This thesis investigates temporal dimensions of reenactment in experimental filmmaking, with a particular focus on the prominent use of this practice in the cinema of Portuguese director Pedro Costa. The research analyzes the non-professional actors’ performances in Costa’s films and broadly explores the implications of cinematic in-person reenactment, a term coined by Ivone Margulies. More specifically, the analysis sets out to challenge the predominant discourse of documentary reenactment by bringing closer attention to the intricate expression and materiality of cinematic temporality in these films, an approach that is also informed by Gilles Deleuze’s notion of the crystal-image. This concept, I argue, enriches our understanding of temporality in relation to reenactment, and ultimately also the impact Costa’s images have in providing us with a more attentive acknowledgment of the cinematic screen event. The aesthetics activated in these works exemplify what I call aesthetics of ambiguity. Contributing to the scholarly debate on reenactment within cinema studies, this work offers new perspectives on the phenomenon from the conceptual, aesthetic, and phenomenological examples of these films. The aesthetics of Costa exemplifies the temporal ambiguity that manifests itself in instances of in-person reenactments. I argue that this aesthetics challenge – and possibly also enrich - the predominant discourse of cinematic reenactment, by loosening its traditional connection to documentary filmmaking and examining it beyond categories of the real and the fictional.

In the dedicatory epistle to his 1660 translation of Diego de San Pedro’s sentimental romance Tractado de amores de Arnalte y Lucenda (1491), Thomas Sydserf recounts the meandering linguistic transmission of the text to English: from the fictitious Greek source, to San Pedro’s Spanish, to Nicolas de Herberay’s French to Bartolomeo Maraffi’s Italian to four English translations and eight separate editions from 1543 to 1660. This convoluted transmission history leads Sydserf to lament that San Pedro’s romance has been “much castrated in its undergoing so many transmutations.” Yet mining the rich strata of intermediary translation proves to be its own kind of interlinguistic romance. This paper will focus on the process of intermediary transmutation, i.e., the textual-material encrustation of paratexts, polyglot formatting, typeface code-switching, and illustrations that framed the translations, particularly in the transformation of a popular Spanish novela sentimental to an Italian language-learning aid, The Italian Schoole-maister (1597).

This study seeks to describe what I term the ethics of haunting, as related to trauma and memory, by analyzing Juan Rulfo's Pedro Páramo. It does not claim to be representative of ghosts and haunting as a whole, but more specifically to illustrate various manners in which the return of the ghost and its subsequent haunting are motivated by an ethics of memory in Rulfo's novel. Within this framework I explore remembrance as a medium of exchange between the living and the dead, haunting as a method by which gaps in the historical archive can be filled, and the psychoanalytic notion of incorporation as way to remember the ghost.

Intentionality, in its various forms, connects the subject with objects as they appear within the subject's view of the world. Poets, like artists, create with their bodies and perceive the world with their senses and with their souls. Subjects allow objects to reveal themselves, to manifest themselves having identities according to the contexts in which they appear. This system is called intentionality—a phenomenological concept in which appearances have ontological meanings. Phenomenology, as explained by Maurice Merleau-Ponty, provides a theoretical framework within which Pedro Salinas's poetry may be understood and interpreted. Pedro Salinas forms part of Spain's Generation of 1927 and produces collections of poetry about the intentionality of the beloved during a love affair. La voz a ti debida, Razon de Amor, and Largo Lamento form a type of trilogy under the suggestion of his friend Jorge Guillén. Salinas resides in America during and after the Spanish Civil War and composes poems which later appear in Largo Lamento posthumously. "La memoria en las manos" exemplifies how the subject intends the stone and his hands while remembering an experience with the beloved. The poetic self in the poem probes the identities of objects in order to comprehend the essence of the beloved and of himself.Pedro Salinas practices intense observations in real life when he travels. While teaching in various schools across the country, he attends conferences showcasing his literary criticism, poetry, and playwriting. He corresponds prolifically with his wife Margarita Bonmatí­ . Through his correspondence with his wife, we see how despite distances and space, he thinks of her constantly. He relates a theory of tourism that coincides with Merleau-Ponty's "brute expression." On one occasion, he travels to Los Angeles, California to attend a literary conference. Along the way he travels through Missouri, Colorado, and Utah visiting various landscapes, national parks, and cities. He chronicles his impressions in letters to his wife. The letters Salinas writes and the appearances he contemplates show his focus and soul are not only his wife, but also Katherine Whitmore, his lover. Margarita and Katherine form a conflation that Salinas perceives in his surroundings.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

