Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisors: Lily Litvak and Virginia Higginbotham. Vita. Includes bibliographical references. Also available from UMI.

Tesis para optar al grado de Magíster en Literatura mención Literatura Chilena e Hispanoamericana.

Uno de los principales problemas de la ciudad de Chiclayo y sus distritos es el sistema de transporte, tanto público como privado. José Leonardo Ortiz uno de los distritos más importantes de Chiclayo, cuenta con el Mercado Moshoqueque, donde a sus alrededores fácilmente podemos apreciar el congestionamiento vehicular que hay en sus calles, que se ve agravada por la falta de implementación de estrategias que ayuden a mitigar el problema, por el crecimiento demográfico que existe, por la necesidad de transportarse y por la nulidad de estacionamientos adecuados para la carga y descarga de camiones pesados que llegan a dicho establecimiento a abastecer de productos de primera necesidad. Además, podemos agregar factores como falta de mantenimiento de las vías, falta de educación vial, crecimiento del parque automotor, informalidad, entre otras. Se evaluó el sistema de transporte en 9 intersecciones de la zona de estudio, enfocado en la pregunta: ¿Cuál es el nivel de congestionamiento en las calles y avenidas que están alrededor del mercado Moshoqueque?, mediante la cual se ha planteado la hipótesis que el nivel de congestionamiento en la zona es alto, por ende, la presente investigación tiene por objetivo principal, mejorar la circulación vehicular en las calles y avenidas que abarcan el 1° sector del mercado Moshoqueque presentando propuestas viables (técnicas y sociales), que ayuden a menguar el problema mediante una evaluación previa de la congestión vehicular ocasionada en los puntos críticos de la zona de estudio. Además, que se use posteriormente como referencia para la elaboración de un estudio global del distrito de José Leonardo Ortiz.

En la actualidad lo que se busca, es el planteamiento urbano de las ciudades que a lo largo de su historia se vean bien planeadas y organizadas, con el objetivo de aprovechar al máximo los instrumentos de planeación para el ordenamiento territorial. Sin embargo, no existe una única estructura de orden que se adapte al contexto. En el fenómeno de la expansión urbana, de un modo, se origina un trazo interrumpido con una dispersión espacial de las actuaciones, dando lugar a una serie de espacios intermedios que han fragmentado el espacio periurbano y que han propiciado una separación a de los límites de la ciudad. El presente artículo parte del estudio de la zona del borde del Distrito de José Leonardo Ortiz a través de la observación para detectar sistemas arquitectónicos que hay en la zona. Para ello, se emplea una serie de fichas en base la observación, para la identificación de la morfología de cada vacío urbano, la definición acerca de que tipos de sistemas que se encontró y sobre las relaciones o vínculos del poblador de la zona. Por consiguiente, logramos identificar dos sistemas; la urbana y la agrícola por lo que contribuye para la realización de ciudad con una planificación urbana que responda al contexto.

