Este estudo consiste na análise dos romances Onze (1995), Teatro (1998) e As iniciais (1999), do escritor brasileiro Bernardo Carvalho, e dos romances El aire (1992), Boca de lobo (2000) e Los incompletos (2005), do escritor argentino Sergio Chejfec. Nosso trabalho trata de demonstrar que essas duas práxis narrativas buscam configurar poéticas que discutem, no cenário latino-americano atual, as matrizes modernistas da literatura em um presente marcado pela desestabilização das categorias do literário. E fazem isso por meio de práticas discursivas literárias que ficcionalizam uma dilacerada experiência de desolação, isolamento e alienação. A lógica reificante do presente mercado neoliberal latino-americano encerra novos modos de entender e escrever a literatura, que não impedem estes escritores de preservar e estimar certa especificidade do campo literário. Ademais, penetram e configuram universos ficcionais antiliberais e antiutópicos associados ao corte com uma noção tradicional de experiência, entendida como fundamento de uma verdade, de um conhecimento. Corte causado por problemas histórico-sociais, ligados ao caráter problemático da ainda incipiente e incompleta modernização latino-americana. / This study consists in the analysis of the novels Onze (1995), Teatro (1998) and As Iniciais (1999), of Brazilian writer Bernardo Carvalho, and of the novels El aire (1992), Boca de Lobo (2000) and Los incompletos (2005), of Argentinian writer Sergio Chejfec. Our work look forward to demonstrate that these two praxis narratives seek to setup poetic that are arguing, in the current Latin-American scenery, like head offices modernists literature in a present marked by destabilization of the literature categories. And they do that by means of literary discursive practices that fictionalize a lacerated experience of desolation, isolation and alienation. A reification logic does present Latin-American neoliberal market containing new manners of understanding and writing literature, that do not prevent these writers of preserving and being fond of certain specificity of literature field. Moreover, they penetrate and they setup ficticious, antiliberal and antiutopian universes associates to a break with a traditional notion of experience, wich is understood as foundation of a truth, of knowledge. That break was caused by historical-social problems, linked to the problematic character of still incipient and incomplete Latin-American modernization

Pedro Orgambide (1929/2003), escritor argentino, foi exilado e viveu nove anos no México. Durante seu período de exílio, entre outras obras, escreveu El arrabal del mundo, primeiro volume de uma trilogia intitulada de la memoria, que foi publicado em 1983. A presente dissertação pretende analisar as representações identitárias nesse romance que trata do processo de independência argentino. Nele, o autor ficcionalizou suas experiências, propondo uma versão da história e da memória coletiva argentinas por meio de uma narrativa projetada num espaço e num tempo reconhecíveis pelos leitores. Dividido em três capítulos, o trabalho percorre a obra no que concerne à sua caracterização e aos seus elementos constitutivos, buscando as possíveis relações de Orgambide com a historiografia acerca do período histórico romanceado e traçando, também, um paralelo com a experiência e o presente da escrita do autor. / Pedro Orgambide (1929/2003), Argentine writer, was exiled to Mexico, where he lived for nine years. During his exile, among other works, he wrote El arrabal del mundo, which was the first volume of a trilogy entitled \"de la memoria\", published in 1983. This dissertation aims to analyze the identity representations within this novel regarding Argentinas independence process, whereas the author fictionalized his experiences, proposing his own version of Argentinas history and collective memory, through a narrative in a perceptible space and time. Divided in three chapters, this text addresses the questions about the novel, its caracterization and elements in relationship with Orgambide and the historiography, also addressing the parallel of the experience of being exiled and the authors writing process.

