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Based on a comparative method of enquiry, this thesis analyses the process of self-definition expressed in the work of Gloria Fuertes (Madrid, 1917-1998) and Pilar Paz Pasamar (Jerez de la Frontera, 1933) as individual alternatives to the collective ethos and literary practices promoted within the patriarchal society of Franco’s Spain. Recognizing the poets’ cultural and socio-political context as determining factors in their experiences as women and poets, and therefore in their outlook and poetics, this context and how it is reflected in their poetry provides the starting point (Chapter 1). Both poets acknowledge that writing poetry can provide them with a metaphorical space of freedom that enables them to develop their identity and explore their preoccupations. Therefore, their thoughts about poetry provide an important theme that occurs in the poetry of both (Chapter 2). Closely related to this is the link they establish between poetic inspiration and the divine, which in the case of Pilar Paz Pasamar leads to the attempt to use the special qualities of poetic language to refer to a universal truth that she is aware of and which transcends the capabilities of language, while Gloria Fuertes regards poetry as a divine gift that can provide solace and is ultimately able to improve the world (Chapter 3). The fourth chapter focuses on specific elements of the two poets’ work that reveal the distinctive mechanisms of self-construction they develop. The section on Fuertes considers humour as a survival strategy that enables the poet to reach out to her readership and emphasize her focus on the here and now, while the discussion on Paz’s work looks at how the use of sea imagery allows her to convey abstract experiences based on introspection. Thus, it is argued that their poetry reflects the different strategies the two women develop – based on integration in the case of Fuertes and a more separate position in the case of Paz – to define themselves in relation to their world.

This research explores the availability and potential educational uses of different forms of poetry that can be read using a postcolonial approach. The focus is on contemporary France and Spain, two contexts where people with different cultural heritages coexist and need to negotiate cultural imbalances inherited from colonial and neo-colonial domination. This research highlights poetry’s overlooked suitability to engage young people in the expression of cultural difference in a progressively globalized world where cultivating cross-cultural understanding and tolerance needs to be at the top of our agendas. For this reason, the dissertation includes an analysis of poems (currently available for young people) aiming to foreground the possibilities of a postcolonial reading. I also studied similarities and divergences between the French and Spanish scenarios based on evidence gathered during a survey of the Spanish and French fields of poetry for young people and from interviews with informed agents. The survey of the field consists of the exploration of textbooks and anthologies but also the examination of poetry circulating through on-line channels. The interviews were undertaken with selected French and Spanish representatives of people currently involved in the production and dissemination of poetry for young people. I observed that the number of poems showing connections to a postcolonial legacy was scant in the French school material and even more in the Spanish books that I examined. I also confirmed that little attention was given to oral ways to deliver poetry especially showing little regard for the oral literary practices and traditions of non-European French and Spanish speaking communities. The Spanish lack of attention to these traditions is more salient. This contrasts with observations about non-school contexts. Spanish and French young people can nowadays easily engage with varied cultural traditions in poetry which circulate in poetry events and social media. Interviewees confirmed these observations but also raised issues about Spanish and French poetry education that need to be dealt with so as to improve school attention to mixed cultural heritages in poetry. The main contribution to knowledge of this thesis consists in identifying the underused and unexplored educational potential of French and Spanish poetry currently available for young people that can be fruitfully approached using postcolonial lenses. The evaluation of the information gathered in this research reveals that dominant French and Spanish approaches to poetry and limited poetry repertoires hinder the visibility of some contemporary forms of poetry and restrain the effectiveness of some poetry already present in mainstream poetry corpora. However, the comparison of scenarios shows that France offers more accessible and relevant ‘places of enunciation ’ than Spain does for poets to address young people. For instance, comparing contexts, French young people have easier access and more support than Spanish youth to engage with poets’ expressions of being culturally displaced.

Thesis (doctoral)--Universidad de Oviedo, 1978. / Includes bibliographical references (p. 335-357).

The last years of the twentieth century have been characterized by an increased presence of women in Hispanic poetry, who inevitably brought forth a new poetic language. Typical of this new expression are the Spaniard Ana Rossetti and the Peruvian Rocio Silva Santisteban, who give free rein to their emotions and desires in their poetic texts, which reflect love as both eroticism and joyful sexuality. In their poetry the body becomes the instrument for the fulfillment of desire and the production of erotic states. Thus, love is despised almost innocently but through the use of Kitsch as pop songs and advertising slogans, love is rehabilitated and the pleasure-death relation is seen in multiple perspectives.

