Le discours politique du dictateur dans les champs littéraires africain et hispano-américain offre des perspectives d’étude immenses. En effet, la politique étant un milieu d’échange social, étudier les mécanismes de production du discours politique du dictateur et la construction de son sens par son auditoire est un domaine que nous avions souhaité explorer. Notre thèse a pour but de montrer justement, les mécanismes de production du discours du dictateur et comment l’auditoire élabore le travail d’encodage et de décodage de ce discours. Le but étant de mettre en évidence les différentes données qui contribuent à l’élaboration de ce sens, et de voir la participation de chacun des personnages actants à ce travail de collaboration. Nous avons abordé ce travail sous deux angles qui sont aussi ceux par lesquels se construit le sens du discours politique du dictateur dans nos œuvres corpus. Cette thèse met en lumière la construction, d’abord extra linguistique, du mécanisme de production et de construction du sens du discours du dictateur dans les champs littéraires choisis comme base pour notre étude. Et ensuite, nous avons mis les éléments langagiers qui concourent à la construction du sens. Notre méthode de recherche nous a contraint à faire appel à trois champs linguistiques sans lesquels nous n’aurions pu mener à bien cette recherche. La pragmatique nous a donc permis de faire une étude des éléments liés au contexte d’émission du discours qui rentrent en compte dans le processus d’encodage et de décodage du discours. Nous avons ensuite eu recours à la rhétorique qui nous a permis de voir comment le dictateur construit sa stratégie de discours et comment il élabore son argumentation. Et pour finir, la sémiologie nous a aidée dans la mise en évidence des moyens langagiers de construction du sens. / The political speech of the dictator in the African and Spanish-American literary fields offers huge perspectives of study. Indeed, the politics being an environment of social exchange, to study the mechanisms of production of the political speech of the dictator and the constructions of its sense by his public is a domain which we had wished to explore. Our thesis aims at showing exactly, the mechanisms of production of the speech of the dictator and how the public develops the work of encoding and decoding of this speech. The purpose being to highlight the various data which contribute to the elaboration of this sense, and to see the participation of each of the characters agents in this work of collaboration. We approached this work under two angles which are also the ones by whom builds itself the sense of the political speech of the dictator in our works corpus. This thesis brings to light the construction, at first extra linguistic, of the mechanism of production and construction of the sense of the speech of the dictator in the literary fields chosen as basis as our study. And then, we put the linguistic elements which contribute to the construction of the sense. Our method of research forced to us to call on to three linguistic fields without which we would not have been able to bring to a successful conclusion this research.The pragmatics thus allowed us to make a study of elements bound to the context of broadcast of the speech which go in account into the process of encoding and decoding of the speech. We then resorted to the rhetoric which allowed us to see how the dictator built his strategy of speech and how he develops his argumentation. And to finish, the semiology helped us in the highlighting of the linguistic ways of construction of the sense.

Orientador: Miriam Viviana Garate / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-10T03:42:04Z (GMT). No. of bitstreams: 1 Cripa_IvaldeAssis_D.pdf: 1256243 bytes, checksum: 5e1d486271d8038a95c1ceb5697c1743 (MD5) Previous issue date: 2007 / Resumo: A pesquisa aborda os ensaios sobre a história e sobre a poética moderna escritos por Octavio Paz e pretende analisar as tensões entre a temporalidade da moderna concepção de história e as temporalidades da poesia na sua obra crítica. No primeiro capítulo, analisamos a tensão entre o tempo retilíneo e as temporalidades cíclicas, em seus ensaios de crítica literária. No segundo capítulo, verificamos como o poeta e ensaísta mexicano interpreta a história da poesia, a partir do conflito incessante entre os conceitos de analogia e ironia, que são constitutivos de sua perspectiva, tanto nas interpretações sobre a poética moderna, como nos ensaios de história. Iremos recuperar os conceitos de ironia e analogia na obra crítica de Octavio Paz e a partir dos mesmos, refletiremos sobre a dialética do tempo, tanto nos ensaios de crítica literária, como nos ensaios de história. No terceiro capítulo, analisamos a maneira como Octavio Paz reflete sobre a história, sob o ponto de vista da continuidade e da ruptura (inspirado no movimento poético moderno). Recuperamos, nos ensaios sobre a história cultural e política do México e da América Latina, a maneira como o poeta mexicano aborda a multiplicidade dos tempos, constitutivos da história Contemporânea no continente. Pudemos verificar o quanto, na sua obra, o passado indígena e a herança colonial espanhola permaneceram incrustados no tempo presente do México e da América Latina. No quarto capítulo, discutimos de que modo a consideração das múltiplas temporalidades constitutivas da história inspiraram a perspectiva do poeta sobre as literaturas Hispano-Americanas, considerando-as sempre do ponto de vista da tensão entre a história literária mundial e os traços específicos