Made available in DSpace on 2015-09-17T15:26:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-05-12. Added 1 bitstream(s) on 2015-09-17T15:45:46Z : No. of bitstreams: 1 000846829_20160512.pdf: 80284 bytes, checksum: 76625ac3cf888918744a213398559b72 (MD5) Bitstreams deleted on 2016-05-16T14:18:40Z: 000846829_20160512.pdf,. Added 1 bitstream(s) on 2016-05-16T14:19:21Z : No. of bitstreams: 1 000846829.pdf: 531823 bytes, checksum: f291e7a2efe85648b49501f5f53122e8 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O romance escolhido para análise é Pedro Páramo, do escritor mexicano Juan Rulfo, publicado em 1955. A obra de Rulfo é capaz de suscitar diversas leituras, tanto dos aspectos da vida social quanto da individual, concretizando-se como espaço de uma nova linguagem. Nesse sentido, o que se propõe é uma abordagem da relação entre a realidade e o mundo ficcional, a memória e o elemento sobrenatural no desenvolvimento da narrativa. Para tanto, o objetivo deste trabalho é estudar a obra Pedro Páramo a partir do viés do romance moderno hispano-americano e do real maravilhoso, valorizando o estudo das vozes que eclodem a todo momento no decorrer da narrativa. A pesquisa será realizada através de levantamento bibliográfico que terá como fontes os periódicos e bancos de dados de pesquisas virtuais, além de bibliotecas. A base teórica está centrada nas obras de Chiampi, Propp e Octavio Paz, bem como em outras que possam contribuir ao problema proposto. Assim, o estudo do mito, do contexto histórico, do narrador, do espaço, bem como da 'função' de leitor e da lírica na prosa de Rulfo também se fará presente. Importante atentarmos para o fato de todos esses aspectos possuírem pontos em comum quando relacionados e tratados dentro das vertentes elencadas, o romance moderno e o real maravilhoso. Dessa forma, traçar um paralelo e entrelaçar tais categorias é uma preocupação que está por trás do objetivo apresentado / La novela elegida para el presente análisis es Pedro Páramo, del escritor mexicano Juan Rulfo, publicada en 1955. La obra de Rulfo es capaz de suscitar diversas lecturas, tanto de los aspectos de la vida social como de la individual, concretizándose como el espacio de un nuevo lenguaje. En ese sentido, lo que se propone es un abordaje de la relación entre la realidad y el mundo ficcional, la memoria y el elemento sobrenatural en el desarrollo de la narrativa. De este modo, el objetivo de este trabajo es estudiar la obra Pedro Páramo a partir de la perspectiva de la novela moderna hispanoamericana y del real maravilloso, valorizando el estudio de las voces que surgen a cada momento en el transcurrir de la narrativa. La investigación se realizará sirviéndose de la consulta bibliográfica que tendrá como fuentes los periódicos y bancos de datos de investigaciones virtuales, además de las bibliotecas. La base teórica está centrada en las obras de Chiampi, Propp y Octavio Paz, así como en otras que puedan contribuir con el problema propuesto. Por lo tanto, el estudio del mito, del contexto histórico, del narrador, del espacio, así como de la 'función' del lector y de la lírica en la prosa de Rulfo también se hará presente. Es importante estar atentos para el hecho de que todos estos aspectos poseen puntos en común cuando se les relaciona y son tratados dentro de las vertientes abordadas, la novela moderna y el real maravilloso. De esa forma, trazar un paralelismo y entrelazar tales categorías es una preocupación que está latente por detrás del objetivo presentado