Orientador: Leandro Karnal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T23:45:33Z (GMT). No. of bitstreams: 1 Rocha_CarlosGuilherme_M.pdf: 1482216 bytes, checksum: e2a20df8d5f844e53dbe24f4409df4ca (MD5) Previous issue date: 2013 / Resumo: A proposta deste trabalho consiste em analisar a relação conflituosa entre o capitão-geral e governador da província de Cartagena das Índias, Francisco de Murga, e os ministros do tribunal da Inquisição da cidade de Cartagena. Os enfrentamentos entre as partes remontam aos primeiros meses do governo de Murga, que aportou em Cartagena em outubro de 1629, e perduraram até meados do ano de 1636, quando houve uma mudança no governo provincial. O objetivo principal é analisar o âmbito jurídico do conflito, isto é, o modo como as partes envolvidas recorriam ao uso do direito, quais as argumentações e os fundamentos enunciados. Parto do princípio que a análise do direito e da estrutura jurídica é ponto basilar para a compreensão das relações institucionais no Antigo Regime. Neste sentido será analisada principalmente a natureza jurídica do Santo Ofício apresentada nos discursos e práticas originárias do conflito. Será analisada também a representação da autonomia inquisitorial frente os poderes civis, que se destaca nas práticas em questão. Nesse sentido, este trabalho enfatiza como os fundamentos jurídicos da Inquisição e do governo provincial são princípios que orientam as ações dos envolvidos no conflito em questão / Abstract: The aim of this work is to analyze the conflicting relationship between the captain general and governor of the province of Cartagena of the Indies, Francisco de Murga, and the ministers of the court of the Inquisition in Cartagena. The confrontations between the parties date back to the first months of Murga's government, who arrived in Cartagena in October 1629, and lasted until mid-1636, when there was a change in the provincial government. The main purpose of this study is to analyze the legal scope of the conflict, i. e., the manner in which interested parties used to appeal to the use of the law, the arguments and pleas they had mentioned. I assume that the analysis of law and legal structure is fundamental to understanding the institutional relations in the Ancien Régime. In this sense, th legal nature of the Holy Office, presented in the discourses and practices thata had given rise to the conflicts will be mainly analyzed. It will be also analyzed the representation of inquisitorial autonomy in relation to civil powers, which stands out in the practices concerned. In this sense, the emphasis of this study is how the legal bases of the Inquisition and the provincial government are guiding principles of the actions of those Who were involved in the conflicting relationship concerned / Mestrado / Historia Cultural / Mestre em História

Many scholars have considered Cuban American artist Ana Mendieta to be a translator of Afro-Cuban culture. In her 2019 monograph on the artist, for example, Genevieve Hyacinthe writes: “brownness made Mendieta a powerful translator of Black Atlantic forms into contemporary art language because she was not, and could never be, part of the dominant white culture.” Mendieta also announced herself as a translator (and inheritor) of Siboney and Taino cultures. Her gallery notes that to celebrate her return to Cuba’s “maternal breast” as an adult, the artist titled the rock carvings she made there with “names of zemis, or Taíno spirits, such as Bacayu for ‘Light of Day.’” I argue that alongside her claims on Taino cultural heritage we might consider her actual ancestry and claims on Indigenous women in the art of Cuban settlers before her. My dissertation considers Mendieta as a translator not of Taino myths or Black cultural practices but of ethnological texts and nationalistic folklore which catalogued and caricatured Black and Indigenous cultures. “Bacayu,” for example, is not a Taino “zemi” but rather a word she culled from a glossary of Black and Indigenous terms: a performance of knowledge over Indigenous cultures rather than a Taino cultural product. It hails from a lecherous story written by a Havana dentist about the death of an “Indian doncella.” Each chapter considers her translations of such pieces, focusing in particular on her translation choices which I suggest are motivated by her feminist and anti-imperial politics. My first chapter considers the influence of ethnographic studies on Abakuá and particularly the writings of Fernando Ortiz in her Iowa campus performances which reference crime scenes and “sacrificial” initiation ceremonies. Rather than offering unmediated access to Black religious practices, I suggest she is performing an abased view of Abakuá as seen through the (exterminationist) lens of Ortiz’s scholarship from his criminological ethnography, Los negros brujos (1906), to his less punitive but still highly fetishizing account of Abakuá in “La ‘tragedia’ de los ñáñigos” (1950). I don’t believe Mendieta translates this work to oppress Black people. Rather as a bodywork artist composing a militant, corporal language of feminist critique, she aims the violence of cultural translation toward her chauvinistic art school cohort. The second chapter considers her literary translation of “La Venus Negra, based on a Cuban legend,” which was composed by Adrián