da literatura no continente. Para finalizar, recuperamos o último e mais importante ensaio escrito por Octavio Paz, La Otra Voz em que retoma os principais temas abordados na sua obra crítica, diante dos principais acontecimentos do final século XX / Abstract: The present study addresses the essays on the history and modern poetry written by Octavio Paz and intends to analyze the tensions between the temporality of the modern concept of history and the temporality of poetry in his criticism work. In the first chapter, we analyze the tension between rectilinear time and cyclic temporalities, in his literary criticism essays. In the second chapter, we verify how the Mexican poet and essay writer interprets the history of poetry, based on the endless conflict between analogy and irony, which are constitutive concepts of his perspective, both in his interpretations of modern poetry and in his history essays. We have recovered the irony and analogy concepts in Octavio Paz¿s criticism work and, using them, we reflect about the dialectics of time, both in his literary criticism essays and in his history essays. In the third chapter, we analyze the way Octavio Paz reflects about history, from the point-of-view of continuity and rupture (inspired by the modern poetic movement). We have recovered, in the essays on Mexican and Latin American cultural and political history, the way the Mexican poet addresses the multiplicity of times which constitute contemporary history in the continent. We have verified how much, in his work, the indigenous past and the Spanish cultural heritage remain incrustrated in the present time of Mexico and Latin America. In the fourth chapter, we discuss how the consideration of multiple temporalities constitutive of history inspired the poet¿s perspective of Spanish-American literature, always considering them from the point-of-view of the tension between the world literary history and specific characteristics of the continent¿s literature. To conclude, we have recovered La Otra Voz, the last and most important essay written by Octavio Paz, in which he re-discusses the main themes addressed in his criticism work, in the context of the main events of the end of the 20th century / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Formados em um país pequeno embora aberto ao mundo ocidental mais do que à própria comarca, Ángel Rama (1926-1983) e Emir Rodríguez Monegal (1921-1985) intervieram nas revistas culturais do seu país até finais dos anos sessenta. Essa experiência permitiu-lhes entrar em contato com múltiplos problemas, debates e textualidades, que capitalizariam em seus estudos latino-americanos, aos que se dedicam de forma quase exclusiva a partir de sua saída de Montevidéu. Apesar da forte homogeneização latino-americana que se produz naquela década de sessenta, o Brasil foi para a área hispânica um território cultural quase inatingível. Monegal primeiro, Rama depois, e finalmente ambos os dois em um mesmo ponto temporal, entenderam o valor de ler o Brasil. Sem dispensar o contexto, Monegal privilegiou o estéticoliterário; Rama preferiu ver a brasilidade confrontada à experiência social e cultural da América hispânica. Fortemente antagônicos e em alguma medida complementares, ambos os dois procuraram alianças com intelectuais brasileiros (Rama com Candido; Monegal com Haroldo de Campos, entre outros). Por conseguinte, examinando estes antecedentes e tensões, esta tese intitula-se Ángel Rama, Emir Rodríguez Monegal e o Brasil: Duas caras de um projeto latino-americano. Pois o Brasil não foi apenas um campo de batalha para a integração ao projeto que cada um deles desenvolveu em um grau semelhante de precedência nem um fator diferenciador com relação a outros estudiosos. Além do mais, tornou-se o lugar da experimentação, a partir do qual poder olhar para o curso das variações da literatura e da cultura latino-americanas. / Formed in a small country more open to the western world than to its own territory, Ángel Rama (1926-1983) and Emir Rodríguez Monegal (1921-1985), participated in their country\'s cultural journals until the end of the 60s. This experience allowed them to come into contact with a multiplicity of problems, debates, and textualities, which they would capitalize upon in their Latin American studies, to which they devoted themselves almost exclusively once they had left Montevideo. In spite of the great homogenization that took place in Latin America in the decade of the 60s, Brazil was for the Hispanic area a somewhat ungraspable cultural terrain. At first Monegal and then Rama, and finally on the same temporal place, they both understood the value of reading Brazil. Without decreasing the importance of context, Monegal privileged the aesthetic and the literary; Rama preferred seeing the Brazilian as that which confronted the social and cultural experience of Spanish America. Very much in opposition to each other and in some ways complementary, they both sought alliances with Brazilian intellectuals (Rama with Candido; Monegal with Haroldo de Campos, among others). Therefore, by examining these antecedents and tensions this thesis is entitled Ángel Rama, Emir Rodríguez Monegal and Brazil: The Two Faces of a Latin American Project. Because Brazil was not only a battle ground for the integration into the project, which each one of them developed in similar degrees as precursors nor was it a factor which differentiated them from other scholars. Moreover, it became the place of proof, from where to watch the course taken by Latin American literature and culture\'s variants.

