This piece is an exploration of tango music. Having played, arranged, composed, and performed this music since 2011, I consider myself steeped and well-versed in the culture and musical language of tango, and this piece is an attempt to synthesize this rich body of music with my own personal style. This work is firmly grounded in the aesthetic of tango dance music from the “Golden Age” of tango in Argentina (1935-1955) and post-Golden Age music. The intent is to create music that is immediately accessible to a layperson, recognizable as tango to someone conversant in the genre, yet distinctively new and part of the evolution of this music. The instrumentation is a cross between a chamber orchestra and a tango ensemble. Strings, flutes, clarinets, F horns, and percussion are joined by a rhythm section of piano, classical guitar, and two bandoneons (tango concertina). The lone upright bass is considered part of the rhythm section as well, rather than as part of the strings. It comprises five movements and runs approximately 25 minutes.

Houve, durante meados do século vinte, diversos episódios de colaborações entre artistas e arquitetos no Uruguai, especialmente em Montevidéu, que contribuíram significativamente para a história da arquitetura e arte moderna no país. Estes episódios, marcados por alguns personagens em comum, porém de características distintas, se relacionaram à temática da integração plástica e culminaram em obras significativas dentro do panorama da arquitetura moderna Latino-americana. Diversos foram os arquitetos e artistas que de alguma forma ou outra colaboraram para estes episódios, porém se propõe analisar quatro obras de três arquitetos, que se aproximam, em alguns aspectos, através de determinadas características em comum: A Residência Mario Lorieto em Montevidéu, do arquiteto Ernesto Leborgne e colaborações dos artistas Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer e Manuel Otero (1964), a Residência do arquiteto Mario Payssé Reyes em Montevidéu e os murais de Edwin Studer, Julio Alpuy, Francisco Matto, Augusto Torres e Elsa Andrada (1954), o Seminário Arquidiocesano em Toledo (Zona rural de Montevidéu) do arquiteto Mario Payssé Reyes e os murais de Horácio Torres (1961) e, por último, o Urnário do Cemitério Norte de Montevidéu, do arquiteto Nelson Bayardo e mural de Edwin Studer (1959). Procura-se, através deste trabalho, melhor compreender as trajetórias de Leborgne, Payssé e Bayardo, a importância das obras destes arquitetos e suas contribuições à temática da integração plástica dentro da história da arquitetura moderna. Busca-se também entender as relações entre artes e arquitetura que integram suas obras e identificar as características que as aproximam. / There was, during the mid-twentieth century, numerous episodes of collaborations between artists and architects in Uruguay, especially in Montevideo, which contributed significantly to the history of architecture and modern art in the country. These episodes, defined by some characters in common, though of certain different features, were related to the theme of plastic integration and culminated in important works within the overview of Latin American modern architecture. Many were the architects and artists who in some way or another contributed to these episodes, though it is intended to analyze four works by three architects, which approximate, in some aspects, through certain characteristics in common: Mario Lorieto’s Residence in Montevideo, of the architect Ernesto Leborgne and collaborations of the artists Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer and Manuel Otero (1964), The Residence of the architect Mario Payssé Reyes in Montevideo and murals by Edwin Studer, Julio Alpuy, Francisco Matto Augusto Torres and Elsa Andrada (1954), The Archdiocesan Seminary in Toledo (Rural area of Montevideo) of the architect Mario Payssé Reyes and murals by Horácio Torres (1961) and, finally, The North Cemetery Ossuary in Montevideo, of the architect Nelson Bayardo and mural by Edwin Studer (1959). It is sought, throughout this work, to better comprehend the trajectories of Leborgne, Payssé and Bayardo, the importance of the works of these architects and their contribution towards the theme of plastic integration within the history of modern architecture. It is also pursued to understand the relations between arts and architecture which integrate their works and the characteristics which approximate them.