Dai Wangshu 戴望舒 (1905-1950) was a prolific translator, working on both French and Hispanic literature. However, his translation work has often been considered relevant only to the extent that it helped him to develop a self-fashioned modernist style in his own poetic writing. Moreover, no systematic study has been conducted on his interest in Hispanic literature, particularly on his translation of Federico García Lorca’s poetry, a project to which he dedicated over half of his professional career but left unfinished. In addition, investigations on Dai have been generally approached from a narrow theoretical perspective that has risked overlooking the social factors that affected his literary activities. This thesis, therefore, aims to reveal the extent and the way in which translating Lorca into Chinese contributed to the establishment and consolidation of Dai’s position as a social agent in the field of literary production in China. The methodology is constructed in an attempt to reconcile a sociological perspective on translation drawing on Pierre Bourdieu’s theory with a more interpretive understanding of literary writing based on the notion of transculturation inherited from Latin American cultural studies. Examining Dai’s translation of Lorca’s poetry from this integrated perspective allows foregrounding the heterogeneity and multiplicity of Dai’s literary dispositions, at both a macroscopic and a microscopic level, without ignoring the social factors involved in his translation practice. By embedding Lorca’s poetry in the field of literary production in China, Dai privileged a particular set of possibilities over the others, both literary and ideological at the same time. This kind of behaviour in Dai can be interpreted in terms of transculturation and observed in various textual domains, involving formal literary elements, discourses and worldviews. Furthermore, Dai’s project of translating Lorca’s poetry, which expanded over a three-decade period, allows establishing striking connections among literary journals and groups at various temporal and spatial locations, each of them associated with different and often competing views on translation, literature and politics. In sum, Dai’s translation project of Lorca played a pivotal role in establishing and consolidating Dai’s position in the literary scene to the extent that his status as a literary figure was more determined by his translation work than by his own poetic writing. Dai’s translation of Lorca involved not only transculturating a specific text-type, the romance, but also a particular view on the role of literature in society that, unexpectedly, positioned him as an author opportunistically committed to the Communist cause. This investigation contributes new evidence that helps to question some long-standing assumptions both in studies on Dai and in reflections on the role of translation in Chinese literature. In addition, it allows arguing for a study of such a role at large without the need to subsume translation to any other sort of practice.

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Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-03-17Bitstream added on 2014-06-13T19:22:29Z : No. of bitstreams: 1 franzoni_ma_dr_assis.pdf: 649296 bytes, checksum: f6fa76a9cda2589ae1acece2c2f21fa9 (MD5) / Diario de un poeta reciencasado (1917) é o livro que dá entrada à segunda época da poesia de Juan Ramón Jiménez. Ele é um elo entre as duas épocas do poeta: estabelece a unidade, a continuidade, mas também as mutações. Nada é tão importante no Diario quanto seu profundo e misterioso simbolismo. Um aspecto a que Juan Ramón Jiménez se mantém fiel desde o início de sua poesia e que se reforça é manter com a natureza e com a mulher uma ambígua relação de profunda e recíproca atração e aversão. Nesse processo o poeta acaba por colocar-se à distância, olhando e corrigindo. Ao isolar-se da natureza e da mulher, ao observar de longe, ao enquadrá-las em cenas, mantendo a atitude de um voyeur que tudo vê - mas corrige - o poeta constrói sua arte. O espaço e o tempo passam a ser mostrados em dimensões diferentes. São essas novas relações do eu poético com a natureza, com a mulher, com o espaço, com o tempo e com sua alma que fazem de Diario de un poeta reciencasado uma obra metafísica. Sob esse enfoque analisamos seus poemas nos caminhos da terra, do mar e do céu, enfatizando que esses caminhos marcam a entrada de Juan Ramón na segunda e última época de sua poesia e concorrem para a construção do que foi o signo da escola juanramoniana: a poesia em movimento. / Diario de un poeta reciencasado is the book that starts the second season of Juan Ramón Jiménez poetry. Itþs a link between two poet seasons, and establish the unity, the literary composition continuity, but also the mutations. Nothing is more important in the Diary than the deep and misterius simbolism. One aspect that Juan Ramón Jiménez maintain fidelity since the begin of his literary composition and reinforce in Diario is to maitain with the nature and with the woman one deep, reciprocal atraction and aversion ambiguous relation. In this process he puts himself faraway, looking and correcting. Isolating himself from nature and the woman, looking them from farway, framing them in scenes and with them maintain the attitude of one voyeur that see everything - but corrects - the poet build his art. The space and time becomes to be showed in a strange dimensions out of reality. This is the new relations from himself poetic with the nature, with the woman, with the space, with the time and with him soul makes the Diario de un poeta reciencasado one literary composition metaphysics. Under this view we analyse his poems in earth, sea and sky ways, emphasizing that this ways mark the Juan Ramón entrance in the second and last season os his poetry and concour for the construction that was the juanramoniana school sign: the poetry in movement.

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