Thesis (Ph. D.)--Northern Arizona University, 1999. / Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 205-213).

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The academic analysis of drama often tends to privilege the written word over those sensory elements that are such critical aspects of live theatre. Rhythm, music, dialect, and silence – all these auditory features contribute significantly to the impact and meaning of a play, and they allow playwrights – together with the actors and stage directors who realize their dramatic visions – to convey political messages and address specific political issues without having to necessarily state them overtly within the dialogue. As Augusto Boal stated in his Theatre of the Oppressed, drama is a weapon to fight against oppressive regimes. Thus this dissertation analyzes the role of the senses – especially those related to hearing – in developing the themes and intentions of political plays from Latin America and Spain. The aim is to explore how this has – or has not – changed throughout the centuries, with the ultimate objective of finding common musical and sensory elements, as well as possible affinities in the use of auditory features, to further enable a deeper understanding of how theatre is different from other literary genres. To facilitate the analysis, this dissertation explores a total of six dramas: three Latin American political plays written in the second half of the 20th century and three Early Modern Spanish comedias that depict political scenes or themes. These plays are treated by pairs in each chapter and analyzed according to their use of auditory features in concert with written stage directions and dialogue as a means to reflect or denounce social problems pertaining to the different historical periods in which the plays were initially staged. Specifically, the dramatic pairings are as follows: Chapter 1: Death and the Maiden by Ariel Dorfman (1991) The Mayor of Zalamea by Pedro Calderón de la Barca (ca.1640) Chapter 2: Information for Foreigners, by Griselda Gambaro (1971) Fuenteovejuna, by Lope de Vega (ca.1610) Chapter 3: The Extentionist, by Felipe Santander (1978) Cruelty for Honour, by Juan Ruiz de Alarcón (ca.1621-22). Each play is analyzed according to the theoretical frames that better serve its specific needs and particularities. However, the theories of Giorgio Agamben, Augusto Boal, José Antonio Maravall, Angel Rama, Walter Ong, and especially Bertolt Brecht, form the spinal chord that sustain this study and tie the three chapters to one another. The attention given to each one of these critics and their theories is explained in each chapter’s introduction. As the conclusions show, these plays rely on sensory, linguistic and musical elements to denounce social and political problems of their time, and to try to move their different audiences towards reflection or action, in order to improve the society in which they lived.

L’animal comme personnage et narrateur a été une figure présente depuis toujours dans la mythologie, les fables et l’épique. Au XXème siècle, l’incertitude en face des idéologies légitimatrices et l’émergence de nouvelles théories qui donnaient la parole aux opprimés, a servi pour revigorer la voix de l’animal. Divers genres littéraires et plusieurs écrivains ont utilisé cette voix. Notre recherche a comme but l’analyse de cette voix originelle dans les œuvres des écrivains hispano-américains de la deuxième moitié du XXème siècle. Pour y arriver, nous proposons l’identification d’un dessin général capable de répondre aux questions suivantes: pourquoi et comment l’animal participe dans la littérature. Notre étude est divisée en trois parties qui correspondent au dessin déjà mentionné. La première et la deuxième partie font l’analyse de la voix satirique. La différence entre les deux voix se trouve dans la cible de la satire. Pendant que la première critique et ridiculise les institutions et idéologies humaines, la deuxième dénonce la relation de pouvoir entre l’humain et l’animal. Finalement, nous faisons la recherche d’une voix narrative qui se concentre dans la psychologie, le monde et l’anecdote du même animal. Cette recherche propose de répondre à quelques questions qui motivent la participation de l’animal dans la littérature hispano-américaine du XXème siècle, et la façon dont cette participation se réalise. Nous espérons ainsi ouvrir le chemin par où la critique hispano-américaine pourra s’intégrer à l’étude d’un des personnages et un des narrateurs les plus intéressants : l’animal. / The animal character and the animal narrator have always played an important role, either in mythology, fables and the epic. In the late twentieth century, the incertitude regarding the metanarratives and the subsequent creation of theories that value the voices that were before silenced, gave the animal voice a new strength. The animal has increasingly been used in different genres and by several authors. Our research intends to analyze this voice in the work of Hispano-American authors from the second half of the XX century. In order to dos this effectively, we have searched for patterns that will help us understand the why and the how of animal literature. Our study is divided in three parts, based on the patterns we have discovered in the texts. The first and second part of this study analyzes the satirical voice. The difference between each voice has to do with the aim of their satire. While the first one criticizes and ridicules human’s ideologies and institutions, the second one questions the relationship of power established between humans and animals. In the third part, we inquire on a voice that focuses itself on the psychology, the world and the adventures of the animal.This study intends to clarify some of the reasons why the animal is used in the XX century Hispano-American literature, and described the manner in which this happens. We hope to create awareness in the Spanish academy about one of the most interesting characters and narrators: the animal. / El animal como personaje y narrador ha estado siempre presente,ya sea en los mitos, las fábulas y la épica. En el siglo XX, laincertidumbre ante los discursos legitimadores y el surgimiento denuevas teorías que privilegian la voz de los anteriormentesilenciados, sirvió para dar nueva fuerza al animal. Éste ha sidousado en diversos géneros y por una gran variedad de autores.Nuestro trabajo tiene como objetivo el análisis de esta voz, en laobra de los autores hispanoamericanos de la segunda mitad delsiglo XX. Para ello, proponemos la identificación de patrones, quenos ayuden a entender el porqué y el cómo del animal en laliteratura. El estudio se divide en tres partes, que corresponden alos patrones encontrados en los textos. La primera y la segundaparte analizan la voz satírica. La diferencia entre ambas vocesradica en el blanco de la sátira. Mientras la primera censura yridiculiza las instituciones e ideologías humanas, la segunda hacelo propio con la relación de poder entre el humano y el animal. Enla tercera parte, nos abocamos al estudio de una voz se enfoca en lapsicología, el mundo y las aventuras del propio animal.Este trabajo propone aclarar algunos motivos por los cuales elanimal es usado en la literatura del siglo XX hispanoamericana, ydescribir las maneras en que esto sucede. Con ello, esperamostambién abrir el camino para que la academia hispanoamericana seintegre también al estudio de uno de los personajes y narradoresmás interesantes: el animal.