del Valle, Ortiz’s secretary at La Sociedad Económica de los Amigos del País for which he collated Cuba’s first public library among other projects. The original legend can be contextualized by del Valle’s broader stewardship of Cuban letters: he penned “La Venus Negra” for a collection celebrating the Centenary of Cienfuegos from the family notes of a prominent cienfueguero, Pedro Modesto. Examining the tacky national showcase in which the legend originally appears, I consider the ways Mendieta repositions la Venus Negra as a display of her own “will to continue being Other.” In particular, her translation imposes a “Siboney” ancestry on la Venus Negra and dispenses with the conditions which determine the protagonist’s muteness (in the original, la Venus Negra is a nude Black woman who is captured and displaced from her island hideout by criollo enslavers). In Mendieta’s translation la Venus is not muted Black protest incarnate but becomes an anti-colonial symbol. Mendieta publishes the piece in the feminist magazine Heresies, illustrating the legend with a silhouette of her own body from her Silueta Series. Again, I don’t think Mendieta poses as a Ciboney woman or absents Black women in a gesture of ill will toward Black and Indigenous people. Rather, she does so as an anti-imperial strategy consistent with Fidel Castro’s cadre, as her unavowed translation of Roberto Fernández Retamar’s “Calibán” into her “Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States” curatorial statement indicates. In the essay, Retamar, a white Cuban scholar, aligns the revolution with Black and Indigenous Cuba by “reclaiming” the caricature Caliban, which, as Coco Fusco writes, Shakespeare himself had based on an “Indian” exhibited in London. In the third chapter, I consider Mendieta’s Esculturas Rupestres, not as tributes to Taino spirits but as monuments of settler longing for mutilated Indigenous women. The legend I mentioned in the introductory paragraph, “Bacayu,” for example, is settler fanfiction about a daughter of a “cacique” whose death portends the coming of the white man and includes a lengthy description of the dead woman’s body. I also point toward the misnamings of Black women which appear within this rock series (Black Venus, Mother) which are often overlooked by scholars who ask us to read the work as Taino myth. Finally, building on these themes, I suggest a comparison to the work of Brazilian artist Hélio Oiticica: emphasizing the similarities in their “cannibalistic” approaches to translation. Although differently aligned politically (leftist, anarchist), Oiticica’s family, like Mendieta’s, were culturally and politically prominent settlers; and, like Mendieta, Oiticica is often read as a translator of Black Atlantic culture. Further both artists engaged in the caricaturing of Indigenous “American” cultures. In New York, Oiticica translated Oswald de Andrade’s “Manifesto Antropófago” (1928) to contextualize his work and the work of his friends. Artists in Brazil had adapted de Andrade’s manifesto into a translation program “cannibalizing” European and North American cultures, a practice they misidentified as Tupi as de Andrade had. Comparing Mendieta and Oiticica as translators reveals shared patterns of Latin American vanguards employing caricatures of Black and Indigenous cultures in anti-imperial performances. These caricatures and their resemblance to caricatures in the U.S. also point to older (and enduring) transnational networks of white nationalism in the Americas.

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In this study, I attempted to understand how a history of literacy in the U.S. continues to shape the ways in which Latino/a/e/x students learn in English classrooms today. Through the work of scholars such as Gloria Anzaldúa and Ofelia Garcia and with authors such as Richard Rodriguez, Judith Ortiz Cofer, and Lorna Dee Cervantes, I have come to believe that Latino/a/e/x students often experience years of an education system that views literacy so narrowly that it can silence languages that do not fit the perceived academic language of standard English. To understand what an expanded view of literacy could possibly look like in this study, I turned to scholars including The New London Group (1996), Cary Jewitt (2017), and Gunther Kress (2017) who study multimodality, as well as other researchers who examine digital literacies, particularly digital storytelling, in both formal and informal spaces. I did this in an effort to understand how multimodality and narrative might impact my Latino/a/e/x students’ learning and creative processes in the classroom. In this study, I wanted to learn what happens when the notion of literacy is expanded in my classroom and my Latino/a/e/x college students incorporate digital literacies to create their own digital stories in our English composition class. More specifically, I wanted to have a clearer understanding of the processes students experience as they embark on their digital storytelling journey. What I have learned throughout this journey is that digital storytelling does, indeed, offer another lens through which to view Latino/a/e/x students in my English composition classroom and their work and that perhaps it is time to see how digital storytelling might fit into the larger field of English education.

