Orientador: Roxana Guadalupe Herrera Álvarez / Banca: Antonio Roberto Esteves / Banca: Maria Celeste Tommasello Ramos / Resumo: A figura da mulher misteriosa atrelada à magia está presente na cultura de diferentes povos, seja como bruxa, feiticeira ou fada. Neste trabalho, observamos a configuração das personagens centrais dos contos "Circe" e "Bruja", do argentino Julio Cortázar, "Los altillos de Brumal" e "Mi hermana Elba", da espanhola Cristina Fernández Cubas e "La buena compañía" e "La gata de mi madre", do mexicano Carlos Fuentes. As narrativas que serão analisadas filiam-se ao gênero fantástico e, para o estudo desse gênero, usaremos como embasamento teórico os estudos sobre o fantástico de David Roas expostos em Tras los límites de lo real. Una definición de lo fantástico (2011) e textos de diversos pesquisadores reunidos e organizados por David Roas na obra Teorías de lo fantástico (2001). Acreditamos que essa figura situa-se no arquétipo que Carl Gustav Jung denominou Grande Mãe, assim, para o estudo do arquétipo, inicialmente, utilizaremos sua obra Os arquétipos e o inconsciente coletivo (2000) e A Grande Mãe (1996), de Erich Neumann. Além de estabelecer esta relação, pretendemos demonstrar como os elementos formais da narrativa que interferem na construção da figura feminina colaboram para a manifestação do sobrenatural nos contos em questão, manifestação que se dá por meio da própria personagem feminina. Estética e pragmática del relato fantástico (2000), de Juan Herrero Cecilia será um estudo relevante para este projeto de pesquisa, tanto para o estudo dos elementos formais da narrativa, quanto para a discussão sobre a literatura fantástica. Nosso estudo propõe com a análise das obras observar como a figura feminina pode ser caracterizada com atributos típicos da bruxa mítica imaginária. Essa análise será baseada nos elementos usados na configuração da bruxa que os próprios contos utilizam e nos elementos que a cultura ocidental consagrou como marcas da nossa figura arquetípica / Abstract: The figure of the mysterious woman linked to the magic is present in the culture of different peoples, whether as a witch, sorceress or fairy. In this study, we observe the central characters' configuration of the tales Circe and Bruja, of the Argentinian Júlio Cortázar, Los atillos de Brumal and Mi Hermana Elba of the Spanish Cristina Fernández Cubas and La buena compañía and La gata de mi madre, of the Mexican Carlos Fuentes. The narratives that will be analyzed are affiliated to the fantastic genre and, to the study of this genre, we will use as theoretical background the studies about the fantastic of David Roas exposed in Tras los límites de lo real. Una definición de lo fantástico (2011) and texts from many researchers gathered and organized by David Roas in the work Teorías de lo fantástico (2001). We believe that this figure is situated in the archetype that Carl Gustav Jung called the Great Mother, then, for the archetype's study, initially, we will use his work Os arquétipos e o inconsciente coletivo (2000) and A Grande Mãe (1996), of Erich Neumann. Besides establishing this relationship, we intend to demonstrate how the formal elements of narrative that interfere in the construction of the female figure collaborate for the manifestation of the supernatural in the tales in question, manifestation that occurs through the own female character. Estética e pragmática del relato fantástico (2000), of Juan Herrero Cecilia will be an important study for this research project, both for the study of formal elements of the narrative, as for the discussion of fantastic literature. With the analysis of the works, our study proposes to observe how the female figure can be characterized with typical attributes of the imaginary mythical witch. This analysis will be based on the elements used in the configuration of the witch that the own tales use and on the elements that the Western culture has set itself as trademarks of ... / Mestre

The Spanish-American colonies reacted in defense of King Ferdinand VII during the French invasion of Spain in 1808. The events that followed in 1808-1810 exposed the contradictions within the colonial system. In this paper I assess Arequipa’s reaction in this context particularly its Cabildo, which must be understood in connection with the events in neighboring cities—Cuzco, Puno, La Paz, and Potosí—and in the centers of political power—Lima, Chuquisaca, and Buenos Aires. I argue that the loyalism of Arequipa’s population was a strategy to gain autonomy and defend its regional interests while avoiding conflict at the local level. An array of possibilities emerged in that period, as a result of which Spanish-American societies, led by their ruling circles, decided their future. / Luego de conocerse la invasión francesa a España ocurrida a principios de 1808, las poblaciones hispanoamericanas reaccionaron unánimemente en defensa de su rey Fernando VII. Lo sucedido a continuación, entre 1808 y 1810, desató las contradicciones internas del sistema colonial. En este artículo abordo el caso de Arequipa durante aquel contexto, en particular la reacción de su Cabildo. Esta se debe entender en relación con lo acontecido en las ciudades vecinas —Cuzco, Puno, La Paz, Potosí— y en los centros de poder político —Lima, Chuquisaca, Buenos Aires—. Así, sostengo que el fidelismo arequipeño mostrado por el Cabildo fue una estrategia para ganar autonomía y defender los intereses de su élite en la región, al mismo tiempo que se evitaba despertar conflictos al interior de la sociedad local. En aquel bienio, una serie de posibilidades aparecieron y cada sociedad encabezada por sus grupos dirigentes, optó por su propio destino.