Made available in DSpace on 2015-05-14T12:39:42Z (GMT). No. of bitstreams: 1 ArquivoTotal.pdf: 2482105 bytes, checksum: 656877e99cf580645a5b72673fd4e8cf (MD5) Previous issue date: 2013-05-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation examines some elements of the complex spatiality in Pedro Páramo, verifying how these elements stablishes associations to the focus and structure of the only novel written by the Mexican writer Juan Rulfo. Our research is based on the correlation between space and focus and how the space is related to the structure of the text. We take into consideration the critical aproaches presented by Luis A. Brandão, Ozíris B. Filho among others who have studies based on topoanalysis. The story is told from the perspective of multiple narrators who have died, changing the settings of time and space that rules the novel, making it very atypical. These characteristics are strongly linked to the peculiar structure of the narrative and the behavior of the characters and narrators who offers a post mortem angle of their stories. Due to the breaking of barriers separating life and death, the characters move through several layers of time and space, doomed to pay his penalties indefinitely on Comala, the ghost town where the story is set. / Propomos, nesta dissertação, a análise de alguns dos elementos que compõem a complexa espacialidade presente em Pedro Páramo, verificando como esses elementos espaciais se relacionam com a focalização e a estruturação da narrativa do único romance do escritor mexicano Juan Rulfo. Nossa pesquisa contempla as relações entre espaço e focalização que está compreendida no terceiro modo da abordagem proposta por Luis A. Brandão, além de aspectos do segundo modo que relaciona o espaço e a estruturação do texto. Também estão contempladas as considerações críticas apontadas por Ozíris B. Filho sobre o espaço da narração e o espaço da narrativa. Por ser uma história contada sob a perspectiva de múltiplos narradores que já morreram, as configurações de tempo e espaço que regem o romance assumem características absolutamente atípicas. Tais características estão fortemente ligadas à peculiar estruturação da narrativa e ao comportamento das personagens e narradores que oferecem um ângulo post mortem de suas histórias. Devido ao rompimento das barreiras que separam vida e morte, as personagens se movimentam por diversas camadas de tempo e espaço, fadadas a se repetir ao pagar suas penas e reiterar a morte indefinidamente por Comala, cidade fantasma onde a narrativa está situada.

The journal América (Mexico City, 1940-1960) was founded as a leftist monthly focused on politically uniting Latin American and exiled Spanish youth and, by the end of its print life, was a semifrequent literary anthology sponsored by the Mexican government’s Secretaria de Educación Pública, publishing the early-career writings of Juan Rulfo, Rosario Castellanos, Rodolfo Usigli, and more. Despite its literary historical importance, the journal’s issues are not digitized nor are their contents publicly available; further, there is no library or archive that holds a complete collection of América’s issues. This index and editorial history catalogues the contents of sixty-nine of América’s seventy-four issues and gives a brief editorial and publication history of the journal.

Le monstre intrigue et fascine : il a été étudié, disséqué, et abondamment mis en scène dans des œuvres littéraires. Il reste pourtant mystérieux : nous retrouvons par exemple des monstres similaires dans des cultures éloignées sans aucun contact aussi bien temporellement que géographiquement. Mais si la tératologie est florissante dans de nombreux pays, cet engouement paraît être moins partagé lorsqu’il s’agit de la littérature mexicaine contemporaine car les monstres y sont moins analysés. Ils y sont pourtant présents et nombreux. Une grande partie de notre travail consiste à proposer une typologie des figures du monstre du folklore mexicain en regroupant ceux qui apparaissent dans des recueils de légendes ou des dictionnaires de créatures étranges. Cela permet de comprendre comment il est perçu dans la croyance populaire puis ensuite réutilisé par des auteurs d’œuvres fictionnelles.Le monstre est inscrit dans un imaginaire populaire collectif partagé d’abord oralement puis passé à l’écrit, et ainsi transmis en héritage aux générations futures. L’écriture littéraire s’inspire de cet héritage, ce qui crée une sorte d’hypertextualité entre l’imaginaire collectif présent dans les mythes et légendes, et l’imaginaire individuel de l’auteur par le biais de ses œuvres de fiction. Ce dernier réactive ces sources et même les modifie. L’intertextualité est aussi présente entre les fictions mexicaines et celles du reste du monde, ce qui nous invite à proposer une analyse littéraire comparatiste lorsque celle-ci est possible. Le but de ce travail est de déterminer à travers ces jeux d’écriture et ces inventions, les enjeux de ces figures du monstre dans la littérature mexicaine. / The monster intrigues and fascinates: he was studied, dissected, and abundantly staged in literary works. He remains nevertheless mysterious: we find for example similar monsters in distant cultures without any contact so temporarily as geographically. But if the teratology is prosperous in numerous countries, this craze appears to be less shared when it is the contemporary Mexican literature because monsters are less analyzed there. Nevertheless, they are present and numerous. A big part of our work consists in proposing a typology of the figures of the monster of the Mexican folklore by grouping those who appear in collections of legends or the dictionaries of strange creatures. It allows to understand how it is perceived in the popular belief and then reused by authors of fictional works.The monster is registered in a collective popular imagination, shared at first orally then passed to the paper, and transmitted in inheritance to the future generations. The literary writing is inspired by this inheritance, what creates a sort of hypertextuality between the present collective imagination in the myths and the legends, and the individual imagination of the author by means of its works of fiction. The latter revives these sources and even modifies them. The intertextuality is also present between the Mexican fictions and those besides of the world, what invites us to propose a comparative literary analysis when this one is possible. The purpose of this work is to determine through these sets of writing and these inventions, the stakes in these figures of the monster in the Mexican literature.