Houve, durante meados do século vinte, diversos episódios de colaborações entre artistas e arquitetos no Uruguai, especialmente em Montevidéu, que contribuíram significativamente para a história da arquitetura e arte moderna no país. Estes episódios, marcados por alguns personagens em comum, porém de características distintas, se relacionaram à temática da integração plástica e culminaram em obras significativas dentro do panorama da arquitetura moderna Latino-americana. Diversos foram os arquitetos e artistas que de alguma forma ou outra colaboraram para estes episódios, porém se propõe analisar quatro obras de três arquitetos, que se aproximam, em alguns aspectos, através de determinadas características em comum: A Residência Mario Lorieto em Montevidéu, do arquiteto Ernesto Leborgne e colaborações dos artistas Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer e Manuel Otero (1964), a Residência do arquiteto Mario Payssé Reyes em Montevidéu e os murais de Edwin Studer, Julio Alpuy, Francisco Matto, Augusto Torres e Elsa Andrada (1954), o Seminário Arquidiocesano em Toledo (Zona rural de Montevidéu) do arquiteto Mario Payssé Reyes e os murais de Horácio Torres (1961) e, por último, o Urnário do Cemitério Norte de Montevidéu, do arquiteto Nelson Bayardo e mural de Edwin Studer (1959). Procura-se, através deste trabalho, melhor compreender as trajetórias de Leborgne, Payssé e Bayardo, a importância das obras destes arquitetos e suas contribuições à temática da integração plástica dentro da história da arquitetura moderna. Busca-se também entender as relações entre artes e arquitetura que integram suas obras e identificar as características que as aproximam. / There was, during the mid-twentieth century, numerous episodes of collaborations between artists and architects in Uruguay, especially in Montevideo, which contributed significantly to the history of architecture and modern art in the country. These episodes, defined by some characters in common, though of certain different features, were related to the theme of plastic integration and culminated in important works within the overview of Latin American modern architecture. Many were the architects and artists who in some way or another contributed to these episodes, though it is intended to analyze four works by three architects, which approximate, in some aspects, through certain characteristics in common: Mario Lorieto’s Residence in Montevideo, of the architect Ernesto Leborgne and collaborations of the artists Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer and Manuel Otero (1964), The Residence of the architect Mario Payssé Reyes in Montevideo and murals by Edwin Studer, Julio Alpuy, Francisco Matto Augusto Torres and Elsa Andrada (1954), The Archdiocesan Seminary in Toledo (Rural area of Montevideo) of the architect Mario Payssé Reyes and murals by Horácio Torres (1961) and, finally, The North Cemetery Ossuary in Montevideo, of the architect Nelson Bayardo and mural by Edwin Studer (1959). It is sought, throughout this work, to better comprehend the trajectories of Leborgne, Payssé and Bayardo, the importance of the works of these architects and their contribution towards the theme of plastic integration within the history of modern architecture. It is also pursued to understand the relations between arts and architecture which integrate their works and the characteristics which approximate them.

Houve, durante meados do século vinte, diversos episódios de colaborações entre artistas e arquitetos no Uruguai, especialmente em Montevidéu, que contribuíram significativamente para a história da arquitetura e arte moderna no país. Estes episódios, marcados por alguns personagens em comum, porém de características distintas, se relacionaram à temática da integração plástica e culminaram em obras significativas dentro do panorama da arquitetura moderna Latino-americana. Diversos foram os arquitetos e artistas que de alguma forma ou outra colaboraram para estes episódios, porém se propõe analisar quatro obras de três arquitetos, que se aproximam, em alguns aspectos, através de determinadas características em comum: A Residência Mario Lorieto em Montevidéu, do arquiteto Ernesto Leborgne e colaborações dos artistas Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer e Manuel Otero (1964), a Residência do arquiteto Mario Payssé Reyes em Montevidéu e os murais