Whereas contemporary debates in Latin American studies addressing sovereignty often focus on dictatorships and the transitions to democratic governments in Latin America in the late twentieth century, Sovereignties Displaced: Avant-Garde Prose and Authoritarianism in Spain, Chile, and Argentina (1923-1936) adopts a transatlantic framework and directs critical attention to the cultural production of the interwar period. The historical and cultural events preceding and following 1929 are connected to World War I, the political crisis of democratic systems, and the global socioeconomic instability of the period. The three countries studied in the present work would be affected by these conditions, sharing an almost synchronic development of the authoritarian governments of Miguel Primo de Rivera in Spain (1923-1930), of Carlos Ibáñez del Campo in Chile (1927-1931), and José Félix Uriburu in Argentina (1930-1932). Additionally, the rise of authoritarianism and the decay of parliamentary institutions characterizing this epoch condition and inscribe the political essays and avant-garde novels composed by the intellectuals and writers analyzed in this study: from Spain, María Zambrano (1904-1991), Ramón Gómez de la Serna (1888-1963), and Benjamín Jarnés (1888-1949); from Chile, Alberto Edwards Vives (1874-1932), Juan Emar (1893-1964), and Vicente Huidobro (1893-1948); and from Argentina, Ramón Doll (1896-1970), Norah Lange (1905-1972), and Roberto Arlt (1900-1942). It should be noted that while considering national circumstances, my argumentation is divided into sections organized not by country, but rather by subject matter: a methodological and theoretical introduction, three analytical chapters, and concluding remarks. Established critical assessments of the avant-gardes, as offered by experts like Renato Poggioli (1907-1963), have underscored that democratic forms of government would provide the initial conditions of possibility of the historical avant-gardes. Other scholars, however, have recognized the interdependency of early twentieth century artistic discourses, revolutionary ideas, and authoritarianism. Informed by the theorization of sovereignty and democracy of Jacques Derrida (1930-2004), and the concept of community of Roberto Esposito (1950-), my research examines, in political essays and vanguard novels, the opposition of individual vis-à-vis collective forms of rule. The texts of my corpus manifest a recurrent concern relating to the tension between self-rule and collective-rule, a dynamic which organizes and destabilizes avant-garde formations themselves. Consequently, I analyze the philosophical and political ramifications of these authors’ defense, negation, or destabilization of the individual-collective opposition in the context of the deterioration of parliamentarism. In my first chapter, I examine the following essays that represent a range of political positions from the interwar years: Horizonte del liberalismo (1930) by María Zambrano, Liberalismo en la literatura y la política (Con una segunda edición de: “Democracia mal menor”) (1934, n/d) by Ramón Doll, and La fronda aristocrática en Chile (1928) by Alberto Edwards Vives. Framed by the sociological assessments of José Ortega y Gasset in La rebelión de las masas (1930), this chapter considers these essayists’ observations regarding mass politics and the role of political and economic elites. I foreground the ethical problems relating to these authors’ conceptions of the human subject and their concomitant formulations of governance, deriving from various ideological orientations. The essayists’ comparable anxieties regarding the limits of democratic politics reveal the complexities of the period and serve as a springboard for the subsequent chapters that study the politics of avant-garde novels. In my second chapter, shifting from essayistic discourse to vanguard fiction, I analyze philosophical oppositions central to the configuration of sovereignty, and to the theory and practice of democracy. These tensions organize various components of the following novels: Un año (1935) by Juan Emar (pseudonym of Álvaro Yáñez Bianchi), 45 días y 30 marineros (1933) by Norah Lange, and El caballero del hongo gris (1928) by Ramón Gómez de la Serna. I demonstrate that, although these narratives do not contain explicit references to the emergence of authoritarianism and the erosion of parliamentarism of the period, these narratives are structured by problems that have implications for a thinking of issues relating to sovereignty and democracy. These novels similarly present how individuals interact with groups, such that it becomes imperative to consider the political consequences of these relations in order to critique, for example, fraternalistic and nationalistic notions of political filiation. My final chapter studies the narrative presentations of radical political projects that aim to restructure society in Los siete locos (1929) by Roberto Arlt, La próxima (1934) by Vicente Huidobro, and Lo rojo y lo azul (1932) by Benjamín Jarnés. In contrast to the narratives included in the second chapter, these avant-garde novels establish an explicit dialogue with the conditions of crisis of the interwar years. From insurrections and utopian settlements, to revolutionary military revolts, these narrations depict small vanguard groups that propose various plots that seek to radically reshape the social order. Even though poetry is often positioned as the paradigmatic form of vanguard literary expression, my research theorizes the understudied phenomenon of Hispanic avant-garde prose. In particular, I account for the variation among avant-garde novels of the period, by sustaining that there are gradations of vanguard narrative depending on different factors that range from the transparency or opacity of linguistic expression, to the organization of the narrative material. In this sense, some novels considered vanguardist, while approaching a certain radicality in terms of language and form, may incorporate elements of the realist-naturalist novelistic tradition. Likewise, I assert the importance of attending to the varied uses of meta-reflexive procedures in Hispanic vanguard prose. Given their implicit and explicit interaction with contemporary historical conditions and political and artistic discourses of the 1920s and 1930s, I contend that the essays and avant-garde novels analyzed offer a fertile ground to examine the nature of sovereignty, while also presenting, in some crucial instances, potential images of what a democracy worthy of this name could look like. / Spanish

