My dissertation examines representations of nationalism in Peninsular and Latin American literary works from the 19th and 20th centuries, and sets them in dialogue with their respective adaptations to dance created and designed for a contemporary audience. It analyzes novels by Gertrudis Gómez de Avellaneda (Cuba) and Pedro Antonio de Alarcón (Spain), a drama by Federico García Lorca (Spain), a poem by Jorge Luis Borges (Argentina), and compares them to the choreographies composed by Reinaldo Echemendía (Cuba), Léonide Massine (Russia), Antonio Gades (Spain) and Nuria Aparicio (Spain) respectively. My study identifies elements of the language of dance in these adaptations that convey a representation of national identity that is more in line with the contemporary period. Seen through the lens of folklore, gender representation and popular culture in the performing arts, these choreographies differ significantly from the literary works and the historical contexts in which they were created.

Webinar de Biblioteca realizado el 26 de noviembre de 2021 / En este webinar se dará a conocer las áreas de conocimiento, tipo de contenido, número de contenidos y las herramientas con las que cuenta la plataforma de "El Libro Total".

[pt] O objeto desta dissertação é a escrita feminina, conceito que se aplica tanto a escritoras quanto a escritores. Demonstramos como as marcas desta escrita estão expressas na obra de Lygia Fagundes Telles e também em textos tanto de autoria feminina quanto masculina. O conceito escrita feminina engloba tanto a visão psicanalítica, no que se refere a experiências primordiais expressas no discurso literário, quanto a abordagem temática, que mostra como o olhar feminino difere do masculino no tratamento dado às personagens femininas, que tornam-se o foco da narrativa. Por outro lado, o pensamento pós-moderno ajuda a crítica feminista a fazer uma releitura das obras literárias. Nesse contexto, o feminino emerge como o lugar da diferença e a escrita feminina torna-se revolucionária enquanto potência discursiva, contrapondo-se à ordem vigente e possibilitando a emergência de uma voz até pouco tempo silenciada: a voz do universo feminino. Trata-se ainda de uma questão de linguagem, pois para falar sobre o novo é preciso uma nova linguagem. Por outro lado, a mudança no modo de pensar o feminino produziu, no mundo real, um padrão de comportamento libertário, que na década de 70 teve como símbolo a atriz Leila Diniz. / [en] The subject of this essay is feminine writing, a concept that can be applied to both female and male writers. We demonstrate how the characteristics of this writing are expressed in Lygia Fagundes Telles s work and also in other texts by female and male writers. The concept of feminine writing encompasses not only the psychoanalytic approach to the primordial experiences expressed in the literary discourse, but also the thematic perspective that shows how the female approach is different from the masculine in dealing with female characters, responsible for the point of view of the narrative. Also, postmodern thinking helps feminist criticism to reread literary works. In this context, the feminine emerges as the place of difference, and feminine writing becomes revolutionary as discursive potency, opposing the status quo and allowing the emergence of a voice that was previously silent: the voice of the feminine universe. This is also a question of language, because the new discourse demands a new language. Changes in ways of dealing the feminine have produced, in the real world, a pattern of libertarian behavior symbolized in the 1970s by the actress Leila Diniz.