Contemporary novels about Patagonia rely on foundational texts to caricature the region as a sterile, empty, and isolated. This stereotype was the impetus for this study. Through literary texts concerning Patagonia, the author joins the theoretical debate regarding the relationship between marginal and hegemonic cultures. A close analysis of writings on Patagonia reveals that the image of Patagonian space varies considerably depending on the perspective of the narrator, character, or writer. This dissertation analyzes the construction of Patagonian space in six contemporary novels by Chilean and Argentinean writers. It is divided into two sections. The first section discusses novels written about Patagonia by non-Patagonians. These works depend on and repeat the image of Patagonia found in certain foundational texts. The texts analyzed in this section include Patagonia Express, by Luis Seplveda, Final de novela en Patagonia, by Mempo Giardinelli, and La tierra del fuego, by Sylvia Iparraguirre. By contrast, the second part of the dissertation analyzes novels by Patagonian writers. Rather than the familiar stereotypes of Patagonia, these works paint a vibrant picture of the social, economic, cultural, and human realities of Patagonia. The texts of this section include the short stories Caminos y rastrilladas borrosas and Memorias de un carrero patagnico, by Asencio Abeijn and Pap botas altas (a collection of short stories), by David Aracena as well as the novel El corazn a contraluz, by Patricio Manns. The theoretical framework for this dissertation derives from Humanistic Geography an emphasis on the social awareness. Particularly special attention is paid to the ways in which environment shapes human interactions. Within that framework, the use of Cultural Landscape theory serves to illustrate how the social and physical environment shapes the perception of space in Patagonian literature. The ideas of the geographers Edward Soja, Yi-Fu Tuan, Lester Rowntree, Paul Adams, Steven Hoelscher, Karen Till and Edward Casey are used in this dissertation. In addition, the ideas of the literary scholars Arturo Roig, Michael Keith and Steve Pile contributed greatly towards the conclusion that critics must remain constantly aware of how location shapes the perspectives of space and discourses of power.

In Argentina, the violence of the recent past has become the central analysis of History and Collective Memory. The crimes and human rights violations that occurred during the last dictatorship (1976-1983) have been the object of dispute. The “two demons” theory that derived from the report of the “National Commission of the Disappeared” assigned equal responsibility to the two parties involved in the conflict: the dictatorship and the militant opposition. The theory positioned Argentinean society as a spectator or victim of the violence. Since the return of democracy in 1983, Argentinean social discourse has shown fluctuations in the conflictive relationship between History and Collective Memory regarding this traumatic time period. The literary discourse, as an integrated part of the social discourse, shares common arguments and topics which are inscribed and transformed in post dictatorship literary texts. This dissertation analyses the fictional representation of History and Collective Memory in four Argentinean novels published between 1995 and 2002: Dos veces junio (2002) by Martín Kohan, El secreto y las voces (2002) by Carlos Gamerro, Ni muerto has perdido tu nombre (2002) and Villa (1995) by Luis Gusmán. I argue that these novels present the necessary equilibrium between the two narrations of the past. By introducing narrating voices outside the dual format of victims and victimizers, the characters seem to extend responsibility for what had happened to other groups of individuals. These novels also introduce the children of the disappeared, who want to recover their “incomplete” family identity. I assert that these characters bring into question the theory of the “two demons”. They signal that there are other protagonists of the crimes: the witnesses who kept silent for many years. The question of social responsibility during the last dictatorship is embedded in the representation of the conflictive relationship between Collective Memory and History. Impunity for the human rights violations intertwines the four novels by highlighting the omission, silence and cowardly attitudes possessed by the characters. Those who witnessed the crimes that erased many identities, and remained silent, share part of the responsibility.

