Estudio de la teoría de la cultura en la novela Paradiso (1966) del escritor José Lezama Lima en relación a las menciones a obras de pintura, escultura, arte-objeto, arquitectura y música, así como a los aspectos claves que la constituyen. La metodología utilizada se basa en la teoría del pliegue desarrollada en los postulados culturales y estético-filosóficos de Gilles Deleuze. La tesis consta de los siguientes capítulos: Introducción: El peso de lo irreal: Imagen, cultura, poética. I, Paradiso: La maison baroque. II, Galería de coral: Estudio libre de pintura y escultura. III, Arquitectura de la Imagen. IV, Sinfonía de la Imagen: con la música por dentro. El último capítulo realiza la interpretación y conclusión general, centrándose en las tres nociones que sustentan la teoría cultural del escritor: lo barroco como expresión cultural del ser americano, la imagen como clave cultural y el mito como espacio de la cultura. / Thesis (Master, Spanish) -- Queen's University, 2010-12-07 14:27:25.79

This thesis explores the possibility of some degree of unity in Paradiso, which appears initially to be a work of poetic self-indulgence, lacking a coherent plot, credible characters and causality, and possessing seemingly extraneous chapters. In particular, the characters, with their one shared voice (Lezama’s) and apparently arbitrary appearances in independent scenarios, demand scrutiny. Lezama Lima's earlier works are devoted to his sistema poético, a working method aimed at a material representation of the mystical world of the Spirit in the "incarnate Word". Since the writer himself has defined Paradiso as a novela-poema, the novel is here examined as a poem, with the characters (recurring images) fulfilling symbolic roles. Luis Fernández Sosa’s reading of some of Lezama’s poems "anagogically" (following the terminology of Northrop Frye) is equally applicable to Paradiso, with its multiple levels of meaning. In Paradiso each act or incident is ritualized, suggesting that the characters are indeed symbolic and may attain the stature of archetypes. Characters derived from members of Lezama’s family circle acquire symbolic names and layer upon layer of additional imagery until they are expanded into archetypes. The recurring image of the (family) tree linking heaven and earth, continual emphasis on the cycle of birth/death/renewal and the main configurations, such as hero/princess/dragon/treasure, assist in the identification of the principal symbolic characters: Great Mother Goddess, Son/Lover, Dionysiac sacrifice, the questing Orpheus and the magnificent doomed Icarus. Each concept or character is a stepping-stone for the central auto- biographical figure, inspired by personal tragedy to seek self-perfection and accept his vocation. The stages on the journey --family relationships, the discovery and mastery of sexuality and creativity, the pursuit of infinite knowledge-- are presided over by a variety of tutors, not least Rialta, Cemí’s anima, poetic Muse and spiritual guide. Within Cemí’s heroic conquest of the Unconscious, the imagery of the quest yields much when interpreted in terms of Jungian archetypes. With his eventual assimilation of opposites, Cemí becomes actively contemplative, attuned to ritmo hesicástico and obedient to his calling. 'The analysis of character is the key to Lezama’s fictionalized autobiography, which emerges as a finely structured novel given precise form by its symbolic characters.