The nineteenth century in Spanish America exhibits a true saga of funeral ceremonies intended to exalt the role of great men in the configuration of the symbolic arsenal which contributed to molding the foundational mythology of nation-states. The Republican state language turned the association between hero, national body and posterity into a resource of the affirmation of national authority and social and political cohesion. Converted into keystones in the building of the national pantheon, State funerals carried out during the 19th century in the majority of the Spanish American republics became formidable instruments of political and cultural construction. Along these lines, the presen tarticle is occupied with contextualizing the slow process of placing José de San Martín as an Argentine national hero within the coordinates of 19th century European and Spanish American funerary rituals. / El siglo XIX hispanoamericano exhibe una verdadera saga de ceremoniales fúnebres destinados a enaltecer el papel de los grandes hombres en la configuración del arsenal simbólico que contribuía a moldear la mitología fundacional de los estados nacionales. El lenguaje estatal republicano hizo de la asociación entre héroe, cuerpo nacional y posteridad un recurso de afirmación de la autoridad nacional y de cohesión social y política.Convertidos en piezas angulares en la fabricación del panteón nacional, los funerales de Estado realizados a lo largo del siglo XIX en la mayoría de las repúblicas hispanoamericanas se convirtieron en instrumentos formidables de construcción políticay cultural. En esta línea, el presente artículose ocupa de contextualizar la dilatada empresa de colocación de José de San Martíncomo héroe nacional argentino en las coordenadas de los rituales funerarios del siglo XIX europeo e hispanoamericano.

En el marco de la crisis en la que se encuentra España hacia fines del siglo XIX, y de los procesos de conformación y consolidación de los Estados nacionales en América Latina, tiene lugar en Madrid en el año 1892 un acontecimiento político-lingüístico singular: el Congreso Literario Hispanoamericano, convocado para celebrar el IV Centenario del Descubrimiento de América. El presente trabajo se propone analizar las orientaciones político-lingüísticas que recorren el encuentro. Para ello, hemos compuesto un corpus conformado por el programa de temas y una selección de las memorias expuestas. A nuestro entender, los discursos del Congreso se inscriben en una matriz de orientación hispanista que genera un efecto de homogeneidad, de unidad discursiva. Sin embargo, en el interior de esta matriz se delimitan tensiones, posicionamientos, que se orientan a un polo de tendencia marcadamente hispanista o, por el contrario, más americanista. / In the context of the crisis in which Spain is involved towards the end of the 19th century and the processes of conformation and consolidation of the national States in Latin America, takes place in Madrid in 1892 a political-linguistic singular event: the Literary Spanish-American Congress, organized in order to celebrate the 4th Centenary of the Discovery of America. The present work proposes to analyze the political and linguistic orientations which go through the meeting. In that sense, we have shaped a corpus composed by the programme of topics and a selection of the exposed memories. To our mind, the discourses of the Congress are part of a matrix with hispanist orientation which generates an effect of homogeneity, of discursive unity. Nevertheless, inside this matrix there are delimited tensions, positionings, which are orientated to a pole of pronounced hispanist tendency or, on the contrary, more americanist.

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

Este trabalho objetiva percorrer a partir de El río sin orillas os núcleos irradiadores fundamentais da poética do escritor argentino Juan José Saer (1937-2005), procurando analisar a matéria comum e as especificidades entre a escrita do ensaio e a prosa ficcional do autor. Publicado originalmente em 1991, El río sin orillas indaga sobre a história, a literatura e o imaginário cultural da sociedade argentina a partir de sua relação com o Rio da Prata. Ao longo da leitura de El río sin orillas, propõe-se ainda promover um diálogo do texto com a tradição do ensaísmo hispano-americano e, mais precisamente, com uma tradição de textos que o próprio Saer põe em evidência ao valorizar o caráter inclassificável de algumas obras. A partir destes objetivos principais, foram selecionados temas e questões que permitem analisar em El río sín orillas o deslocamento em dupla mão entre a escrita ensaística e a ficcional, bem como a tênue linha de fronteira que persiste entre os dois campos discursivos: o problema dos gêneros literários e a tradição das obras inclassificáveis; o entre-lugar estrangeiro; a literatura pensada pelo autor como uma antropologia especulativa; a invenção do passado; a violência e a política; a criação da geografia singular da zona saeriana. / This thesis explores the fundamental irradiating nuclei of the poetics of the Argentine writer Juan José Saer (1937-2005) in the essay El río sin orillas, aiming to analyze the the common aspects and specificities between the essay writing and fictional prose of the author. Originally published in 1991, El río sin orillas probes the history, literature and cultural imagination of Argentinian society through their relation with the River Plate. Along our reading of El río sin orillas, we also propose to promote a dialogue with the Hispanic- American tradition of essay writing and, more precisely, with the tradition of writing that Saer himself reveals through his valorization of the unclassifiable character of certain texts. In addition to these main goals, some themes and issues that allow us to analyze the two-way traffic between the authors essays and fictional prose as well as the blurry boundary between these two discursive fields have been selected: the problem of literary genres and the tradition of unclassifiable works; the in between space of the foreigner; the notion of literature in Saer as speculative anthropology; the invention of the past; violence and politics; and the creation of a singular geography of Saerian zone.

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

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