quechua identity, but a type of mestizaje in which it is possible to distinguish the seal of the native culture. Finally, we indicate that our study intends to understand why Jauja stands as that emblematic space of the ideal mestizaje, and also we want to put in debate the originality of the author's proposal, which has been celebrated by the critic and defined as a sample of what an integrated Peru would be like. / La obra de Edgardo Rivera Martínez se caracteriza por llevar a la ficción sus experiencias personales, sobre todo las de su niñez y adolescencia en su ciudad natal, Jauja, ubicada en los Andes centrales. Este trabajo aborda las dos primeras novelas del autor, pues en ellas -sobre todo en País de Jauja- se retrata una sociedad mestiza que ha conseguido incorporar los conocimientos europeos manteniendo viva la identidad andina. Resulta interesante la narrativa de este autor, sobre todo porque la literatura latinoamericana siempre -o generalmente- ha representado la lucha de las culturas nativas por mantener su identidad, la cual se ha visto amenazada por la irrupción del ‘hombre blanco’ (europeo, o mestizo). En la obra de este novelista jaujino no se ve tal lucha, muy por el contrario, el sujeto andino incorpora libremente los conocimientos extranjeros e incluso -de ser necesario- los utiliza para expresar su identidad andina. Aquí, la noción de utopía no está asociada a una sociedad sin jerarquías o con una organización social perfecta; sino más bien, a la capacidad de una sociedad -Jauja en este caso- de conseguir asimilar activamente, y en libertad, la cultura occidental. En ambas novelas, la apuesta es por el mestizaje, pero no el que exige la pérdida de la identidad quechua, sino un tipo de mestizaje donde se consiga distinguir el sello de la cultura nativa. Finalmente, indicamos que nuestro estudio se propone entender por qué Jauja se erige como ese espacio emblemático del mestizaje ideal, y también deseamos colocar en debate qué tan novedosa es esta propuesta del autor, la cual ha sido celebrada por la crítica y definida como una muestra de cómo sería un Perú integrado.

The Science of Empire is a cultural history of ideas that examines the science of empire in the eighteenth-century Hispanic World through studying the political economy reforms and natural history investigations of Bishop Martínez Compañón of Trujillo, Peru. Martínez Compañón was a model enlightened prelate who imagined reform initiatives in mining, city life, and education that would improve the lives of his diocesans and increase the profits they brought to the Spanish crown. My work shows how these reforms reflected the political economy theories of leading Enlightenment intellectuals from Spain and throughout Europe, especially in how they viewed commerce as an agent of civilization and sociability. At the same time, Martínez Compañón also created a large collection of natural and man-made specimens and artifacts, and created nine volumes of watercolor illustrations of the people, plants, and animals of Trujillo. These material and visual sources in order to show how his natural history reflected the same pragmatic ideologies as his political economy. When viewed as an organic whole, his efforts in Trujillo constitute a complete program of governance -- or a science of empire -- that was distinctly Hispanic, yet highly attuned to other imperial programs throughout the Atlantic world. / text

This master’s report presents a literary criticism of the novel ¡Caramba! by Nina Marie Martínez that attends to both genre and mass culture theory. The novel, when recognized as a multigenre text consisting of both chick lit and Chicano literature conventions, reveals how informal economies employ methods of cultural appropriation in order to articulate an oppositional voice. In particular, Martinez’s literary intervention of the trademark symbol subverts dominant forms of consumption (and genre) to expose how her protagonists emerge as subjective, discerning consumers in her fictional Californian town. / text

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Made available in DSpace on 2016-04-01T17:54:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-10-23. Added 1 bitstream(s) on 2016-04-01T18:00:34Z : No. of bitstreams: 1 000860183.pdf: 1354965 bytes, checksum: 1e382fc2f7e81a689fb336861ebb8740 (MD5) / Programa de apoio a estudantes de Doutorado do Estrangeiro PAEDEX-UNESP em colaboração com a AUIP / Esta pesquisa propõe a análise da construção do corpo de Evita no romance Santa Evita, de Tomás Eloy Martínez, tendo como foco a decisiva atuação narrativa baseada nas experiências recuperadas tanto do corpo vivo quanto do corpo embalsamado de Evita, presentes nesse romance. O escritor argentino reconstrói, com a ajuda dos diferentes elementos narrativos, um corpo vivo em que a vida adquire poder, mas, também, um corpo morto com um poder ainda maior. Assim, a incidência do corpo na História argentina, apresentada no romance, demarca as rotas sociais