In this study Lezama’s Paradiso is “the mysterious labyrinth of the cognitive image,” a metaphor for his search for ultimate enlightenment--knowledge of super nature toward the Highest Good. The Preamble introduces the novel Paradiso as his poetic sum of knowledge generated by the Cognitive Eros like an encyclopedic narrative with revelation at the center. Chapter One presents labyrinth fundamentals and the mythic method to analyze the novel. It identifies a heightened perception or sensation, cognition, and imagination as “new” senses “beyond reason” needed to read this “new other” novel. It also explains how the author’s clues aid comprehension, how the poetic word illuminates a fourfold method for interpretation, and how the double structure of the narrative superimposes a circuitous pathway of multicursal storylines and descriptions of Old World images upon a linear unicursal surface narrative. Chapter Two examines three cognitive images in Lezama’s labyrinth: Confluence analyzes how multiple streams of thought and images flow from chaos into order in the poet’s mind and how the labyrinth’s principle of opposition represents the convergence of contradictory images whose combination will inspire other images. Androgyne or Oneness illustrates the nature of creativity--how symmetrical opposite images unite or copulate to germinate other imagery. Figure and Revelation show Lezama’s use of Scriptural figura to represent the prefigurative sense of his writing. Chapter Three interprets Lezama’s own labyrinthine method and steps for interpreting Paradiso derived from his scrutiny of “the other” analogous novel, Julio Cortázar’s Rayuela. The study concludes that Paradiso delivers Lezama’s Delphic Course, a systematized literary orientation based on the belief that each text transmits wisdom. The protagonist/reader undergoes Anthropophany, is transformed into a learned interpreter and a higher self toward manifestation in the image of the Word/God. With the author-protagonist as mentor Paradiso proclaims Lezama’s ideal program of cultural, intellectual, ethical, and spiritual formation of the individual after the classic Greek Paideia, parallel to the way of purification and redemption achieved through the Paideia of Christ. Finally, the text embodies Lezama’s crusade to restore Cuba as a bridge for cultural exchange and development between the Old World and the New World. / text

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Makala haya yanaangazia uhakiki wa usimulizi, mazingira, onomastiki ya wahusika na maudhui katika riwaya ya Paradiso (2005) ya John Habwe kwa kuzingatia madhumuni na kanuni za nadharia ya uhalisia wa kifasihi. Yanaonesha jinsi nadharia ya uhalisia ama uhalisiamamboleo wa kifasihi inavyoafikiana na dhamira ya riwaya ya kukosoa maovu yanayotendeka katika asasi za kidini za Kikristo katika jamii ya leo. Uhakiki huu unadhihirisha yafuatayo: usimulizi wa nafsi ya tatu; upana wa maudhui ya kukosoa matatizo ya kijamii mbali na maudhui makuu ya kukosoa unafiki wa viongozi na waumini wa kanisa; mazingira yenye majina halisi; na uteuzi wa majina ya wahusika kwa kuzingatia vipengele anuwai vya onomastiki. Yote haya yanachangia kuiainisha Paradiso kama riwaya changamano ya uhalisia wa kifasihi. / This article analyses narration, setting, onomastics of characters and themes in the novel Paradiso (2005) by John Habwe by considering the objectives and tenets of the theory of literary realism. It shows how the style of literary realism or neo-realism concurs with the overarching theme and concern of the novel of criticizing misdeeds in religious institutions of the Christian faith in contemporary society. This nterpretation sheds light on the following aspects: third person point of view; a wide thematic array of social critique apart from the main theme of criticising the hypocrisy of leaders and followers of the church; a setting consisting of real-life names; and a diverse choice of characters’ names according to different aspects of onomastics. All these aspects contribute to the classification of Paradiso as a sophisticated novel of literary realism.

This essay explores the intertextual qualities in and between Kristian Lundberg’s works Yarden, Mörkret skulle vara som ljuset and Och allt skall vara kärlek. Read as a trilogy, it bears a thematic resemblance to Dante Alighieri’s Divine Comedy; an autofictional depiction of emancipation from alienation by grace. To reach this conclusion, I use Julia Kristeva’s theory of intertextuality and Roland Barthes’ post-structuralist differention of Work and Text together with his notion of the Paper-Author. Through a kaleidoscopic reading of the two trilogies, Dante and Kristian become pilgrims in the word’s true, etymological sense: foreigners, both religious and materialistic. As such, they walk the spiritual and material world making no distinction between the two towards a love whose essential nature is twofold: at once human and divine.