No description available.

This dissertation examines the link between sovereignty, law, community and (il)legal violence in 20th/21st century Mexican narratives associated with drug trafficking themes. The field of biopolitics provides ample pathways to explore the intersection of these concepts as they are portrayed in contemporary Mexican literature, music and film. Combining the theories of Michel Foucault, Roberto Esposito, Giorgio Agamben and Carl Schmitt, among others, this project analyzes the law and the sovereign, as well as the community and the narco within the spaces they inhabit as they enter in (violent) dialogue with each other. Furthermore, such relationship is viewed panoramically in three stages. First, I analyze the rise of a mythologized narco-sovereign and the creation of what could be conceptualized as Narcobiopolitcs, which materializes the moment the drug trafficker emerges into the Mexican collective imaginary and fights for a space for its own “community.” Second, narco-communities are allowed to thrive in the outskirts, cementing the figure of the narco-sovereign, a figure that challenges the power of the law. Lastly, the relationship between the law and the trafficker disintegrates due to an excess of violence and the communities they inhabit collapse, thus pointing to the fall of the (narco) community. The authors examined to explore these three phases are: Pablo Serrano, Yuri Herrera, Juan Pablo Villalobos, Gerardo Cornejo, Raúl Manríquez, Víctor Hugo Rascón Banda and Orfa Alarcón (literature); Gerardo Naranjo (film); Los Tucanes de Tijuana, Jenni Rivera, El Komander, Gerardo Ortiz and Los Tigres del Norte (music). The prologue provides a socio-historical context explaining the rise of drug trafficking violence in 20th century Mexico, as well as the current debate on narconarratives. It argues that such debate has yielded stagnating responses from academics and critics and specifies this project’s need to steer away from it. Chapter one offers the theoretical framework that will be utilized along the subsequent chapters in order to create a new space for dialogue surrounding these narratives. Chapter two analyses the rise of the mythologized figure of the narco-sovereign. The purpose of this entity is to create its own narco-community at the margins of the law, even though such community will always be under the Sovereign’s gaze. Chapter three showcases well-developed narco-communities who have managed to claim, through their narco-sovereigns, a space in their fight against the government institutions. Chapter four pinpoints the moment the relationship between legal and illegal violence collapses. This moment is portrayed in the narratives as the destruction of the community, with both entities (government and drug traffickers) responsible for such catastrophic downfall. Finally, the epilogue will conclude this dissertation by summarizing the main theoretical and analytical discussions, thus offering an opening to academic dialogue about narconarratives without the aim of sealing off the topic. Additionally, the epilogue will disclose research routes to undertake in the near future. / Spanish

Thesis (M.A.)--University of Wyoming, 2007. / Title from PDF title page (viewed on July 25, 2008). Includes bibliographical references (p. 83-84).