na imagem corporal de Evita para filtrá-la, através da literatura, pelas lembranças das testemunhas que a conheceram em diferentes momentos. A construção do corpo é concebida, no romance, pelas diferentes estratégias narrativas que o autor usa para lograr seu propósito. Assim, o objetivo desta dissertação é pesquisar as diversas construções literárias que o autor faz: primeiro explorando a construção de um corpo vivo para chegar à construção de um corpo embalsamado depois de muito tempo. Será analisada, portanto, a maneira pela qual o autor constrói os diferentes tipos de corpos de Evita, usando para isso, o estudo das diversas estratégias narrativas / This research proposes the analysis of Evita's body building in Tomás Eloy Martínez's novel, Santa Evita, focusing on the narrative decisive action based on the experiences retrieved from both, the alive and the embalmed Evita's body, present in this novel. The Argentine writer reconstructs it helped by different narrative elements, an alive body full of power, but also a dead body with an even greater power. Thus, the incidence of the body in Argentine history presented in the novel marks the social routes in body image of Evita to filter it through literature, the memories of witnesses who knew her at different times. The body construction is designed, in the novel, by the different narratives strategies that the author uses to achieve his purpose, therefore, the aim of this work is to research the different literary constructions made by the author, first exploring the construction of an alive body to get the construction of an embalmed body after a long time. It is analyzed the way in which the author constructs the different types of bodies by using multiple narrative strategies

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

[EN] This research assumes that all consistent architecture has always a theoretical substrate that moves the architect to design and build. Establishing relations between the world of the design creative action concerns and materially defined architectural forms, is a work step that arises in many architects, including the figure of Juan Navarro Baldeweg. The underlying mechanisms that hide in the surrounding nature and physical forms that move our creative impulses, are originated in advance in the same way for all branches of art, creating the link between them. The graphic expression as focal point of the ideas that arise in the design process is a key element not only in the formal image of what is supposed to be projected, but in the materiality and composition of the elements that organize the volumes and spaces of the architectural project. The first sketches, the first ideas spring from the hand of the designer, full of implicit symbolism that is sometimes impossible to be detected by the observer. They are intrinsic functions in project and gestural form of the architect's mind, which are created from the place, the environment, the site conditions of the object or from the author's own emotional state. Is it legitimate to conclude that all the arts start from the same origin and in its subsequent development are interrelated and linked by the same behavioural mechanisms? Is our hand, as an extension of the idea, the cause of this integration of the arts? Do phenomenological variables affect in the same way to painting, sculpture, architecture when dealing in the search for the real? With this hypothesis, my first goal is to try to achieve, under the figure of the architect, painter, essayist and sculptor Juan Navarro Baldeweg, this preconception of artistic work where all the arts are related and intertwined in the early stages of its genesis, the birth of the idea, embodied by the architect's hand from the very first almost physiological approaches, influenced by the energies that are related to them. / [ES] Esta investigación parte del supuesto de que toda arquitectura coherente tiene siempre un sustrato teórico que mueve al arquitecto a proyectar y a construir. Establecer las relaciones entre el mundo de las inquietudes plásticas proyectuales y las formas arquitectónicas definidas materialmente, es una labor de paso que surge en muchos arquitectos y entre ellos en la figura de Juan Navarro Baldeweg. Los mecanismos implícitos que se esconden en la naturaleza que nos rodea y en las formas físicas que mueven nuestros impulsos creativos, se originan a priori de la misma manera para todas las ramas del arte, creando ese vínculo entre ellas. La expresión gráfica como elemento articulador de las ideas que surgen en el proceso proyectual, es un elemento determinante, no sólo en la imagen formal de aquello que pretende ser proyectado, sino en la materialidad y composición de los elementos que organizan los volúmenes y espacios del proyecto arquitectónico. Los primeros bocetos, las primeras ideas, surgen de la mano del proyectista, cargadas de un simbolismo implícito que a veces es imposible detectar por parte del observador; son nociones