In this thesis I argue that José Lezama Lima's Paradiso is unique among Latin-American novels of the 1960s because it is a hybrid of literary genres - narrative and essay, as well as a "poetic system." Through an open literary framework, the author explores the essence of "cubanía" though language that is both colloquial and elaborate, both devoted to traditions and aiming for transgressions: a novel that reaches for the pinnacle of neobaroque prose. To sustain my argument, I have performed an exhaustive exegesis of my primary text, as well as extensive external research in secondary texts of the highest canonical reputation, about the baroque and the neobaroque including the works of Eugene D'Ors, Mariano Picón Salas, Severo Sarduy, Guillermo Sucre, Irlemar Chiampi, and the novel in discussion so well examined by Iván González Cruz, Julio Cortázar, and the sister of the author, Eloísa Lezama Lima, among others. I have considered broadly the features and peculiarities that cause Paradiso to excel as a novel, always keeping in mind Lezama Lima's distinctiveness as a writer of ironies implicit in the discourse of Latin-American otherness. In Paradiso, this discourse of copy and model, as well as of revenge on the dominant metropolitan center--all within the surroundings of a paradoxical challenge to European baroque patterns--takes root by means of a seldom-expressed and playful hybridism unparalleled in twentieth-century Spanish literature. My argument operates from the broad to the specific, first by defining and explaining, sometimes in dissenting terms, the baroque, its historical evolution and Spanish roots, its arrival in Spanish America, its new identity when synthesized with native traditions there, and its neo-baroque profile in the twentieth century. Finally we arrive at a meeting with "el Señor Barroco", Lezama Lima, himself, as he promenades the paved streets of old Havana under a gigantic, colorful parasol, buffeted by a dancing, tropical breeze, and holding in one hand a volume of Paradiso. He walks absentmindedly until he reaches the esplanade of the malecón. There, he puts aside his book, asks us to approach him, and then confesses to us the impetus of his lifelong obsession to lay the foundation of a poetic system of the universe in Paradiso.

Ambitionen med denna uppsats är att skapa en översikt över hur modern forskning ser på den hierarkiska indelning av de kristna änglarna som Dante redogör för i Den Gudomliga Komedin, samt vad som ligger till grund för rangordningen. Dessutom analyseras sambandet mellan hierarkin och änglarnas kosmologiska funktioner och deras betydelse för upprätthållandet av världen. En viktig faktor för förståelsen av Dantes änglalogi är dess relation till senmedeltidens filosofi och kristna tro; hur den påverkades av – och i sin tur påverkade – sin kontext, vilken sedan bidrog till utvecklingen av den moderna västerländska synen på världen. Den teologiska diskurs som sträcker sig ända tillbaka till de första århundradena når nämligen en höjdpunkt i Dantes änglahierarki, där tron slutligen förenas med filosofin. I Dante möts således den kristna ängladoktrinen, med utgångspunkt i Bibeln, med den neo-platonska emanationsläran och Aristoteles kausalitetslära, vilka tillsammans utgör fundamentet för det senmedeltida västerländska sättet att se på verkligheten. I denna uppsats redogörs följaktligen för Dantes änglahierarki och änglarnas kosmologiska betydelse genom att analysera den assimilation av tro och filosofi som utgör dess metafysiska grund. / The ambition with this essay is to create a general idea of how modern research estimates the hierarchic division of the Christian angels, as Dante accounts for in The Divine Comedy, as well as the hierarchy it is based on. In addition to that, the connection between the hierarchy and the cosmological functions of the angels, and the subsequent task to uphold the world, is analyzed. An important factor for the comprehension of Dante’s angelology is its connection to the philosophy and Christian faith of the late medieval period; how it was affected by – and at the same time affected – its context, which eventually contributed to the generation of the modern Western world view. In fact, the theological discourse that expands from the first centuries of Christianity reaches a summit in Dante’s angelic hierarchy, where faith and philosophy finally consolidate. Thus, Christian angelic doctrine, with starting point in the Bible, meets in Dante the neo-platonic doctrine of emanation and Aristotle’s principle of causality, which together count for the foundation of the Western late medieval view of reality. The aim of this essay is consequently to investigate Dante’s angelic hierarchy and the cosmological functions of the angels, by investigating the assimilation of faith and philosophy that constitutes their metaphysical base.

This thesis will analyze why three of Neri di Bicci’s patrons—the Spini family of Florence, a nun of the Bridgettine Order of Florence, and Ser Amideo of Santa Maria degli Ughi—desired to commission an altarpiece of the Assumption of the Virgin in an all’antica style. Neri di Bicci’s background as an artist, existing scholarship, and comparisons of older styles of art will also be discussed.

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