Esta pesquisa analisa algumas das características temáticas e formais que compõem a obra do autor uruguaio Felisberto Hernández (1902-1964). Pelo fato de resistir a diferentes classificações genéricas, esta obra apresenta muitas divergências entre consagradas vozes críticas como: Echavarren (1981), Ángel Rama (1968, 1985), Jorge Bernardo Rivera (1996), José Pedro Díaz (1991, 2000), Davi Arrigucci Jr. (2006). A partir disso, este estudo pretende discutir os pontos que evidenciam sua excentricidade em seu contexto de produção (no que diz respeito à literatura uruguaia da primeira metade do século XX) e também analisar certos procedimentos narrativos que, em um permanente fluir de memórias, revelam um estilo bastante peculiar (raro) como se verifica na animização dos objetos, nos múltiplos processos de fragmentação (da consciência e do corpo) e na atmosfera onírica. / This research examines some of the thematic and formal aspects that constitute the work of Uruguayan writer Felisberto Hernández (1902-1964). For its resistance to any formal classification, this narrative world has challenged divergent and renowned critical voices such as Roberto Echavarren´s (1981), Ángel Rama´s (1968, 1985), Jorge Bernardo Rivera´s (1996), José Pedro Díaz´s (1991, 2000) and Davi Arrigucci Jr.´s (2006). From this point on, the present study aims to discuss some of the points that demonstrate its eccentricity inside its production context (that of the first half of 20th century Uruguayan Literature) and to analyze some of the narrative procedures which, in a permanent flow of memories, reveal a quirky (rare) style verified in the use of animated objects, multiple fragmentation processes (of consciousness and body) and its oneiric atmosphere.

The vast corpus of testimonial literature that has been produced in Latin America since the 1960s, reaches a peak in the 1970s and continues to the present day. The dissertation investigates this phenomenon in Chile, Argentina and Uruguay, through the examination of a group of literary works that range from personal testimonies to documentary novels. This genre is defined by a pact of truth established with the reader in relation to the experience that is being narrated. The first chapter describes testimony as a collective discourse that responds to a counter-hegemonic cultural project which opposes the doctrine of “National Security” that prevailed in the region during that period. Chapter II presents the guidelines that will frame the dissertation, preparing a synthesis of several existing models based upon diverse criteria: social, semantic, syntactic and functional. In establishing the relationship between narration, history and testimony, the thesis emphasizes that narrative techniques are needed in order to tell any story, even those which were not developed with a literary purpose. Testimony is not an exception, because it transforms experience into stories, applying to remembrances the structure of a plot. The texts are organized accordingly, taking into account the types of narrativization employed, and this taxonomy is connected with the reception theory and the contributions of the social criticism, in order to provide a comprehensive understanding of the genre. Chapters III, IV and V examine various works from the three countries mentioned above, establishing a connection between the historic-social situation, the collective symbols, the artistic production of that period, and testimonies. The conclusion suggests that the return of Latin American literature to its hybrid origins implies transformations such as the democratization of writing and the disappearance of the author as the centre of the literary production. It also claims that this corpus provokes a change in the direction of contemporary writing in those countries, generating a necessary catharsis and a new elaboration of a fragmented collective identity. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Overseas Shipwrecks: Depictions in Spanish and Portuguese Sources from the 16th Century PhDr. Jaroslava Marešová Abstract This dissertation analyses Spanish and Portuguese shipwreck accounts of the 16th century. These accounts were written mainly by survivors of catastrophic shipwrecks on overseas voyages to America and India and therefore belong to the huge corpus of works written in the 16th century about exploring and conquering new territories. But unlike the most of the written sources of the period, these accounts does not celebrate the overseas enterprise, they bring a new, tragic, perspective and describe the dangers and misery of overseas voyages. Portuguese shipwrecks accounts were very popular among the readers of the 16th century and therefore they created a kind of tradition. They are often seen as a specific genre and represent an important topic of the Portuguese literature of the 16th century and are studied by many Portuguese literary scholars. In this dissertation six Portuguese accounts are analysed, five of them written by survivors. There are not as many shipwreck accounts written in Spanish. The best known of them is the account by Álvar Núñez Cabeza de Vaca. The second shipwreck account written in Spanish and analysed in this dissertation is the letter by Maestre Juan in which he...