Même si elles constituent des pratiques rituelles bien codées, les visites officielles des présidents français en Argentine (De Gaulle en 1964, Mitterrand en 1987 et Chirac en 1997) sont des événements construits par la presse à partir des occurrences extérieures. Or, lorsqu’un journal découpe la réalité, la retranscrit, la met en page et la met en ordre pour construire l’événement, son récit ne se borne pas à relater le côté purement rituel, mais il laisse la place à d’autres voix, à d’autres énonciateurs, voire à d’autres événements. Nous soutenons donc que la presse écrite argentine s’approprie la figure de la France et/ou des présidents français dans le cadre de leurs visites officielles en Argentine et se sert d’elles pour rappeler des problématiques de politique intérieure argentine, voire pour les assimiler au contexte politique français, soit par le biais de la figure des chefs de l’Etat français, soit à travers un rapprochement conjoncturel et/ou institutionnel. Dans notre travail, nous étudions le traitement des trois visites dans cinq journaux nationaux argentins Clarín, Crónica, La Nación, La Prensa et La Razón, notre but étant d’analyser les stratégies énonciatives de la mise en récit des « discours imprimés » dans l’aire de la page en vue de saisir l’« identité discursive » inhérente à chaque journal qui révèle également des récits politiques sous-jacents aux visites d’Etat. / Although they constitute well coded ritual practices, the official visits of the French presidents in Argentina (De Gaulle in 1964, Mitterrand in 1987 and Chirac in 1997) are events built by the press from external occurrences. Now, when a newspaper cuts the reality, transcribes it, formats it and puts it in order to construct the event, its narrative is not limited to telling the purely ritualistic side, but it leaves room for other voices, speakers and even other events.We therefore argue that the Argentine print media appropriates the figure of France and / or French presidents as part of their official visits to Argentina and uses it to recall issues of domestic policy in Argentina, or even to assimilate them to the French political context, either through the figure of French heads of state, or through a conjectural and / or institutional rapprochement. In our work, we study the treatment of the three visits to five Argentine national newspapers Clarín, Crónica, La Nación, La Prensa and La Razón, with the aim to analyse the strategies of the narrative of « printed speeches » in the printed area to capture the « discursive identity » inherent in each newspaper that also reveal political narratives underlying state visits. / Aún cuando constituyen prácticas rituales bien codificadas, las visitas oficiales de los presidentes franceses a la Argentina (De Gaulle en 1964, Mitterrand en 1987 y Chirac en 1997) son acontecimientos construidos por la prensa a partir de hechos exteriores. Ahora bien, cuando un diario hace un recorte en la realidad, la transcribe, la compagina y la ordena para construir el acontecimiento, su relato no se reduce a narrar su costado puramente ritual sino que da lugar a otras voces, a otros enunciadores, incluso a otros acontecimientos. Sostenemos entonces que la prensa escrita argentina se apropia de la figura de Francia y/o de los presidentes franceses en el marco de sus visitas oficiales a la Argentina y las usa para recordar problemáticas de política interior argentina, asimilándolas incluso al contexto político francés, ya sea a través de la figura de los jefes de Estado, ya sea a través de un acercamiento coyuntural y/o institucional. En nuestro trabajo estudiamos el tratamiento dado a las tres visitas por cinco diarios argentinos de tirada nacional Clarín, Crónica, La Nación, La Prensa y La Razón. Nuestro objetivo es el análisis de las estrategias enunciativas de la narración de los « discursos impresos » en el área de la página del diario en aras de develar la « identidad discursiva » inherente a cada periódico que también revela los relatos políticos subyacentes a las visitas de Estado.

Nesta dissertação, estudamos o encantamento das estéticas audiovisuais cinematográficas e publicitárias de Eliseo Subiela a fim de averiguar a ideia de realidade que elas ajudam a construir. Buscamos entender as propostas estéticas cinematográficas que se distanciaram dos realismos durante o período de redemocratização da Argentina, partindo do pressuposto de que esse distanciamento é resultado de uma aproximação entre os campos cinematográfico e publicitário. Consideramos inicialmente os conceitos de desencantamento e reencantamento do mundo para entender as diferenças de encantamento entre esses dois campos comunicacionais, recorrendo a Max Weber, Antônio Flávio Pierucci, Wolfgang Schluchter, Jürgen Habermas, David Morgan, Jesus Martín-Barbero, Alkis Kontos e Rudy Albino de Assunção. O contato com estudiosos do imaginário – como Gilbert Durand, Mircea Eliade e Carl Gustav Jung – veio para dissipar o antagonismo que permeava os dois conceitos sociológicos. A partir disso, adotamos o imaginário como heurística e optamos pelo uso do termo encantamento, entendendo que os seres humanos entram em contato com o mundo sempre através de imagens e que são incapazes de se desvencilhar da magia. Desenvolvemos uma reflexão sobre valores e tendências simbólicas que permeiam as imagens técnicas e os campos cinematográfico e publicitário. Para isso, mobilizamos teóricos das imagens – como Vilém Flusser, Jacques Aumont, Arlindo Machado, Hans Belting e Régis Debray; pesquisadores da publicidade geral e argentina – como Jean Baudrillard, Malena Contrera, Raúl Eguizábal e Orlando Aprile; e estudiosos do cinema