In Argentina, the violence of the recent past has become the central analysis of History and Collective Memory. The crimes and human rights violations that occurred during the last dictatorship (1976-1983) have been the object of dispute. The “two demons” theory that derived from the report of the “National Commission of the Disappeared” assigned equal responsibility to the two parties involved in the conflict: the dictatorship and the militant opposition. The theory positioned Argentinean society as a spectator or victim of the violence. Since the return of democracy in 1983, Argentinean social discourse has shown fluctuations in the conflictive relationship between History and Collective Memory regarding this traumatic time period. The literary discourse, as an integrated part of the social discourse, shares common arguments and topics which are inscribed and transformed in post dictatorship literary texts. This dissertation analyses the fictional representation of History and Collective Memory in four Argentinean novels published between 1995 and 2002: Dos veces junio (2002) by Martín Kohan, El secreto y las voces (2002) by Carlos Gamerro, Ni muerto has perdido tu nombre (2002) and Villa (1995) by Luis Gusmán. I argue that these novels present the necessary equilibrium between the two narrations of the past. By introducing narrating voices outside the dual format of victims and victimizers, the characters seem to extend responsibility for what had happened to other groups of individuals. These novels also introduce the children of the disappeared, who want to recover their “incomplete” family identity. I assert that these characters bring into question the theory of the “two demons”. They signal that there are other protagonists of the crimes: the witnesses who kept silent for many years. The question of social responsibility during the last dictatorship is embedded in the representation of the conflictive relationship between Collective Memory and History. Impunity for the human rights violations intertwines the four novels by highlighting the omission, silence and cowardly attitudes possessed by the characters. Those who witnessed the crimes that erased many identities, and remained silent, share part of the responsibility.

Esta dissertação propõe uma leitura crítica do romance Libro de navíos y borrascas, do escritor argentino Daniel Moyano, publicado em 1983. Tal leitura se constrói a partir do desenvolvimento de perspectivas de análise que levam em conta, por um lado, o caráter alegórico da narrativa e, por outro, a singularidade da enunciação de seu narrador, sendo a experiência do exílio o eixo articulador de nossa abordagem crítica. A teoria de Walter Benjamin sobre alegoria e narração e as relações entre enunciação e subjetividade, pensadas a partir das reflexões de Benveniste, Ricardo Piglia e Giorgio Agamben, nos fornecem alguns dos embasamentos teóricos mais fundamentais no traçado de uma reflexão acerca de como a relação entre linguagem e experiência configura a narrativa de Libro de navíos y borrascas como uma ficção do exílio. Na tentativa de contribuir para a consolidação de uma fortuna crítica da obra de Daniel Moyano, um autor pouco estudado tanto na Argentina como no Brasil, nosso estudo parte de fatores estéticos e históricos que dizem respeito ao contexto de produção do romance, bem como a determinadas concepções de seu autor acerca da escrita literária e às perspectivas críticas que se dedicaram à ficção argentina dos anos 1980, produzida sob o último regime militar vivido por aquele país. / This dissertation proposes a critical reading of the Argentinean writer Daniel Moyanos novel Libro de navíos y borrascas, published in 1983. Such reading is built on the development of perspectives of analysis that consider, on the one hand, the narratives allegorical characteristics, and on the other hand, its narrator enunciation uniqueness, where the exile experience is the articulating axis of our critical approach. Walter Benjamins theory on allegory and narration, as well as the relations between enunciation and subjectivity, considered from Benvenistes, Ricardo Piglias and Giorgio Agambens reflections, provide us some of the most fundamental theoretical foundation on the outline of a reflection on how language and experience define Libro de navíos y borrascass narrative as an exile fiction. In an attempt to contribute towards consolidating the critical fortune of Daniel Moyanos work, a scarcely studied author both in Argentina and Brazil, our study considers aesthetical and historical factors regarding the novels context of production, as well as certain conceptions of its author about literary writing and critical perspectives that dedicated themselves to the 1980s Argentinean fiction, produced under the latest military regime lived by that country.

