Tesis para optar al grado de Magíster en Estudios Latinoamericanos / Esta tesis describe el universo y las prácticas de las lecturas de Neruda. Examina cómo evoluciona la figura de lector de Neruda, desde la infancia hasta su muerte, en el contexto de ciertos procesos históricos y culturales. Revisa cómo, en algunos casos, estas lecturas fueron usadas como fuentes documentales o diálogos intertextuales en la producción literaria de Neruda. En términos más generales, da cuenta de la complejidad de la relación que el poeta tuvo con los libros, contrastando su discurso antilibresco con sus aficiones de lector y pasiones de coleccionista.

Violin virtuosos Henryk Wieniawski, Ole Bull, and Pablo de Sarasate each composed short virtuosic works based on their own cultural heritage. This thesis examines the exotic elements incorporated into the character pieces by the three violinists. It draws upon contemporary literature and newspaper reviews of their performances in order to demonstrate the ways in which the violinists and their music were perceived as representative of nineteenth-century exoticism. Wieniawski, whose musical training was primarily French, produced exotic Polish polonaises and mazurkas, which were perceived as evidence of Polish national character, but only in his homeland of Poland. In contrast, Ole Bull's Norwegian heritage was central to his professional persona. His compositions were influenced by Norwegian fiddling and fiddle tunes as well as the pastoral conventions of European art music. Sarasate drew on music from a wide variety of geographical and cultural regions within Spain in his Spanish dances. While his dances were extrememly popular with audiences, critical reception was often dismissive. The individual personas and international receptions of Wieniawski, Bull, and Sarasate were shaped by the musical characteristics of their homelands heard in their works.

Perception and mental imagery are often thought of as processes that generate internal representations, but proponents of perceptual activity theory say they are better thought of as guided exploratory activities. The omission of internal representations in the perceptual activity account has led some to see it as computationally implausible. This thesis clarifies perceptual activity theory from a computational perspective, and tests its viability using a computer model called PABLO. The computer model operates in the Letter Spirit domain, which is a framework for creating stylistic variations on the lowercase letters of the Roman alphabet. PABLO is unlike other computer models of perception and mental imagery because it does not use data-structures to represent percepts and mental images. Mental contents are instead modelled in terms of the exploratory activity in which perceptual activity theory says they consist. PABLO also models the flexibility of imagery, and simulates how it can be harnessed and exploited by the system to generate a creative product. PABLO is a first attempt at an implementation of perceptual activity theory, but the results suggest that the theory is computationally viable, and that it has advantages over other theories of mental imagery in the context of creativity.

Raúl, the protagonist of Pablo Larraín’s 2008 film Tony Manero, is a serial killer obsessed with “Saturday Night Fever.” Living in 1970s Chile during the Pinochet dictatorship, Raúl symbolizes the abuse of Chilean culture committed by dual hegemonic forces: the political oppression of the Pinochet regime, and the ideological force of the North American culture industry. His efforts to participate in Chilean cultural production by staging a dance performance based on Saturday Night Fever becomes a ridiculous parody of Bhabhain mimicry: almost, but not quite. In this paper, I read against the postcolonial narrative of the mimicking subject in Tony Manero. Using fan theory from Michel de Certeau and Henry Jenkins, I seek voices of resistance or reappropriation within the film. I argue that because Raúl’s final dance performance is unplugged from the culture industry, it becomes a site for the performance of deviant identities and for the construction of a local community. I find that the film, however, denies the implications of this resistance, reasserting the omnipotence of the government and of mass media in constructing cultural identity. / text

In this thesis I argue against the conventionally held belief that collage as a form is defined through the mutual differences existing between the inserted material fragment and those signifiers that surround it. Examining works by Pablo Picasso and then turning my attention to Ezra Pound's Cantos, I seek to establish, within the related frameworks of visual and verbal collage respectively, a structural model of these and other such works predicated upon the continuity, not the distinctiveness, of fragment and host-text. Collage, I hope to show, is necessarily organic in structure due to the unstable nature of the linguistic sign, a phenomenon of language that informs the thesis from beginning to end. Ultimately, I aim to present this model as a metaphor for perception generally, as both a delineation and demonstration of the way in which one comes to know the world.

There is no abstract available for this thesis.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 232-251).

Thesis (doctoral)--Universität zu Köln, (1983?). / Includes bibliographical references (p. 321-341).

Thesis (Ph. D.)--New York University, 1975. / Photocopy of typescript. Bibliography: leaves 313-320.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2006. / Submitted by mariana castro (nanacastro0107@hotmail.com) on 2009-09-24T20:19:12Z No. of bitstreams: 1 2006_Joana Vasconcellos Prudente.pdf: 7939210 bytes, checksum: 9e990cfcd81809685bd848c8d4a845d2 (MD5) / Approved for entry into archive by Gomes Neide(nagomes2005@gmail.com) on 2011-01-04T18:17:03Z (GMT) No. of bitstreams: 1 2006_Joana Vasconcellos Prudente.pdf: 7939210 bytes, checksum: 9e990cfcd81809685bd848c8d4a845d2 (MD5) / Made available in DSpace on 2011-01-04T18:17:03Z (GMT). No. of bitstreams: 1 2006_Joana Vasconcellos Prudente.pdf: 7939210 bytes, checksum: 9e990cfcd81809685bd848c8d4a845d2 (MD5) Previous issue date: 2006-02 / A dissertação aborda a questão do olhar a partir do entrecruzamento do conto "O Búfalo", de Clarice Lispector, e algumas obras de Pablo Picasso e de Man Ray. O conto - defrontado às obras e analisado a luz de conceitos psicanalíticos de pulsão escópica (Freud e Lacan) e da teoria e crítica da arte - guia o trabalho, que é elaborado à maneira de uma rede de comentários. Neste texto, Lispector traça uma parábola da desmontagem do olhar estruturado perspectivamente e da ultrapassagem da questão da forma em oposição seja ao conteúdo, seja à matéria - que é paralela à desestruturação promovida pela arte moderna, aqui representada por Picasso e Man Ray. As obras destes se relacionam ao texto de duas maneiras: por analogia entre algumas de suas representações de touros e minotauros e o búfalo que dá nome ao conto; e por sua pertinência à discussão sobre o informe. Resulta desta amarração uma apreensão o olhar clivado pelo desejo e não mais unilateral: um olhar que, ao destacar-se daquele que vê, olha-o. A arte, tanto imagética, quanto textual, aparece como estratégia sobretudo de cegamento, que esconde ao invés de mostrar, revelando o que constitui o visível.