de Edwin Studer, Julio Alpuy, Francisco Matto, Augusto Torres e Elsa Andrada (1954), o Seminário Arquidiocesano em Toledo (Zona rural de Montevidéu) do arquiteto Mario Payssé Reyes e os murais de Horácio Torres (1961) e, por último, o Urnário do Cemitério Norte de Montevidéu, do arquiteto Nelson Bayardo e mural de Edwin Studer (1959). Procura-se, através deste trabalho, melhor compreender as trajetórias de Leborgne, Payssé e Bayardo, a importância das obras destes arquitetos e suas contribuições à temática da integração plástica dentro da história da arquitetura moderna. Busca-se também entender as relações entre artes e arquitetura que integram suas obras e identificar as características que as aproximam. / There was, during the mid-twentieth century, numerous episodes of collaborations between artists and architects in Uruguay, especially in Montevideo, which contributed significantly to the history of architecture and modern art in the country. These episodes, defined by some characters in common, though of certain different features, were related to the theme of plastic integration and culminated in important works within the overview of Latin American modern architecture. Many were the architects and artists who in some way or another contributed to these episodes, though it is intended to analyze four works by three architects, which approximate, in some aspects, through certain characteristics in common: Mario Lorieto’s Residence in Montevideo, of the architect Ernesto Leborgne and collaborations of the artists Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer and Manuel Otero (1964), The Residence of the architect Mario Payssé Reyes in Montevideo and murals by Edwin Studer, Julio Alpuy, Francisco Matto Augusto Torres and Elsa Andrada (1954), The Archdiocesan Seminary in Toledo (Rural area of Montevideo) of the architect Mario Payssé Reyes and murals by Horácio Torres (1961) and, finally, The North Cemetery Ossuary in Montevideo, of the architect Nelson Bayardo and mural by Edwin Studer (1959). It is sought, throughout this work, to better comprehend the trajectories of Leborgne, Payssé and Bayardo, the importance of the works of these architects and their contribution towards the theme of plastic integration within the history of modern architecture. It is also pursued to understand the relations between arts and architecture which integrate their works and the characteristics which approximate them.

Although the contemporary fantastic short story in Argentina and Uruguay is widely recognized and studied, its origins during the nineteenth century are generally unknown. This study proposes to (1) identify examples of the nineteenth century fantastic, (2) place the works in the context of literary history, and (3) study their narrative conventions and topics. A reading of the nineteenth century fantastic reveals that there is a conventional narrative cluster consisting of three elements: personalized, first-person narrator; frame discourse; and suspended narration. Although there are some variations on this pattern, these conventions generally hold true throughout the nineteenth century. The narrative elements are examined from two perspectives: their contrast with the dominant conventions of realism, and their function within the fantastic. The stories are divided into four categories based on their topic. The first category is the dream fantastic, in which a dream provides self-knowledge or salvation. The second grouping is the fantastic of madness; in these stories, madness can be a divine gift or a destructive force. The third section is the scientific fantastic, in which the scientism of the 1800's is questioned. The final division is the folkloric fantastic, which deals with the supernatural. This study concludes by pointing out that the conventions of the nineteenth century do not continue into the twentieth. The generation of the 20's and 30's formed new concepts of the realistic and the fantastic. Therefore, they altered the previous narrative pattern and abandoned scientism as a literary topic. This study includes stories by these authors: Carlos O. Bunge, Miguel Cané, Macedonio Fernández, Martín García Mérou, Juana Manuela Gorriti, Carlos Guido y Spano, Julio Herrera y Reissig, Eduardo L. Holmberg, William Henry Hudson, Leopoldo Lugones, Carlos Monsalve, Carlos Olivera, Horacio Quiroga, and Eduardo Wilde.

