Global ETD Search

61	El apocalipsis ecológico como crítica a la modernidad en dos novelas de Homero Aridjis Loiselle, Michaël-Jean 11 1900 (has links) L’opposition entre sociétés humaines et nature, qui pose les fondements ontologiques de la modernité, a provoqué l’insertion de tous les êtres – humains et non-humains – dans une nouvelle phase de l’histoire de la planète : l’Anthropocène. Alors même que l’origine anthropique du défi climatique rend impérative une réflexion sur notre rapport asymétrique à la nature, la culture a déjà commencé à développer une pensée écologique féconde. Dans l’œuvre dystopique de l’écrivain et activiste environnemental mexicain Homero Aridjis, qui nous propulse dans un paysage urbain immonde, infect et encrassé qui rend tangible et visible la crise écologique, l’apocalypse est pensée comme l’aboutissement d’un monde inscrit dans la matrice ravageuse de l’utopie moderne. À travers l’étude des différentes déclinaisons des dichotomies cultivées dans la pensée moderne – ontologique (culture/nature), géographique (Europe/Amérique) et de genre (masculin/féminin) –, le mémoire mettra en relief le changement paradigmatique auquel nous convie l’auteur des dystopies La leyenda de los soles (1993) et ¿En quién piensas cuando haces el amor? (1995). Contrairement à ce qui se traduit dans la cosmologie moderne, au sein de ce diptyque littéraire, culture et nature sont comprises comme des entités complémentaires. Ainsi, notre recherche propose non seulement une étude approfondie des motifs de la crise environnementale dans le roman, mais également des pistes pour réfléchir, via la fiction littéraire, à la réhabilitation des liens intrinsèques qui unissent culture et nature. / La oposición entre sociedades humanas y naturaleza, que sienta las bases ontológicas de la modernidad, condujo a la inserción de todos los seres – humanos y no-humanos – en una nueva fase de la historia del planeta: el Antropoceno. Si el origen antrópico del desafío climático nos obliga a reflexionar sobre la relación asimétrica del ser humano con la naturaleza, la cultura ya ha empezado a desarrollar un fecundo pensamiento ecológico. En la obra distópica del escritor y medioambientalista mexicano Homero Aridjis, quien nos convoca en un paisaje urbano inmundo, repugnante y contaminado que vuelve tangible y visible la crisis ecológica, el apocalipsis se concibe como el acabamiento de un mundo inscrito en la matriz destructora de la utopía moderna. A través del estudio de las distintas declinaciones de las dicotomías cultivadas en el pensamiento moderno – ontológica (cultura/naturaleza), geográfica (Europa/América) y genérica (masculino/femenino) –, esta memoria pondrá de relieve el cambio paradigmático que instila el autor de las distopías La leyenda de los soles (1993) y ¿En quién piensas cuando haces el amor? (1995). Al contrario de lo que promueve la cosmología moderna, en este díptico literario, cultura y naturaleza están entendidos como entes complementarios. Así, nuestra indagación propone no solamente un análisis profundo de los motivos de la crisis medioambiental en la novelística, sino también pistas para reflexionar vía la ficción literaria sobre la rehabilitación de los lazos intrínsecos que unen cultura y naturaleza. / The opposition between human societies and nature, which constitutes the ontological bases of modernity, has led to the insertion of all beings – humans and non-humans – in a new phase of the history of our planet: the Anthropocene. As the anthropic origin of the climate challenge obligates us to reflect upon the asymmetric relation of humankind with nature, culture has already started to develop a productive ecological thinking. In Mexican writer and ecological activist Homero Aridjis’s dystopic work, which propels us into a filthy, repulsive and polluted urban landscape that makes the ecological crisis tangible and visible, the apocalypse is thought of as the result of a world trapped in the destructive matrix of the modern utopia. Through analyzing different expressions of the dichotomies cultivated in modern thinking – ontological (culture/nature), geographic (Europe/América) and gender-related (masculine/feminine) –, this research underscores the paradigmatic changes that Aridjis promotes in his dystopic works La leyenda de los soles (1993) and ¿En quién piensas cuando haces el amor? (1995). Counter to the modern cosmology, in this literary diptych, culture and nature are understood as complementary entities. Therefore, our thesis offers not only a complete analysis of the ecological crisis motives in the novel, but also guidelines to reflect on the intrinsic bonds that link culture and nature through literary fiction. Écologie Modernité Homero Aridjis Apocalypse Dystopie Néocolonialisme Écofeminisme Écocritique Littérature mexicaine Bruno Latour Ecología Modernidad Homero Aridjis Apocalipsis Distopía Neocolonialismo Ecofeminismo Ecocrítica Literatura mexicana Bruno Latour Ecology Modernity Homero Aridjis Apocalypse Dystopia Neocolonialism Ecofeminism Ecocriticism Mexican literature Bruno Latour