Se ha analizado en profundidad cada una de las facetas de Rafael Contreras Juesas desarrolladas tanto en el ámbito personal como profesional, mostrando cronológicamente la trayectoria laboral y académica; estudiando su personalidad y estilo; a nivel multidisciplinar se ha plasmado su creación artística -gráfica y pictórica- generada por el artista a lo largo de su vida, muy especialmente la cartelística, secundada por los textos más representativos de su indeleble etapa docente. Se ha compilado, previa búsqueda documental, su completa producción plástica y cartelística, analizándola iconológica e iconográficamente; recabando a su vez, como valiosa aportación adicional, la opinión que de él tienen los diseñadores gráficos de prestigio internacional: Javier Mariscal, Alberto Corazón, Enric Satué y Pepe Gimeno. En la biografía se conjuga lo práctico con lo teórico, la primera en cuanto se refiere a la elaboración: las técnicas, procesos, principios y materiales empleados por el autor, cobrando especial interés en su creación los procesos de bocetado, por lo sumamente didáctico; la segunda, a través de sus planteamientos semiológicos que favorecen la comprensión de sus representaciones gráficas. En primera instancia se estudian sus precedentes familiares y su formación académica con el fin de contextualizar al personaje en sus respectivas influencias. A posteriori se concatenan cada una de sus ocupaciones profesionales e investigadoras, desglosadas pormenorizadamente, e incluyendo su obra en el transcurso de las mismas, de manera integral (coherente y unificada) y global (con intención totalitaria). Se ha puesto especial ahínco en registrar y fechar profusamente cada uno de los momentos clave, así como describir detalladamente los acontecimientos de relieve. Se incide especialmente en el apartado cartelístico -al tratarse del denominador común a través del cual el autor de quien tratamos se da a conocer, al igual que como profesor- analizando la creatividad en el brainstorming y su expresivo lenguaje gráfico. Se ha buscado, recopilado, clasificado y numerado todo el material diverso índole y procedencia; organizando éste, acorde a las respectivas temáticas disciplinarias que lo integran, unificando coherentemente en sus apartados conceptos comunes y contenidos afines a los mismos. / Arce Martínez, JM. (2014). RAFAEL CONTRERAS JUESAS: CARTELISTA, COMUNICADOR GRÁFICO, PINTOR, INVESTIGADOR, ESCRITOR Y PEDAGOGO. VIDA, OBRA Y CATÁLOGO ANALÍTICO [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/36064

Abstract This thesis illustrates the social engagement in the literary writings of Pier Vittorio Tondelli, an Italian gay author whose works have been described by many Catholic, Materialists, and gay critics as frivolous and disengaged. The dissertation summarizes the mutation of the Italian literary concept of impegno from Neorealism to Postmodernism, through a selection of the texts of Elio Vittorini, Italo Calvino, Franco Fortini, Pier Paolo Pasolini, Leonardo Sciascia, and Umberto Eco. It shows how Tondelli’s interpretation of the role of the writer falls within the definitions given by Calvino and Eco. Moreover, the thesis demonstrates that Altri libertini and Pao Pao satisfy the characteristics of littérature mineure established by Gilles Deleuze and Felix Guattari, though Tondelli’s oeuvre is socially engaged instead of being politically engaged because of his lack of a political ideology. The dissertation highlights the core of Tondelli’s social commitment in his passionate defense of the outcasts in: Altri libertini where drug addicts, homosexuals, transsexuals, and bums are the protagonists; Pao Pao where a group of gay soldiers is described in its grotesque and camp attempt to “homosexualize” their barrack; Rimini where the Riviera Adriatica is portrayed as a place where everyone passes by and no one belongs; Camere separate through the love story of a gay couple in which one partner has to survive his lover’s death, due to an illness that is demonstrated in this thesis to be AIDS, while fighting against the homophobia of their families, institutions, society, and religion. Most of Tondelli’s socially excluded characters are introduced to the reader through an internal homodiegetic point of view. Another important component of Tondelli’s impegno is his open defense of both pop-culture and counter-cultures: gay, hippies, rockers, experimental theatre, street artists and alternative radio, which are central in all his writings.

Abstract This thesis illustrates the social engagement in the literary writings of Pier Vittorio Tondelli, an Italian gay author whose works have been described by many Catholic, Materialists, and gay critics as frivolous and disengaged. The dissertation summarizes the mutation of the Italian literary concept of impegno from Neorealism to Postmodernism, through a selection of the texts of Elio Vittorini, Italo Calvino, Franco Fortini, Pier Paolo Pasolini, Leonardo Sciascia, and Umberto Eco. It shows how Tondelli’s interpretation of the role of the writer falls within the definitions given by Calvino and Eco. Moreover, the thesis demonstrates that Altri libertini and Pao Pao satisfy the characteristics of littérature mineure established by Gilles Deleuze and Felix Guattari, though Tondelli’s oeuvre is socially engaged instead of being politically engaged because of his lack of a political ideology. The dissertation highlights the core of Tondelli’s social commitment in his passionate defense of the outcasts in: Altri libertini where drug addicts, homosexuals, transsexuals, and bums are the protagonists; Pao Pao where a group of gay soldiers is described in its grotesque and camp attempt to “homosexualize” their barrack; Rimini where the Riviera Adriatica is portrayed as a place where everyone passes by and no one belongs; Camere separate through the love story of a gay couple in which one partner has to survive his lover’s death, due to an illness that is demonstrated in this thesis to be AIDS, while fighting against the homophobia of their families, institutions, society, and religion. Most of Tondelli’s socially excluded characters are introduced to the reader through an internal homodiegetic point of view. Another important component of Tondelli’s impegno is his open defense of both pop-culture and counter-cultures: gay, hippies, rockers, experimental theatre, street artists and alternative radio, which are central in all his writings.