geral e argentino – como Jacques Aumont, Edgar Morin, Claudio España, Ricardo Manetti, Alberto Ciria e José Luis Visconti. Inspiramo-nos na mitocrítica durandiana para elaborar um método de interpretação específico para o caso estudado. Interpretamos simbolicamente redundâncias percebidas num corpus de 30 comerciais e seis filmes de Subiela. Percebemos que a cinematografia subieliana mostra abertura ao universo simbólico, revelando aspectos da realidade concreta que fizeram emergir certos símbolos. Os comerciais desse realizador argentino, embora em muitos casos apresentem tendências simbólicas semelhantes a dos filmes, se mostram mais fechados ao imaginário, ocultando a origem dos símbolos e decepando sua multivalência. Aventamos que o retorno à realidade mítica através da cinematografia de Subiela pode se relacionar com a necessidade de encontrar um sentido depois do horror vivenciado durante os anos que antecederam a redemocratização. / In this dissertation, we study the enchantment of Eliseo Subiela‟s cinematographic and advertising audiovisual aesthetics in order to ascertain the idea of reality that they collaborate to build. We intend to understand cinematographic aesthetics proposals that move away from realisms in the period of re-democratization of Argentina, assuming that this distance was result of an approximation between cinematographic and advertising fields. We initially considered the concepts of disenchantment and re-enchantment of the world in order to understand enchantment differences between these communicational fields, resorting to Max Weber, Antônio Flávio Pierucci, Wolfgang Schluchter, Jürgen Habermas, David Morgan, Jesus Martín-Barbero, Alkis Kontos and Rudy Albino de Assunção. The contact with scholars of imaginary – such as Gilbert Durand, Mircea Eliade and Carl Gustav Jung – came to dispel the antagonism that permeated the two sociological concepts. From this, we adopt the imaginary as heuristic and we choose to use the term enchantment, understanding that humans always come into contact with the world through images and they are unable to get rid of magic. We develop a reflection on values and symbolic tendencies that permeate technical images and cinematographic and advertising fields. For this, we mobilized image theorists – such as Vilém Flusser, Jacques Aumont, Arlindo Machado, Hans Belting and Régis Debray; researchers of general and Argentine advertising – such as Jean Baudrillard, Malena Contrera, Raúl Eguizábal and Orlando Aprile; and scholars of general and Argentine cinema – such as Jacques Aumont, Edgar Morin, Claudio España, Ricardo Manetti, Alberto Ciria and José Luis Visconti. We draw inspiration from Durand's mythocritique to elaborate a method of interpretation specific to the case studied. We interpret symbolically perceived redundancies in a corpus of 30 commercials and six films directed by Subiela. We realize that Subiela‟s cinematography shows openness to symbolic universe, revealing aspects of concrete reality that have given rise to certain symbols. The commercials of this Argentine director, although in many cases they have similar symbolic tendencies to those of films, they are more closed to the imaginary, hiding the origin of symbols and cutting of its multivalence. We point out that return to mythic reality through Subiela's cinematography can be related to the need to find meaning after the horror experienced during the years leading up to re-democratization.

Esta dissertação de mestrado apresenta como corpus de análise as obras publicadas em 2009, Realidad, de Sergio Bizzio, e Bajo este sol tremendo, de Carlos Busqued, ambos autores argentinos. O objetivo é fazer uma leitura crítica de como a televisão e determinados formatos televisivos (o reality show e o documentário) possuem sua estrutura e argumento apropriados por essas narrativas literárias. Nelas, arquivos de imagens se armam e se desmontam, se abrem e se articulam, entre fotografias militares oficiais e confissões banais espetacularizadas, implicando, no trabalho do narrador, um posicionamento, um comprometimento ético e estético, crítico e criativo, ao compartilhar uma história cheia de detalhes (embora cheia de lacunas) com o leitor/espectador. Por isso, em um jogo metonímico entre o visível e o não visível, o explorado e o camuflado, a imagem da violência e a imagem violenta, qualquer semelhança com fatos históricos, imagens reais e materiais ou personagens de ficção não é mera coincidência, é matéria e questão centrais de certas práticas artísticas latino-americanas contemporâneas, como as de Bizzio e Busqued. / This dissertation presents as analysis corpus the works published in 2009 by the Argentinian authors Sergio Bizzio, Realidad, and Carlos Busqued, Bajo este sol tremendo. The aim of this study is to make a critical reading of how television and certain television formats (the reality show and documentary) have structure and plot conformed by these literary narratives. In those works, archives are assembled up and taken to pieces, opened and articulated, among military official photographs and spectacular banal confessions, involving, in the narrators work, an ethical and aesthetic, critical and creative commitment, in sharing a story full of details (although full of loopholes) with the reader/viewer. On account of a metonymic role between the visible and non-visible, the exploitation and the camouflage, the image of violence and the violent image, any similarity with historical facts, real images and fictional materials or characters is not a simple coincidence, it is a central matter of some contemporary Latin American art practices, such as Bizzio and Busqued.