62	La trilogia del "Plan de Abajo" de Jorge Ibarguengoitia: Un cuestionamiento de la realidad y la ficcion a partir del espacio quimerico, las tecnicas narrativas y la heteroglosia Sibley, Matthew 29 July 2015 (has links) No description available. Hispanic American Studies Hispanic Americans Latin American Literature Language Literature Modern Literature Modern Language Jorge Ibarguengoitia Estas ruinas que ves Las muertas Dos crimenes literatura mexicana Mexican literature heteroglosia heteroglossia espacio space generacion del medio siglo Boom latinoamericano Latin American Boom trilogia trilogy
63	Based on true stories : representing the self and the other in Latin American documentary narratives Chávez Díaz, Liliana Guadalupe January 2017 (has links) This doctoral thesis studies the relationship between journalism and literature in contexts in which freedom of speech is at risk. It takes as primary sources a variety of nonfiction, crónicas, literary journalism and testimonial novels published by Latin American authors in Spanish, from the 1950s to the 2000s. I propose the concept ‘documentary narratives’ to refer to all literary modes of discourse which are related, in diverse degrees, to a journalistic representation of reality. My corpus covers a wide range of topics such as social protests, dictatorships, civil wars, natural disaster, crime and migration. While scholars have focused on the rhetoric and history of this kind of narratives, my reading considers the real, face-to-face encounter between the journalist and others. I argue that the representation of these encounters influences the pact with the reader and challenges the notion of truthfulness. I contend that documentary narratives can serve as a tool for the transmission of knowledge and the production of public debate in societies marked by political and social instability. In a world overwhelmed by data production and immersed in violent acts against those to be considered ‘Others’, I argue that storytelling is still an essential form of communication among individuals, classes and cultures. Contrary to the authors’s intentions of documenting others’ lives, I conclude that these stories offer an (interrupted) account of oneself, that is, the account of a contemporary storyteller pursuing a rarely fulfilled desire of getting to know the Other truly. The thesis has two appendices. Appendix 1 showcases archival material that support some of my arguments. Appendix 2 includes the transcripts of the interviews that I conducted with eight Latin American authors: Elena Poniatowska, Leila Guerriero, Cristian Alarcón, Arturo Fontaine, Santiago Roncagliolo, Francisco Goldman, Martín Caparrós, and Juan Villoro. 070.1
64	The child’s perspective of war and its aftermath in works of adult prose and film in Mexico and Spain Nickelson-Requejo, Sadie 01 June 2011 (has links) This dissertation investigates the literary and cinematic use of the child’s perspective to present the Mexican Revolution and the Spanish Civil War and their aftermath in several Mexican, Spanish, and international (Mexican-Spanish collaborative) narratives of the 20th and early 21st Centuries written by adult authors and filmmakers, and targeted for adult audiences. The Mexican narratives are Cartucho and Las manos de mamá by Nellie Campobello, Balún Canán by Rosario Castellanos, and Bandidos, a film by Luis Estrada; selected Spanish works are El espíritu de la colmena by Víctor Erice, Cría cuervos by Carlos Saura, and El sur by Adelaida García Morales; and both international works are films by Guillermo del Toro, El espinazo del diablo and El laberinto del fauno. I attempt to determine the textual or cinematic function of the child as first person (homodiegetic) narrative viewer in these works, and I study the different ways in which this child’s point of view is constructed in order to depict