O presente trabalho se centra em uma nova leitura da geração literária de 45, no Uruguai. São estudados, principalmente, dois aspectos: primeiro, a análise dos elementos constitutivos do novo imaginário que a geração de 45 imputou à sociedade e, segundo, a identificação dos mecanismos de poder que a geração utilizou para alcançar um lugar de destaque dentro da sociedade de sua época. A tese que se propõe, ao contrário do que tradicionalmente afirmam os críticos literários é a de que a geração de 45, ao invés de romper totalmente com o imaginário anterior da sociedade uruguaia, é portadora de elementos que se originam em imaginários anteriores, elementos presentes na cultura uruguaia desde os primórdios de sua constituição.Trabalha-se, principalmente, o espaço ficcional urbano que a geração descortina em diferentes textos, por considerá-lo privilegiado para a constituição do novo imaginário. A abordagem se centra tanto na ficção - especialmente de J.C. Onetti, C. Martínez Moreno e Mario Benedetti - quanto em ensaios - C. Real de Azúa, E. Rodríguez Monegal e A. Rama / This work centres on a new reading of Uruguay\'s literary Generation of 1945. Two aspects are given special attention: the analisis of elements constituting the new imaginary that this generation would impose on society 2) the identification of power- acquiring mechanisms wielded by this generation to gain a dominant position within society at the time.The thesis put forward - as opposed to what literary critics have traditionally asserted-- is that instead of completely moving away from Uruguayan society\'s prior imaginary, the Generation of 1945 retains elements proceeding from preliminary imaginaries, which have been dragged forward within Uruguayan culture since the beginnings of its constitution. We work mainly upon the urban fictional space opened up by this generation in different texts, as it is considered privileged for the constitution of the new imaginary. Our approach centres both on fiction - especially J.C. Onetti, C. Martínez Moreno and Mario Benedetti - and essays - C. Real de Azúa, E. Rodríguez Monegal and A. Rama

O presente trabalho se centra em uma nova leitura da geração literária de 45, no Uruguai. São estudados, principalmente, dois aspectos: primeiro, a análise dos elementos constitutivos do novo imaginário que a geração de 45 imputou à sociedade e, segundo, a identificação dos mecanismos de poder que a geração utilizou para alcançar um lugar de destaque dentro da sociedade de sua época. A tese que se propõe, ao contrário do que tradicionalmente afirmam os críticos literários é a de que a geração de 45, ao invés de romper totalmente com o imaginário anterior da sociedade uruguaia, é portadora de elementos que se originam em imaginários anteriores, elementos presentes na cultura uruguaia desde os primórdios de sua constituição.Trabalha-se, principalmente, o espaço ficcional urbano que a geração descortina em diferentes textos, por considerá-lo privilegiado para a constituição do novo imaginário. A abordagem se centra tanto na ficção - especialmente de J.C. Onetti, C. Martínez Moreno e Mario Benedetti - quanto em ensaios - C. Real de Azúa, E. Rodríguez Monegal e A. Rama / This work centres on a new reading of Uruguay\'s literary Generation of 1945. Two aspects are given special attention: the analisis of elements constituting the new imaginary that this generation would impose on society 2) the identification of power- acquiring mechanisms wielded by this generation to gain a dominant position within society at the time.The thesis put forward - as opposed to what literary critics have traditionally asserted-- is that instead of completely moving away from Uruguayan society\'s prior imaginary, the Generation of 1945 retains elements proceeding from preliminary imaginaries, which have been dragged forward within Uruguayan culture since the beginnings of its constitution. We work mainly upon the urban fictional space opened up by this generation in different texts, as it is considered privileged for the constitution of the new imaginary. Our approach centres both on fiction - especially J.C. Onetti, C. Martínez Moreno and Mario Benedetti - and essays - C. Real de Azúa, E. Rodríguez Monegal and A. Rama

'Visual Elective Affinities: An Elliptical Study of the Works of Angela Carter and Marosa di Giorgio' examines the extent to which these two authors engage with visual representations, as well as how visuality affects and modulates the nature of their writing. In this respect, I am committed to re-thinking the notions of verbal and visual media and I draw on W.J.T. Mitchell’s theory of the imagetext as a conceptual tool from which to investigate the heterogeneity of representation. On the one hand, I trace similarities and contrasts between Carter’s and di Giorgio’s perspectives, offering new critical approaches to each other’s œuvres. For example, I suggest new routes of interpretation into Carter’s and di Giorgio’s texts, by opening the exploration of their work to the interplay not only with visuality but also with each other’s geo-cultural domains. On the other hand, this thesis draws on theories and discourses of comparative literature and, hence, it also problematises standards and consequences of comparisons between the arts and between cultures. There are three major visual elective affinities with which I develop an intertwined analysis of the authors’ texts. Firstly, Giuseppe Arcimboldo’s pictures are a shared reference in Carter’s and di Giorgio’s writings, and I analyse Arcimboldo’s “effect” on their works. A second visual affinity is created around visions and images of women. Carter’s “The Bloody Chamber” is put under consideration along with images by Félicien Rops, Jacques Louis David and Corinna Sargood, amongst others, whilst di Giorgio’s Camino de las pedrerías is examined in relation to surrealist works of art including: Max Ernst’s, Leonora Carrington’s and Leonor Fini’s. Finally, this thesis analyses the films The Company of Wolves (dir. Neil Jordan, 1984) and Lobo (dir. Eduardo Casanova, 1990) in relation to Carter’s and di Giorgio’s works. In doing so, I introduce alternative perspectives on these writers, examining the links between cinematography and fairy tales, and exploring the conflictive and hybrid nature of filmic representation.

