Thesis (Ph. D.)--University of South Carolina, 1991. / Includes bibliographical references (p. 179-185).

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Paraíso, Caída y Regeneración en tres novelas chicanas is a detailed literary analysis of three well-known chicano novels: Pocho, Bless Me, Ultima and Peregrinos de Aztlán. The approach is the utilization of the "paradise-fall-regeneration" pattern as a means to study the three stages of the principal characters' development. By identifying and characterizing this process within each of these novels, this writer acquires a better understanding as to what constitutes the characters' self-perception as well as their relation to the reality around them. This fictitious representation of Chicano life in turn sheds light on the three novelists' perceptions of what Chicano reality is and how it is reflected in their works. Pocho is a clear manifestation of the "fall" from Mexican traditional culture. The old characters* geographic and spiritual removal from what they consider the paradisal state and the slow eroding process of their cultural system is what the novel is about. Although the characters make a vain attempt at the preservation of these values, the defeat is clearly manifested in their children's acculturation, especially in the protagonist, Richard. At the end of the novel there is no indication that the characters attain some sort of regeneration. On the contrary, there is only chaos, a disintegrated marriage, and a psychologically disoriented protagonist. Bless Me, Ultima offers a much broader view of the "paradise-fall-regeneration” pattern and appears on various planes. Culture, from the protagonist's point of view, is not seen as conflict or as a fall but as an affirmation of cultural roots. Paradisal remnants of the New Mexican heritage are still manifest in contemporary life; thus, the fall is no more than the protagonist's coming of age. This fallen state is temporary and at the end of the novel the protagonist gathers all the knowledge acquired through his life experience and builds a positive world view. This new stage in life is what represents regeneration. Moreover, the incursion into the ancestral roots of New Mexican culture and the knowledge acquired in the writing of the novel is in itself an act of regeneration for the author. In this manner, the regenerative state in Bless Me, Ultima is also represented outside its fictitious boundaries. Peregrinos de Aztlán is by far the most complex of the three novels. It also represents the extreme "fall" of man. There is no paradise for the characters but a continuous degeneration of humanity on every conceivable plane. For the characters there is no salvation and human life can well be considered hell. Paradise is characterized by dreams and illusions which serve to help tolerate the dehumanizing existence of the characters. The regenerative state, consequently, is non-existent within the world of Peregrinos de Aztlán. Nevertheless, the work itself is an act of regeneration for the author and for the Chicano Movement because it is an act of rebellion. Méndez exposes a realistic condition of the two societies in which Chicanos live and offers the Chicano perspective of himself and his circumstance. His novel's importance is as great as Rudy Acuña's Occupied America in the area of the history of Chicanos in the Southwest. This dissertation has been written entirely in Spanish.

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-20T03:48:21Z (GMT). No. of bitstreams: 1 Bueno_ThaisRibeiro_M.pdf: 823992 bytes, checksum: c6729e69eab67c4473cd6a137925372d (MD5) Previous issue date: 2012 / Resumo: Historicamente, a tradução tem sido pensada em função de pares dicotômicos (original/tradução; autor/tradutor; domesticação/estrangeirização; língua-fonte/línguaalvo), raciocínio que revela a crença na possibilidade de uma língua homogênea e estanque. Contudo, em comunidades cuja política e sociedade são fortemente marcadas por fatores de heterogeneidade étnica e linguística, tal crença fica abalada, sobretudo, quando se nota a enorme diversidade de línguas decorrente dessa heterogeneidade, tanto nas interações entre os falantes quanto na literatura. Esse é o caso da literatura chicana, que constitui o corpus desta pesquisa, sendo representada por Gloria Anzaldúa e Rolando Hinojosa, autores de Borderlands/La Frontera - The New Mestiza e Dear Rafe/Mi Querido Rafa, respectivamente. Tais obras, guardadas suas singularidades, apresentam marcas de heterogeneidade linguística (a escrita construída a partir do inglês, do espanhol e até mesmo do nahuatl, língua falada no império asteca; o codeswitching [ou alternância de código]; o braiding languages [ou entrelaçamento de línguas]; a subversão dos limites dos gêneros textuais) que desafiam qualquer projeto tradutório que se paute por noções tradicionais de língua e tradução. Com base nesse panorama, analisamos neste trabalho as possibilidades de reflexão que as obras do corpus podem oferecer ao campo dos estudos da tradução e as consequências de tal reflexão para a ética e para o tradutor (se é possível pensarmos em um único perfil). Tal reflexão é feita com base em conceitos e ideias propostos por linguistas, tradutores e teóricos da tradução de linha pós-estruturalista, tais como Lawrence Venuti, Kanavillil Rajagopalan e Alexis Nouss, pensadores de orientação pós-moderna, como Jacques Derrida, e teóricos de linha pós-colonialista, como Homi Bhabha / Abstract: Translation theories have been historically based on dichotomies (original/translation; author/translator; domestication/foreignisation; source language/target language). Such discourse unveils the belief in the possibility of linguistic homogeneity. Nevertheless, such belief becomes unsustainable in communities which politics and society are expressly marked by ethnic and linguistic heterogeneity issues, and mainly by the enormous range of linguistic diversity due to such heterogeneity, among speakers and in the literature. Chicano literature is an example, and two of the major Chicano works constitute the corpus of this research: Gloria Anzaldúa's Borderlands/La Frontera - The New Mestiza and Rolando Hinojosa's Dear Rafe/Mi Querido Rafa. Besides their own singularities, these two books are marked by linguistic heterogeneity (the writing is based on English, Spanish and Nahuatl, originally spoken in the Aztec empire; the codeswitching, the braiding languages; the transgression of genre boundaries) and defy any attempt of translation based on traditionalist language conceptions. Based on that, we propose an analysis of how the corpus of this research allows new possibilities of thinking translation and the consequences of these analyses for a translation ethics and for the translator (if we can think in such terms). Such analysis is based on concepts and ideas proposed by poststructuralist linguists, translators and translation theorists such as Lawrence Venuti, Kanavillil Rajagopalan, and Alexis Nouss. We also base our study on the works of postmodern thinkers, such as Jacques Derrida, and postcolonialist writers, such as Homi Bhabha / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestre em Linguística Aplicada