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Este ensayo estudia los “Poemas underwood” que Martín Adán incluyó en “La casa de Cartón” (1928). Por sus características formales, se trata de uno de los textos más importantes de la vanguardia peruana y se trata, además, de una de las primeras y más contundentes críticas al discurso de la modernidad inaugurado en ese entonces. Me ha interesado analizar muchas de las principales imágenes de este poema a fin de rastrear no solo cuáles son los principales cambios sociales que ahí se representan, sino cómo la voz poética va configurando un contundente arsenal de respuestas críticas a ellos. / In this essay I study the “Underwood Poems” that Martin Adan included in “La Casa de Carton” (1928). Its formal characteristics make these poems one of the most important texts of the Peruvian vanguard, as well as they establish one of the most resounding criticism to the modernity discourse of the era. I am particularly interested in analyzing one of the main images of this poem in order to trace not only the principal social changes that are represented but also how the poetic voice configures a compelling armor of critical responses to these changes.

This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres.

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This thesis, argues that House of Cards portrays an embellished reality of our government through a Machiavellian lens, particularly looking at the politics of scandal through the 25th Amendment and impeachment, as well as the role of political spouses. It also address the underlying question of appointing someone as controversial as Frank Underwood to the vice presidential position knowing his manipulative nature, and will analyze his schemes from a realistic perspective.

The purpose of my assignment is to summarize facts, thoughts and assumptions and provide Progressive Era analyses in relation to the 1912 presidential elections. The respective campaigns of Theodore Roosevelt and Woodrow Wilson can -- in general terms - be considered as a contest between the theoretical and the practical. This was evident in their varying approaches to both economic and social issues. Even within the Progressivism there were different points of view on the liberalism in the American democracy and strategic issues such as tax, customs duties and anti-monopoly policies. I will specifically examine this disparity in context of the social struggle between concentrated and organized capitalism and the progressive labor movement. Who were the people designing their election platforms, defining the state politics and consequently creating the rules? What was their vision? And what assumptions underlined their thinking? Have their ideas and its application in politics been successful? Finally, what was their political legacy in American society today?