[ES] El objetivo principal de esta investigación es estudiar el jardín de la Casa-Estudio Benlliure para intentar identificar su configuración original, y caracterizar esta configuración desde la perspectiva de la arquitectura del paisaje. El jardín de la Casa-Estudio Benlliure, construido entre 1896 y 1920, es un espacio de interés notable ubicado en el barrio del Carmen de Valencia. Este jardín se adecua plenamente a la definición y caracterización de los jardines históricos que se recoge en la Carta de Florencia, puesto que se trata de un paisaje cultural, en este caso un jardín privado de dimensiones reducidas, que ha sido moldeado por el ser humano y ha perdurado a lo largo del tiempo, adquiriendo una significación social, histórica y artística relevante, dado que pertenece a la residencia y estudio del pintor valenciano José Benlliure Gil (1856-1937) y su familia. A pesar de las diversas publicaciones y estudios dedicados a la Casa-Estudio Benlliure, hasta la fecha actual no se ha realizado ninguna investigación exhaustiva sobre su jardín, que se convierte en un tema de estudio inexplorado. La singularidad de este jardín como uno de los raros ejemplos de jardines burgueses en la ciudad subraya aún más su relevancia en el ámbito de la investigación. Además, su condición de jardín creado por un artista permite explorar la interrelación entre el propio jardín y la obra de José Benlliure. Cabe destacar que el jardín forma parte integrante del con-junto museístico, propiedad del Ayuntamiento de Valencia que comprende la casa y el estudio del pintor, convirtiéndose así en un espacio accesible al público. La investigación realizada sobre el jardín de la Casa-Estudio Benlliure arranca con el análisis de su evolución histórica y su estado actual, junto con la evaluación de la información disponible sobre el diseño original. Esta información nos permitirá realizar un análisis comparativo del estado actual y del estado original del jardín en tiempos de los Benlliure. A continuación, se estudian los referentes para su caracterización, tanto en el campo de la teoría y práctica del diseño del jardín privado en el paisajismo, como en el arte pictórico de finales del siglo XIX y principios del siglo XX, para establecer comparativas con el jardín objeto de estudio. Por último, se realiza una evaluación final e identificación de sus elementos caracterizadores, de la que emerge una interpretación del jardín Benlliure como palimpsesto. El análisis y caracterización realizados desde la perspectiva de la arquitectura del paisaje pueden ser la base para su reconocimiento como Jardín Singular por parte de la administración, y un primer paso por una futura restitución del jardín de la Casa-Museo Benlliure en el contexto actual de una Casa-Museo, permitiendo plantear el futuro del actual jardín desde unas bases fundamentadas en el conocimiento de su pasado. / [CA] L'objectiu principal d'aquesta investigació és estudiar el jardí de la Casa-Estudi Benlliure per intentar identificar-ne la seva configuració original, i caracteritzar aquesta configuració des de la perspectiva de l'arquitectura del paisatge. El jardí de la Casa-Estudi Benlliure, construït entre 1896 i 1920, és un espai d'interès notable ubicat en el barri del Carme de València. Aquest jardí s'adequa plenament a la definició i caracterització dels jardins històrics que es recull a la Carta de Florència, ja que es tracta d¿un paisatge cultural, en aquest cas un jardí privat de dimensions reduïdes, que ha estat modelat per l'ésser humà i ha perdurat al llarg del temps, adquirint una significació social, històrica i artística rellevant, atès que pertany a la residència i estudi del pintor valencià José Benlliure Gil (1856-1937) i la seva família. Malgrat les diverses publicacions i estudis dedicats a la Casa-Estudi Benlliure, fins a la data actual no s'ha realitzat cap investigació exhaustiva sobre el seu jardí, que esdevé un tema d'estudi inexplorat. La singularitat d'aquest jardí com a un dels rars exemples de jardins burgesos a la ciutat subratlla encara més la seva rellevància en l'àmbit de la investigació. A més, la seva condició de jardí creat per un artista permet explorar la interrelació entre el propi jardí i l'obra de José Benlliure. Val a remarcar que el jardí forma part integrant del conjunt museístic, propietat de l'Ajuntament de