This dissertation analyzes a set of innovative literary practices happening in the popular press in Argentina in the 1920s. It takes its departure from two theoretical premises: that what precipitated the historical avant-garde was the spread of mass culture and that art redraws its limits by incorporating the foreign into it. With these premises in mind, the dissertation shows that the aguafuertes of novelist Roberto Arlt and the women’s columns by poet Alfonsina Storni, because they were written especially for the popular press and because their authors positioned themselves as artists of and in the media, the two—Arlt and Storni—were able to process political, social, and economic changes in a forceful and unprecedented way. Technologically accelerated modernization became their vehicle, and it allowed them to contribute to the democratization of the Argentine cultural field in that decade. Further, analysis of this under-read corpus allows me to assert that it was their journalistic texts in which Arlt and Storni experimented with novel poetics, which “modernized” their own more literary practices. Published in discardable formats that were hardly prestigious in the center of the mass media of the day, these texts have passed largely unperceived by critics, although in their moment they formed part of a broad cultural agitation that they themselves in part created. Their marginal placement doesn’t obscure the same procedures used in them as was used by the classic avant-garde. In their newspaper writings, Arlt and Storni erased the borders between genres, re-used found materials and did not shun low materials, provoked the public and at the same time included the public, transgressed reigning norms for the behavior of women. No understanding of the 20s in the Río de la Plata can dispense with these texts, and others like them. They were an integral part of the cultural network; more than this, they worked through the extreme transformations of the epoch—as this dissertation shows—with a radicality beyond that of the local avant-gardes.

Orientador: Antonio Roberto Esteves / Banca: Marilu Martens Oliveira / Banca: Altamir Botoso / Banca: Cleide Antônia Rapucci / Banca: Maria de Fátima Alves de Oliveira Marcari / Resumo: Centralizando-se nos relatos de Amores insólitos de nuestra historia (2001, 2011) e nos romances Finesterre (2005), Árbol de família (2010) e Todos éramos hijos (2014), o presente trabalho aborda como María Rosa Lojo articula o conceito de texto com a metáfora do tecido e como esse tecido/texto também está associado à vestimenta, às máscaras e à atuação performática dos personagens em geral, sempre associada ao ato de escrever e ao ato de apropriar-se, em especial no caso das mulheres, ou de outros personagens ex-cêntricos (HUTCHEON, 1991), de seu próprio corpo. A opção pela obra da escritora argentina contemporânea Maria Rosa como corpus desta tese justifica-se pelo painel que traça, em seus livros, da história argentina e pela maneira peculiar como constrói a sua teia narrativa, como elabora o seu bordado. Ao desconstruir mitos fundacionais e questionar a constituição identitária rio-platense, Lojo propõe ressignificar o próprio conceito de humanidade. Envolvendo os leitores, proporciona fruição poética e reflexão profunda. Ao resgatar autoras do século XIX, conta uma nova história da história e possibilita demonstrar como a mulher vai construindo uma forma própria de se colocar na literatura. Portanto, a questão que norteia o presente trabalho é em que medida a autora tece a história da Argentina para recriar-se argentina? Como ela constrói sensorial e sinestesicamente a trama-teia-texto de sua própria argentinidade? Também ela teria sido beneficiária do poder curativo do ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Focusing on the reports of Amores insólitos de nuestra história (2001, 2011) and the novels Finesterre (2005), Árbol de familia (2010) and Todos éramos hijos (2014), this paper addresses how María Rosa Lojo articulates the concept of text with the metaphor of the fabric and how this fabric/text is also associated with the dress, the masks and the performance of the characters in general always associated with the act of writing and the act of appropriation, especially in the case of women, or other excentric characters (HUTCHEON, 1991), of his/her own body. The option for the work of the contemporary Argentine writer Maria Rosa as a corpus of this thesis is justified by the panel that traces, in her books, the history of Argentina and the peculiar way in which she constructs her narrative web, how she elaborates her