Ma thèse porte sur l'oeuvre de l'écrivain uruguayen Carlos Liscano (Montevideo, 1949) et sur les rapports de celle-ci avec la dictature uruguayenne (1973-1985). Après avoir présenté la société uruguayenne des années soixante et soixante-dix à partir de la notion de crise et le groupe révolutionnaire Tupamaro auquel Liscano a appartenu, il s'agira de comprendre de quelle façon l'écrivain devient sujet par l'écriture de tout ce qu'il a vécu. Pour comprendre cela, deux images, qui se complètent l'une et l'autre, sont le fil directeur de ma thèse : l'écriture comme un sillon et comme une spirale. Ainsi, dans le chapitre 1 (L'écriture en prison : 1981-1985), j'analyse les conditions dans lesquelles l'homme est devenu écrivain à la prison et la relation entre le délire et l'écriture ; dans le deuxième chapitre (La vie en Suède : 1986-1996), j'étudie l'écrivain et sa relation avec le public, la réception de son oeuvre par la critique uruguayenne et la négation par l'écrivain de l'adjectif "carcéral" que la critique a associé à sa littérature. Je m'interroge là sur le fait que l'écrivain ne soit parvenu à produire des récits de fiction que lorsqu'il habitait en Suède. Dans le troisième chapitre (Le retour en Uruguay) j'essaie de comprendre la décision de rentrer en Uruguay et pour cela, je décrypterai l'unique témoignage de Liscano au sein du développement d'un nouveau genre en Uruguay, à l'époque de la postdictature. je propose également d'étudier les romans d'autofiction en rapport lien avec la dimension civique et publique de la vie de l'écrivain depuis son retour. Enfin ,je finis avec une étude du travail de réécriture que l'auteur pratique depuis toujours. / This thesis attempts to analyze Carlos Liscano's literature both itself and as it relates to the Uruguayan dictatorship of the period 1973-1985. In a first section of the introduction, Uruguayan society of the sixties and seventies is characterized starting from the notion of crisis, and outlining some features of the revolutionary group the author belonged to ; in a second section, the key notion of this thesis is presented : that writing is how the author makes himself a subject of lived experience. Two complementary images are the guiding thread of this approach to Liscano's work : that of writing as a furrow, and the spiral. In chapter 1 the emergence of the writer in prison and the relation between delirium and writing is analyzed. In the second chapter the public confirmation of the writer starting from his life in Sweden, the first reception of his work, and his rejection of the "prison litetrature" label attributed to it.. An attempt is made to answer why his narrative production came during his life in Sweden, suggesting it may be related with the estrangement that comes from living in two languages. In the third chapter the author's decision to return to Uruguay and its meaning is discussed. The only testimony book to address the development of the genre in post-dictatorship Uruguay is analyzed. The writer's recovered civic dimension is discussed as one of the paths that lead to his discovery of autofiction. The possibility of setting a limit to the autofiction form and the opening towards a plagiarism aesthetic is entertained. Lastly, an analysis of rewriting is presented, although it is a permanent feature in Liscano's work.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 258-273).