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-04-19Bitstream added on 2014-06-13T19:03:24Z : No. of bitstreams: 1 miranda_krm_dr_assis.pdf: 1053211 bytes, checksum: 65bda692a2ffe787ba40dff40b0b5c43 (MD5) / O presente trabalho consiste numa leitura comparada dos romances mexicanos Pedro Páramo (1955), de Juan Rulfo (1917-1986), e Como água para chocolate (1989), de Laura Esquivel (1950-), partindo da constatação de que essas narrativas são ambientadas na época da Revolução Mexicana (1910-1940), um dos movimentos sociais mais complexos e importantes da história latino-americana. Em Pedro Páramo, o personagem que dá nome ao romance é um cacique que domina toda uma região à custa de muita violência. Seu fim corresponde ao desmoronamento de uma estrutura social para a qual não havia mais lugar no novo país que estava surgindo com a Revolução. Em Como água para chocolate, impulsionada pelo desejo de romper com uma tradição familiar castradora, que a obrigava a ficar solteira para cuidar da mãe, a protagonista empreende uma trajetória de luta contra a submissão e o silenciamento impostos à mulher pela sociedade patriarcal. Sua luta tem êxito, simbolizando o movimento de conquista da mulher por um maior espaço de atuação social e emissão de sua voz. Dedicamos, em nossa leitura, especial atenção ao contorno dado à figura feminina e à rica simbologia evocada por elementos recorrentes nas narrativas, cuja exploração nos parece de grande importância na conformação do ponto de vista dos autores. Em síntese, nosso objetivo é examinar alguns pontos de aproximação e contraste entre os romances selecionados, a fim de refletir sobre as especificidades da leitura que cada um apresenta do México que emerge de suas páginas. Como resultado da análise, em linhas gerais, é possível constatar que Juan Rulfo configura um ponto de vista mais universalizante e pessimista, e Laura Esquivel, uma visão particularizadora e otimista / The present work consists of a comparative reading of the Mexican novels Pedro Páramo (1955), by Juan Rulfo (1917-1986), and Like water for chocolate (1989), by Laura Esquivel (1950-), starting from the ascertainment that these narratives are situated at the time of the Mexican Revolution (1910-1940), one of the most complex and important social movements of the Latin America history. In Pedro Páramo, the character that names the novel after himself is a chieftain who dominates an entire region at the expense of much violence. His death corresponds to the collapse of a social structure to which there was no place in the country that was arising with the Revolution. In Like water for chocolate, impelled by the desire of breaking with an emasculating familiar tradition that forced her to remain unmarried to take care of her mother, the female protagonist undertakes a trajectory of struggle against the submission and the silence imposed on the women by the patriarchal society. Her struggle is successful, symbolizing the women’s movement for the conquest of a larger space for social actuation and emission of their voices. In our reading we dedicated special attention to the outline of the female figure and the rich symbology evoked by recurrent elements in the narratives, the exploration of those seems to us to be of great importance in the conformation of the authors’ point of view. In short, our objective is to examine some points of approach and contrast between the selected novels in order to reflect on the specificities of the reading that each one of them shows about the Mexico that emerges from their pages. As the result of the analysis, in broad outline it is possible to ascertain that Juan Rulfo portrays a more universalizing and pessimistic point view and Laura Esquivel, a particularizing and optimistic view

The thesis follows a thematic line in selected works dealing with the celebration of the Day of the Dead and various manifestations of the Mexican attitude toward death. It focuses both on its alteration in time and on the sources from which Mexican perspective of the death, as a part of the national ideological construct, springs from (existentialism, rural fatalism, Mexican Revolution, "philosophy of the Mexican character", tradition of the calaveras poems and graphics). The studied writings or sectors, which the thesis deal with, are: Nahua's lyric poetry, tradition of the calaveras poems and graphics, the large metaphysic poem of José Gorostiza Death Without End; chosen chapters of the essayistic creation of Octavio Paz, Carlos Fuentes and Carlos Monsiváis; Juan Rulfo's novel Pedro Páramo and Carlos Funtes's novella Aura.

No description available.