intrínsecas en la forma proyectual y gestual del propio arquitecto, que nacen del lugar, del entorno, de las condiciones del emplazamiento del objeto o del propio estado emocional del autor. ¿Es quizá entonces lícito pensar que todas las artes parten de un mismo origen y que en su desarrollo posterior, se ven interrelacionadas o enlazadas por los mismos mecanismos conductuales?, ¿es la mano, como prolongación de la idea, la causante de esta integración de las artes?, ¿afectan de la misma manera a la pintura, escultura, arquitectura, las variables fenomenológicas a la hora de enfrentarse en la búsqueda de lo real? Con estas hipótesis de partida, mi primer objetivo es intentar alcanzar, bajo la figura del arquitecto, pintor, ensayista y escultor, Juan Navarro Baldeweg, esa pre-concepción de la obra artística en donde todas las artes se relacionan y entrelazan en los primeros compases de su génesis, el nacimiento de la idea, materializada mediante la mano en primeras aproximaciones casi fisiológicas, influenciadas por las energías que le son afines. / [CA] Esta investigació part del supòsit que tota arquitectura coherent té sempre un substrat teòric que mou a l'arquitecte a projectar i a construir. Establir les relacions entre el món de les inquietuds plàstiques proyectuales i les formes arquitectòniques definides materialment, és una labor de pas que sorgix en molts arquitectes i entre ells en la figura de Juan Navarro Baldeweg. Els mecanismes implícits que s'amaguen en la naturalesa que ens rodeja i en les formes físiques que mouen els nostres impulsos creatius, s'originen a priori de la mateixa manera per a totes les branques de l'art, creant eixe vincle entre elles. L'expressió gràfica com a element articulador de les idees que sorgixen en el procés proyectual, és un element determinant, no sols en la imatge formal d'allò que pretén ser projectat, sinó en la materialitat i composició dels elements que organitzen els volums i espais del projecte arquitectònic. Els primers esbossos, les primeres idees, sorgixen de la mà del projectista, carregades d'un simbolisme implícit que a vegades és impossible detectar per part de l'observador; són nocions intrínseques en la forma proyectual i gestual del propi arquitecte, que naixen del lloc, de l'entorn, de les condicions de l'emplaçament de l'objecte o del propi estat emocional de l'autor. ¿És potser llavors lícit pensar que totes les arts partixen d'un mateix origen i que en el seu desenrotllament posterior, es veuen interrelacionades o enllaçades pels mateixos mecanismes conductuales?, ¿és la mà, com a prolongació de la idea, la causant d'esta integració de les artes?, ¿afecten de la mateixa manera a la pintura, escultura, arquitectura, les variables fenomenològiques a l'hora d'enfrontar-se en la busca de la realitat? Amb estes hipòtesis de partida, el meu primer objectiu és intentar aconseguir, davall la figura de l'arquitecte, pintor, assagista i escultor, Juan Navarro Baldeweg, eixa preconcepció de l'obra artística on totes les arts es relacionen i entrellacen en els primers compassos de la seua gènesi, el naixement de la idea, materialitzada per mitjà de la mà en primeres aproximacions quasi fisiològiques, influenciades per les energies que li són afins. / Martínez Díaz, JE. (2016). Poéticas y Energías de la mano: Aproximaciones y análisis teóricos aplicados a la génesis de la obra arquitectónica y pictórica de Juan Navarro Baldeweg [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62409

La littérature moderniste est musicale par essence. Elle souhaite éveiller des sensations chez le lecteur : le recours à la musique, art suggestif par antonomase, crée l’allusion. Comment sertir la musique dans la littérature ? Stéphane Mallarmé propose de « précéder les effets de la musique en redéfinissant celle-ci ‘d’où elle point’ » . Si l’art musical est naturellement porté par le poème, qu’en est-il de la prose ? En Espagne, Ramón María del Valle-Inclán offre un exemple probant de prose musicale dans ses Sonatas. Est-ce là tout ? Le projet mallarméen n’a-t-il pas rencontré d’écho parmi d’autres prosateurs espagnols ? Certes, l’intention y est ; les histoires de la littérature le confirment mais ne s’y attardent pas. Notre travail est donc double : il s’agit d’abord de retrouver des œuvres en prose modernistes espagnoles puis de les analyser par le prisme musical pour voir comment est saisi ce projet de fusion des arts. L'étude révèle que la musique de la prose, parfois imperceptible, raffine les sensations et sensibilise le lecteur à l’élégance, au rythme ou au phrasé d’un syntagme. En somme, la musique intérieure devient une propédeutique à l’ineffable. En creux de ce projet se dessine le rôle du poète dans la société. Celui-ci se présente comme un prêtre des temps modernes. Pourtant, le mythe auquel il tente de souscrire semble désincarné : sensible aux réalités de son époque, en quête d’un public féru de naturalisme, l’écrivain espagnol ne s’engage pas pleinement. Sa prose, hésitante, est