the overwhelming tragedy of war. I note patterns and diversities in subject matter presented by the narrative voice, and observe the characteristics of the child narrative viewer’s world and priorities (as presented by the authors and filmmakers), paying careful attention to how each perceives and understands his or her country’s violent upheaval and its aftermath. The theoretical framework of this investigation draws mainly from trauma theory, Gothic studies, and the tradition of the fairy tale. I illustrate how within the war narrative in addition to the author’s/filmmaker’s desire to recreate the sentiment that a child would evoke in adult readers and viewers, the child narrative viewer is employed for three main reasons: to play upon or against preexisting notions of the child’s innocence; to represent (possibly subversively) the nation; and as therapeutic means of returning to a paradise lost or creating a paradise never experienced. / text Children and war Child's perspective Child witness Mexican Revolution Spanish Civil War Nellie Campobello Rosario Castellanos Luis Estrada Víctor Erice Carlos Saura Adelaida García Morales Guillermo del Toro Cartucho Las manos de mamá My mother's hands Nine guardians Bandidos El espíritu de la colmena The Spirit of the beehive Cría cuervos Raise ravens El Sur The South El Espinazo del diablo The Devil's backbone El Laberinto del fauno Pan's labyrinth Spanish literature Mexican literature Campobello, Nellie, 1900-1986 Saura, Carlos, 1932- Toro, Guillermo del, 1964-
65	Through the Eyes of Shamans: Childhood and the Construction of Identity in Rosario Castellanos' "Balun-Canan" and Rudolfo Anaya's "Bless Me, Ultima" Nava, Tomas Hidalgo 09 July 2004 (has links) (PDF) This study offers a comparative analysis of Rosario Castellanos' Balún-Canán and Rudolfo Anaya's Bless Me, Ultima, novels that provide examples on how children construct their identity in hybrid communities in southeastern Mexico and the U.S. southwest. The protagonists grow and develop in a context where they need to build bridges between their European and Amerindian roots in the middle of external influences that complicate the construction of a new mestizo consciousness. In order to attain that consciousness and free themselves from their divided selves, these children receive the aid of an indigenous mentor who teaches them how to establish a dialogue with their past, nature, and their social reality. The protagonists undertake that negotiation by transgressing the rituals of a society immersed in colonial dual thinking. They also create mechanisms to re-interpret their past and tradition in order to create an image of themselves that is not imposed by the status quo. In both novels, the protagonists have to undergo similar processes to overcome their identity crises, including transculturation, the creation of sites of memory, and a transition from orality to writing. Each of them resorts to creative writing and becomes a sort of shaman who pulls together the "spirits" from the past, selects them, and organizes them in a narration of childhood that is undertaken from adulthood. The results of this enterprise are completely different in the cases of both protagonists because the historical and social contexts vary. The boy in Bless Me, Ultima can harmoniously gather the elements to construct his identity, while the girl in Balún-Canán fails because of the pressures of a male-centered and highly racist society. Rosario Castellanos Rudolfo Anaya Balún-Canán Bless Me Ultima Shamans Tomás Hidalgo Nava construction of identity Chiapas Mexico New Mexico Ladino mestizo Chicano Mexican American childhood Octavio Paz José Vasconcelos Gloria Anzaldúa René Girard Edouard Glissant Pierre Nora lieux de mémoire milieux de mémoire hybrid hybridity transculturation Fernando Ortiz Angel Rama syncretism written narration shamanism of letters Homi K. Bhabha colonial discourse mestizo consciousness sexism colonialism Tzeltal indigenista orality mestizaje transgression of rituals Paulo Freire Mexican literature Chicano literature Mexican-American literature transculturation and nature Virgin of Guadalupe curandera Amerindian roots racism Spanish conquest acculturation assimilation project of modernization imposed views Antonio Ladino girl Comitán racist society colonial dual thinking identity crisis creative writing sites of memory U.S. southwest Classics Comparative Literature

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