chain-stitch.By deconstructing foundational myths and questioning the rioplatense identity constitution, Lojo proposes to re-signify the very concept of humanity. Involving readers, provides poetic enjoyment and deep reflection. By rescuing authors from the nineteenth century, she tells a new history of history and makes it possible to demonstrate how women are building their own way of putting themselves in the literature. Therefore the question that guides this work is to what extent the author weaves the history of Argentina to recreate herself an Argentinian? How does she construct sensory and sinesthetically the webtext-plot of her own argentinity? Had she also been benefited from the curative power of embroidery and narration (BENJAMIN, 1994, 1997; GAGNEBIN, 1985), expunging the feeling of the "exile-child" so often mentioned in interviews and articles (also texts, also webs) and of madness, the theme of the next book announced? As the main theoretical support of the research, texts from... (Complete abstract click electronic access below) / Resumen: Centralizándose en los relatos de Amores insólitos de nuestra historia (2001, 2011) y en los romances Finesterre (2005), Árbol de familia (2010) y Todos éramos hijos (2014), el presente estudio aborda cómo María Rosa Lojo articula el concepto de texto con la metáfora de tejido y como ese tejido/texto también se asocia con la vestimenta, con las máscaras y la actuación performativa de los personajes en general, siempre vinculada al acto de escribir y al acto de apropiarse, en especial en el caso de las mujeres, o de otros personajes ex céntricos (HUTCHEON, 1991), de su propio cuerpo. La opción por la obra de la escritora argentina contemporánea María Rosa como corpus de esta tesis se justifica por el panel que describe, en sus libros, de la historia argentina y por la manera peculiar como construye su tela narrativa, como elabora su bordado. Al deconstruir mitos fundacionales y cuestionar la constitución de identidad rioplatense, Lojo propone replantear el propio concepto de humanidad. Envolviendo a los lectores, proporciona disfrute poético y reflexión profunda. Al rescatar autoras del siglo XIX, cuenta una nueva historia de la historia y permite demostrar como la mujer va construyendo una forma propia de colocarse en la literatura. Por lo tanto, la pregunta que guía el presente trabajo es: ¿en qué medida la autora teje la historia de Argentina para recrearse argentina? ¿Cómo ella construye sensorial y sinestésicamente la trama-tela-texto de su propia argentinidad? ¿También ella habría sido beneficiaria del poder curativo de bordar y narrar (BENJAMIN, 1994, 1997; GAGNEBIN, 1985), expurgando el sentimiento de ―exilada-hija‖ tantas veces mencionado en entrevistas y artículos (también textos, también telas) y el de la locura, tema anunciado del próximo libro... (Resumen completo clicar acceso eletrônico abajo) / Doutor

Pedro Orgambide (1929/2003), escritor argentino, foi exilado e viveu nove anos no México. Durante seu período de exílio, entre outras obras, escreveu El arrabal del mundo, primeiro volume de uma trilogia intitulada de la memoria, que foi publicado em 1983. A presente dissertação pretende analisar as representações identitárias nesse romance que trata do processo de independência argentino. Nele, o autor ficcionalizou suas experiências, propondo uma versão da história e da memória coletiva argentinas por meio de uma narrativa projetada num espaço e num tempo reconhecíveis pelos leitores. Dividido em três capítulos, o trabalho percorre a obra no que concerne à sua caracterização e aos seus elementos constitutivos, buscando as possíveis relações de Orgambide com a historiografia acerca do período histórico romanceado e traçando, também, um paralelo com a experiência e o presente da escrita do autor. / Pedro Orgambide (1929/2003), Argentine writer, was exiled to Mexico, where he lived for nine years. During his exile, among other works, he wrote El arrabal del mundo, which was the first volume of a trilogy entitled \"de la memoria\", published in 1983. This dissertation aims to analyze the identity representations within this novel regarding Argentinas independence process, whereas the author fictionalized his experiences, proposing his own version of Argentinas history and collective memory, through a narrative in a perceptible space and time. Divided in three chapters, this text addresses the questions about the novel, its caracterization and elements in relationship with Orgambide and the historiography, also addressing the parallel of the experience of being exiled and the authors writing process.