souvent mièvre : cela explique qu’elle soit passée inaperçue aux yeux de l’histoire. / Modernist literature is by essence musical. It is meant to arouse the reader’s senses: the use of music, a suggestive art by excellence, creates the allusion. How can one insert music in literature? Stéphane Mallarmé suggests to precede the effects of music by redefining it from its origin. If the art of music is naturally expressed through a poem, how about through prose? In Spain, Ramón María del Valle-Inclán offers a prime example of musical prose in his Sonatas. Is this all that can be expected? Has there been no other echo of Mallarmé’s project in Spanish prose? Certainly the intention to do so exists; histories of literature confirm this intention but nothing more. Our work is going to be twofold: first we need to find Spanish modernist prose works, and then analyze these works through the prism of music in order to understand how the fusion of these arts (music and prose) is realized. The analysis reveals that the music of the prose, sometimes imperceptible, sharpens the senses and makes the reader more sensitive to the elegance, to the rhythm and the phrasing of a syntagm. In other words, the inner music paves the way to the ineffable. The poet’s role in society is described within this project. He presents himself as a modern times priest. Yet the myth to which he tries to subscribe lacks substance: sensitive to the realities of his time, in search of an audience keen on naturalism, the Spanish writer is not fully implicated. His prose is hesitant, often corny: this explains why it has passed unnoticed in history.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2015. / Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2015-10-28T10:54:18Z No. of bitstreams: 1 2015_LucianaMedeirosTeixeira.pdf: 3312314 bytes, checksum: edcb29a3ccb58e2cf8e47f85f5aef2e8 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2015-10-28T17:41:09Z (GMT) No. of bitstreams: 1 2015_LucianaMedeirosTeixeira.pdf: 3312314 bytes, checksum: edcb29a3ccb58e2cf8e47f85f5aef2e8 (MD5) / Made available in DSpace on 2015-10-28T17:41:09Z (GMT). No. of bitstreams: 1 2015_LucianaMedeirosTeixeira.pdf: 3312314 bytes, checksum: edcb29a3ccb58e2cf8e47f85f5aef2e8 (MD5) / O propósito desta dissertação foi analisar, a partir de uma narrativa ficcional, como um cadáver pode despertar uma onda de fanatismo e violência e simbolizar o destino de uma nação. Igualmente buscamos refletir sobre os resquícios do período ditatorial nas primeiras décadas do século XXI por meio do cruzamento entre ficção, história e discurso político. Para tanto, analisamos o romance Santa Evita, do jornalista e escritor argentino Tomás Eloy Martínez. Partimos, primeiramente, do estudo do contexto histórico no qual se insere a narrativa para, assim, considerar a violência do período, o tratamento dado à memória, os resquícios do estado de exceção que sobrevivem na contemporaneidade e seu cruzamento com a literatura latino-americana. Logo, passamos para o estudo das representações de Eva Perón presentes na narrativa e suas utilizações na política, assim como sua relação com o mito fundador argentino, para chegarmos, enfim, à análise da violência infligida a seu corpo morto. Percebemos, na narrativa de Santa Evita, seu corpo roubado como um lugar de violência e de resistência ao regime ditatorial. Evita como vítima e desaparecida prefigura, dessa forma, a repressão posterior dos anos 60, 70 e 80. Ela é a primeira dos 30 mil mortos e desaparecidos políticos da última ditadura argentina. Na obra, Evita é a metáfora do poder, mas também da resistência contra seus abusos. / This dissertation’s purpose was to analyze, from a fiction narrative, how a corpse can arouse a wave of fanaticism and violence and symbolize a nation’s destiny. We also sought to reflect on the remnants of the dictatorial period in the first decades of the twenty-first century through the crossing between fiction, history and political discourse. Therefore, we analyzed the novel Santa Evita, from the Argentine journalist and writer Tomás Eloy Martínez. First we set out the study of the historical context in which the narrative is inserted to thus consider the period’s violence, the treatment given to memory, the state of exception’s vestiges that survive in contemporary times and its intersection with Latin American literature. Then we moved on to the study of Eva Perón’s representations present in the narrative and its uses in politics as well as its relationship with the Argentine myth founder to reach, finally, the analysis of violence towards her dead body. We realize, in Santa Evita’s narrative, her stolen body as a place of violence and resistance to the dictatorial regime. Evita as a victim and missing prefigures, thereby, the subsequent repression of the 60s, 70s and 80s. She’s the first of 30.000 political dead and missing of the last Argentine dictatorship. In the book, Evita is the power’s metaphor, but also resistance against its abuses.