It is the purpose of' this investigation to study critically the writings of Pedro deLemos in the field of art education from 1919 to 1950 inclusive; to compare his philosophy with that of other art educators of the same period. To be more specific, the statement of this investigation is to study the following: To determine the philosophy upon which Pedro deLemos built his theories and practices of art education. To determine to what extent his philosophy of art education agreed or differed with the philosophies of other art educators.

After the Council of Trent, Catholic Spain in the seventeenth century increasingly turned to the arts to articulate their identity and mission as a church. Writing for the Spanish Court in the early 1630s, Pedro Calderón de la Barca uses La cena del rey Baltasar to portray the Church as an essential mediator for the relationship between the congregant and the divine, specifically through the use of didactic imagery and authoritative interpretation of God’s word. This essay reviews elements in the play that support this message and articulates the eucharistic and allegorical elements therein. The action of the Biblical narrative and the play culminates in the divine manifestation of the hand of God, a moment also captured in paint by the Catholic Spanish painter Jusepe de Ribera and the Protestant Dutch painter Rembrandt van Rijn. These painted works serve as visual hermeneutics articulating the contrasting views of Catholics and Protestants in post-Tridentine Europe.

La presente investigación tiene por objetivos el determinar la evolución de la productividad respecto a la mano de obra en Lima Metropolitana y relacionarla con el tipo de estructura del proyecto y con el grado de integración entre los contratistas y subcontratistas.

The architectural intentions may best be described in the phrases: "symbolic meaning of the environment" - "the spirit of place" - and the need to assure the "historical continuity". The main points of the program are the following: 1.- to create a service unit corresponding to the needs of the overall development of the micro-region as regards to tourism, 2.- to favor contact between the tourists and the local population, 3.- to express this aim by means of an open type of structure, 4.- to offer a wide range of activities corresponding to the needs and desires of the occupants, 5.- not to destroy the natural and existing environment. / Master of Architecture

[EN] This thesis deals with the study of one of the latest hieronymite monasteries built, the San Pedro de la Ñora monastery (Murcia, Spain). It is focused on two aspects, knowledge of historical events, some of them unknown until now, from its founding to the secularization and the analysis of its baroque architecture and construction as well as the study of the architects involved in it or that worked for this hieronymite community. And among them, especially Fray Antonio de San Joseph and Fray Pedro de San Agustín, hieronymite monks that were architects involved in its construction and in many others. / [ES] Aborda esta tesis el estudio de uno de los últimos monasterios Jerónimos construidos, el de San Pedro de la Ñora (Murcia), centrado este en dos aspectos, el conocimiento de los hechos históricos, algunos de los cuales hasta ahora no conocidos, desde su fundación hasta la exclaustración, y el análisis de su arquitectura barroca, y su construcción, así como el estudio de los artífices que en él intervinieron, o para esta comunidad jerónima trabajaron. Y de ellos en especial fray Antonio de San Joseph y Fray Pedro de San Agustín monjes arquitectos, de la Orden Jerónima que intervinieron en su construcción y en otras muchas. / [CA] Aborda esta tesi l'estudi d'un dels últims monestirs Jerónimos construïts, el de Sant Pere de la Ñora (Múrcia), centrat este en dos aspectes, el coneixement dels fets històrics, alguns dels quals fins ara no coneguts, des de la seua fundació fins a l'exclaustració, i l'anàlisi de la seua arquitectura barroca, i la seua construcció, així com l'estudi dels artífexs que en ell van intervindre, o per a esta comunitat jerònima van treballar. I d'ells en especial fra Antonio de Sant Joseph i Fra Pere de Sant Agustí monjos arquitectes, de l'Orde Jerònima que van intervindre en la seua construcció i en moltes altres / Maestre Meroño, JA. (2016). El Monasterio Jerónimo de San Pedro de La Ñora. Aspectos Históricos y Arquitectónicos [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63667