València que comprèn la casa i l'estudi del pintor, convertint-se així en un espai accessible al públic. La investigació realitzada sobre el jardí de la Casa-Estudi Benlliure arrenca amb l'anàlisi de la seva evolució històrica i del seu estat actual, juntament amb l'avaluació de la informació disponible sobre el disseny original. Aquesta informació ens permetrà fer una anàlisi comparativa de l'estat actual i de l'estat original del jardí en temps dels Benlliure. A continuació, s'estudien els referents per a la seva caracterització, tant al camp de la teoria i pràctica del disseny del jardí privat al paisatgisme, com a l'art pictòric de finals del segle XIX i principis del segle XX, per establir comparatives amb el jardí objecte d¿estudi. Finalment, es realitza una avaluació final i identificació dels seus elements caracteritzadors, de la qual emergeix una interpretació del jardí Benlliure com a palimpsest. L'anàlisi i caracterització realitzats des de la perspectiva de l'arquitectura del paisatge poden ser la base pel seu reconeixement com a Jardí Singular per part de l'administració, i un primer pas per una futura restitució del jardí de la Casa-Museu Benlliure en el context actual d'una Casa-Museu, permetent plantejar el futur de l'actual jardí des d'unes bases fonamentades en el coneixement del seu passat. / [EN] The main objective of this research is to study the garden of the Benlliure House-Studio to try to identify its original configuration and characterize this configuration from the perspective of landscape architecture. The garden of the Benlliure House-Studio, built between 1896 and 1920, is a space of notable interest located in the Carmen neighbourhood of Valen-cia. This garden fully complies with the definition and characterization of historical gardens included in the Charter of Florence, since it is a cultural landscape, in this case a small private garden, which has been shaped by humans. and has endured over time, acquiring a relevant social, historical, and artistic significance, given that it belongs to the residence and studio of the Valencian painter José Benlliure Gil (1856-1937) and his family. Despite the various publications and studies dedicated to the Benlliure House Study, no exhaustive research has been carried out on its garden, which has become an unexplored topic of study. The uniqueness of this garden as one of the rare examples of bourgeois gardens in the city further underlines its relevance in the field of research. Furthermore, its condition as a garden created by an artist allows us to explore the interrelationship between the garden itself and the work of José Benlliure. It should be noted that the garden is an integral part of the museum complex, property of the Valencia City Council, which includes the painter's house and studio, thus becoming a space accessible to the public. The research carried out on the garden of the Benlliure House Studio begins with the analysis of its historical evolution and its current state, together with the evaluation of the information available about the original design. This information will allow us to carry out a comparative analysis of the current state and the original state of the garden in the times of the Benlliure family. Next, the references are studied for their characterization, both in the field of theory and practice of private garden design in landscaping and in the pictorial art of the late 19th century and early 20th century, to establish comparisons with the garden under study. Finally, a final evaluation and identification of its characterizing elements is carried out, from which an interpretation of the Benlliure garden as a palimpsest emerges. The analysis and characterization carried out from the perspective of landscape architecture can be the basis for its recognition as a Singular Garden by the administration and a first step towards future restitution of the garden of the Benlliure House-Museum in the context of current nature of a House-Museum, allowing us to propose the future of the current garden from bases based on the knowledge of its past. / Quintana Seguí, E. (2024). El jardí de la Casa-Estudi Benlliure. Anàlisi i caracterització des de l'arquitectura del paisatge [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/206097

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