Cette thèse porte sur l’oeuvre complète du poète argentin Juan Gelman (1930-2014). Bien qu’il soit un auteur de renommée internationale, les recueils qu’il a publiés pendant les dernières années de sa vie restent amplement méconnus. Ainsi, à trois ans de sa mort, nous proposons une étude qui analyse sa production la plus récente en la mettant en perspective avec la poésie qu’il a écrite auparavant. La richesse et l’originalité de son écriture ainsi que la complexité du contexte historique dans lequel elle s’inscrit, nous ont amenée à adopter une perspective critique post-théorique, à savoir une approche caractérisée par une certaine performativité interdisciplinaire. De cette manière, nous avons pu établir une dialectique féconde entre analyse littéraire etquestionnement épistémologique et dresser, par la suite, une carte rhizomatique de l’oeuvre du poète. À cette fin, nous nous sommes focalisée sur ce que nous considérons comme étant les aspects fondamentaux de la poésie de l’Argentin : l’engagement politique, la fictionnalisation de la voix poétique, le témoignage littéraire, le travail de deuil et l’expérience de l’exil. Chaque aspect faisant l’objet d’une problématisation transdisciplinaire, notre thèse vise à contribuer à l’actualisation du discours critique sur la poésie de notre auteur et à restituer à son oeuvre la complexité qui lui est propre. / In this thesis, we analyse the complete work of the Argentinian poet Juan Gelman (1930-2014). Even though his poetry has earned great renown, the collections he published later in his life remain largely unknown. Accordingly, we wrote a study that focuses on his later works while bringing a new perspective on his previous books. The richness and originality of his riting as well as the complexity of the historical context in which he lived, led us to adopt a post-theoretical approach to his poetry. The dialectic relationship we established between literary analysis and epistemological questioning allowed us to draw a rhizomatic map of Gelman's work. In particular, we focused on what we consider to be the fundamental aspects of his poetry: the political commitment, the fictionalisation of the poetic voice, the notion of literary testimony, the work of mourning and the experience of exile. In this way, our thesis aims to complete and update the critical discourse on Gelman’s poetry and to reflect the complexity of his writing.

Some aspects of the presence of systemic endophytic fungi in agriculturally important New Zealand grasses were studied in relation to plant breeding. Seedling resistance to adult Argentine stem weevil feeding in perennial ryegrass, Italian ryegrass and tall fescue was found to be related to the presence of their respective Acremonium endophytes in the seed rather than to plant genetic resistance. In addition a study of perennial ryegrass revealed that this resistance was independent of endophyte viability. The seedling resistance conferred by the endophyte of Italian ryegrass was found to be beneficial for field establishment. This endophyte differs from that in perennial ryegrass and tall fescue in that it does not confer resistance to Argentine stem weevil on mature plants, but only on seedlings. The extent of plant genetic seedling tolerance to adult Argentine stem weevil feeding was limited to broad inter-specific differences, with tall fescue more tolerant than perennial ryegrass and both of these more tolerant than Italian ryegrass. This ranking corresponds with previous observations on feeding preference on mature plants. A study of factors affecting the concentration of endophyte mycelia in infected seed of perennial ryegrass revealed that plant genetic factors had little effect. The major factors studied were: 1) the endophyte concentration in the maternal parent plant directly influenced the endophyte concentration in the seed. 2) nitrogen fertilizer applications to a seed crop reduced the concentration of mycelia in the seed, with earlier applications having a greater effect. 3) application of the fungicide propiconazole (Tilt) to a seed crop reduced the endophyte concentration in the seed. 4) the endophyte concentration in the seed was found to directly influence the endophyte concentration in seedlings, six month old plants and that of seed harvested from a first year seed crop. As there have been no previous reports of tetraploid perennial ryegrass cultivars with endophyte an experiment was conducted to determine if these could be developed by the standard procedure of colchicine treatment. The results revealed that endophyte was retained following colchicine treatment.