Orientador: José Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T14:36:09Z (GMT). No. of bitstreams: 1 Vieira_FelipedePaulaGois_M.pdf: 1337919 bytes, checksum: 415ed55304105db092b286b8dd345f94 (MD5) Previous issue date: 2012 / Resumo: O presente texto de dissertação analisa os limites do Real Maravilhoso como conceito e discurso estético-político de representação da América Latina. A intenção é buscar nos debates entre os principais expoentes da chamada nova narrativa hispano-americana reflexões sobre a identidade do continente. Essa literatura iniciada nos anos de 1950 e continuada nas décadas seguintes é responsável por fomentar uma ideia de unidade latino-americana, criando um pastiche sobre aquilo que seria a América. Como salienta grande parte dos estudiosos do tema, a narrativa desse período, de maneira consciente, tentou realizar a busca de um centro do espaço americano e começou propensa a dar uma versão típica da nossa realidade: a América como espaço do maravilhoso. Divergindo dessa representação, na década de 1990 tem início o movimento McOndo, criado pelos escritores chilenos Alberto Fuguet e Sergio Gómez, para definir uma geração de novos escritores latino-americanos cuja principal característica era rechaçar o aspecto mágico que passou a ser o ?selo? dos autores do Real Maravilhoso. Analisar os limites e as implicações políticas desses discursos, assim como as formas através das quais os intelectuais da década de 1960 e 1990 representaram a América Latina, é o principal objetivo do trabalho / Abstract: This dissertation explores the limits of the Real Maravilhoso as a concept and an esthetic-political speech of Latin America representation. The purpose of it is looking for reflections about the continent identity through discussions among the main exponents of the new Spanish American narrative. This literature that was introduced in the 1950s and has been proceeded in the following decades is responsible for promoting a concept of Latin-America unity, creating a common sense of what would be America. As emphasized by many literary critics and historians, the narrative of this period, in a conscious way, tried to achieve the search of a center of an American space and began tending to give a typical version of our reality: America as a place of wonder. Diverging from this representation, in the 1990s the movement McOndo has begun, created by chilean writers Alberto Fuguet and Sergio Gómez, to define a generation of new Latin American writers whose main feature was to reject the magical aspect that became the "seal" of the Real Maravilhoso's authors. Analyze the limits and political implications of these speeches, as well as the intellectuals of the 1960s and 1990s represented Latin American, is the main objective of this study / Mestrado / Historia Cultural / Mestre em História

No description available.

This doctoral thesis studies the relationship between journalism and literature in contexts in which freedom of speech is at risk. It takes as primary sources a variety of nonfiction, crónicas, literary journalism and testimonial novels published by Latin American authors in Spanish, from the 1950s to the 2000s. I propose the concept ‘documentary narratives’ to refer to all literary modes of discourse which are related, in diverse degrees, to a journalistic representation of reality. My corpus covers a wide range of topics such as social protests, dictatorships, civil wars, natural disaster, crime and migration. While scholars have focused on the rhetoric and history of this kind of narratives, my reading considers the real, face-to-face encounter between the journalist and others. I argue that the representation of these encounters influences the pact with the reader and challenges the notion of truthfulness. I contend that documentary narratives can serve as a tool for the transmission of knowledge and the production of public debate in societies marked by political and social instability. In a world overwhelmed by data production and immersed in violent acts against those to be considered ‘Others’, I argue that storytelling is still an essential form of communication among individuals, classes and cultures. Contrary to the authors’s intentions of documenting others’ lives, I conclude that these stories offer an (interrupted) account of oneself, that is, the account of a contemporary storyteller pursuing a rarely fulfilled desire of getting to know the Other truly. The thesis has two appendices. Appendix 1 showcases archival material that support some of my arguments. Appendix 2 includes the transcripts of the interviews that I conducted with eight Latin American authors: Elena Poniatowska, Leila Guerriero, Cristian Alarcón, Arturo Fontaine, Santiago Roncagliolo, Francisco Goldman, Martín Caparrós, and Juan Villoro.