O objetivo principal deste trabalho é mostrar como as relações entre Literatura e Jornalismo se mantêm nas crônicas de Gabriel García Márquez produzidas no período entre 1980 e 1984 e publicadas no jornal colombiano El Espectador, de Bogotá. A partir de um recorte temático sobre o conjunto de 167 crônicas reunidas no volume Notas de Prensa 1980-1984 constituiu-se um corpus reduzido para a análise de tais relações, o que resultou no reconhecimento de traços literários no discurso jornalístico desses textos, assim como a outra via desse imbricamento, constatou as projeções de estratégias jornalísticas no campo da produção narrativa do escritor colombiano. / The main purpose of this thesis is to show how the relationships between Literature and Journalism are maintained in Gabriel Garcia Márquez\'s chronicles produced between 1980 and 1984, and published in the Colombian journal El Espectador, from Bogotá. Starting from a thematic segment over a whole unity of 167 chronicles reunited in the book Notas de Prensa 1980-1984 a reduced corpus was established for the analysis of those relationships, which resulted in the recognition of literary traces in the journalistic discourse of those texts, as well as the opposite way of this imbrication detected the projection of journalistic strategies in the Colombian writer\'s narrative production.

O objetivo principal deste trabalho é mostrar como as relações entre Literatura e Jornalismo se mantêm nas crônicas de Gabriel García Márquez produzidas no período entre 1980 e 1984 e publicadas no jornal colombiano El Espectador, de Bogotá. A partir de um recorte temático sobre o conjunto de 167 crônicas reunidas no volume Notas de Prensa 1980-1984 constituiu-se um corpus reduzido para a análise de tais relações, o que resultou no reconhecimento de traços literários no discurso jornalístico desses textos, assim como a outra via desse imbricamento, constatou as projeções de estratégias jornalísticas no campo da produção narrativa do escritor colombiano. / The main purpose of this thesis is to show how the relationships between Literature and Journalism are maintained in Gabriel Garcia Márquez\'s chronicles produced between 1980 and 1984, and published in the Colombian journal El Espectador, from Bogotá. Starting from a thematic segment over a whole unity of 167 chronicles reunited in the book Notas de Prensa 1980-1984 a reduced corpus was established for the analysis of those relationships, which resulted in the recognition of literary traces in the journalistic discourse of those texts, as well as the opposite way of this imbrication detected the projection of journalistic strategies in the Colombian writer\'s narrative production.

Este trabalho tem como objetivo fazer um levantamento das traduções de obras de ficção em prosa de autores hispano-americanos publicadas no Brasil, tanto em coleções criadas com o fim específico de divulgar a literatura hispano-americana no país quanto em edições isoladas, fora de coleção. A análise principal está voltada para as coleções publicadas por diversas editoras brasileiras entre as décadas de 1960 e 1990, mas também serão analisadas algumas iniciativas editoriais anteriores e posteriores a estas décadas. Além do levantamento em si, o trabalho procura identificar o propósito editorial que norteou a tradução e publicação de autores hispano-americanos no Brasil, em cada momento histórico analisado, para tentar entender o que significou a circulação destas obras no sistema literário brasileiro. / The aim of this work is to do a survey of the prose fiction of Spanish-American authors translated to Portuguese and published in Brazil, not only in book collections or series created with the specif design of spreading the word about this kind of literature but also in individual editions. The core of the analysis is directed to some collections of Spanish-American Literature that were published in Brazil between the 1960's and the 1990's, although some other editorial efforts will also be analysed, both before and after this period of time. Beyond the survey itself, this work intends to identify the editorial purposes behind the translation and publication of books by Spanish- American authors in Brazil in each of the historical moments analyzed, in a attempt to understand the importance of the circulation of these books within the Brazilian literary system.

Abstract During the fourteen years between 1898 and 1912, the influences imparted upon the School System of Cuba were substantial. In the period immediately following the conflict with Spain, known in the U.S. as the Spanish American War, a concerted effort was underway to annex the island of Cuba. This study was undertaken to discover what courses were introduced into the K-12 curricula following the U.S. intervention, who introduced those changes, and what, if any influence those changes brought to the culture of the island. This investigation and analysis was necessary to reinvigorate the discussion regarding the history of the Cuban education system in view of the attempted cultural change brought about by the U.S. intervention. While many actions were underway by various factions both within the U.S. government and without to ensure that the annexation would be successful, one concerted effort was undertaken through the reconstruction of Cuba's schools. Changes that were made include: coursework, textbooks, structure of schools, selection process for teachers and professors at the University of Havana, holiday schedule, and the school-day and school-year. While the language of instruction remained Spanish, the method of delivery and training of Cuban school teachers was adapted through an extended summer Normal School program in association with Harvard University and a fulltime program at the New Paltz Normal School in New York. From the results collected regarding the coursework, individuals involved, and the changes imparted upon the culture of Cuba, it appears that a concerted effort was underway to impose a U.S.-styled school system on Cuba with the intended result of annexation of the island of Cuba by acclamation of the Cuban people.