Esta dissertação pretende analisar as mudanças dos modos de representação ficcional que, entre 1973 a 2002, assumiu o projeto narrativo de Luis Gusmán, tendo como fulcro uma leitura específica de seu romance En el corazón de junio, observando \"a crise do contrato mimético\" aberta por sua primeira narrativa e depois abandonada ao longo da trajetória, aproximando-se ao referente. -Reconstruir um marco histórico da Argentina dos anos 1970 a 2002. -Pensar o lugar da revista Literal (1973-1977) no campo literário. -Desenhar as tomadas de posição de Gusmán com relação a Literal e sua proposta estética nos anos posteriores. -Construir uma tentativa de leitura do romance En el corazón de junio (1983) -Analisar a aproximação particular do autor frente ao realismo literário. / This thesis intends to analyze changes in the fictional representing modes of Luis Gusmán\'s narrative project, between 1973 and 2002, locating its core at the specific reading of his novel En el corazón de junio observing \"the mimetic contract crisis\", opened by his first narrative then abandoned alongside the trajectory, approaching the referent. -Reconstruct Argentina\'s historic marks from 1970\'s to 2002. -Think the place of Literal Review (1973-1977) in literary field. -Outline Gusmán\'s stands concerning Literal and his aesthetic propose afterwards. -Construct a reading assay of the novel En el corazón de junio (1983). -Analyze the author\'s particular approach to literary realism.

Esta dissertação pretende analisar as mudanças dos modos de representação ficcional que, entre 1973 a 2002, assumiu o projeto narrativo de Luis Gusmán, tendo como fulcro uma leitura específica de seu romance En el corazón de junio, observando \"a crise do contrato mimético\" aberta por sua primeira narrativa e depois abandonada ao longo da trajetória, aproximando-se ao referente. -Reconstruir um marco histórico da Argentina dos anos 1970 a 2002. -Pensar o lugar da revista Literal (1973-1977) no campo literário. -Desenhar as tomadas de posição de Gusmán com relação a Literal e sua proposta estética nos anos posteriores. -Construir uma tentativa de leitura do romance En el corazón de junio (1983) -Analisar a aproximação particular do autor frente ao realismo literário. / This thesis intends to analyze changes in the fictional representing modes of Luis Gusmán\'s narrative project, between 1973 and 2002, locating its core at the specific reading of his novel En el corazón de junio observing \"the mimetic contract crisis\", opened by his first narrative then abandoned alongside the trajectory, approaching the referent. -Reconstruct Argentina\'s historic marks from 1970\'s to 2002. -Think the place of Literal Review (1973-1977) in literary field. -Outline Gusmán\'s stands concerning Literal and his aesthetic propose afterwards. -Construct a reading assay of the novel En el corazón de junio (1983). -Analyze the author\'s particular approach to literary realism.

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-02-09Bitstream added on 2014-06-13T20:13:44Z : No. of bitstreams: 1 carignano_mlm_me_arafcl.pdf: 1146916 bytes, checksum: cfc3d10c7737c0034efa9269863206f6 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A pesquisa visa estudar a obra de Copi ( Raúl Damonte Botana 1939-1987), escritor argentino, num âmbito maior de questões, que servirão de apoio teórico- crítico possibilitando uma abordagem mais ampla. Da totalidade de sua obra (ele escreveu romances, peças teatrais e é autor também de desenhos e quadrinhos humorísticos), enfatizar-se-á o estudo da série teatral e dentro dela três peças: Cachafaz, A sombra de Wenceslao, e Eva Perón. Elas foram escolhidas por serem altamente representativas da estética controversa, humorística, paródica e irônica do autor. Primeiramente, tem-se como objetivo realizar uma investigação das formas do humor relacionando-as aos textos do autor argentino e procurando uma leitura crítica que permita repensar essas categorias à luz das particularidades da obra de Copi. Num segundo momento, situar-se-ão estas obras do autor em relação à tradição literária argentina. Elas devem ser lidas como um diálogo com a literatura e a história argentina, com os mitos e estigmas de sua cultura (tanto literários quanto históricos) que compõem ou têm composto os “grandes traços” daquilo que se supõe ser a “argentinidade”. Em relação com o primeiro objetivo, estudar-se-á teoricamente a gênesis, as especificidades e diferenças entre o humor, a comicidade, a paródia, a sátira e a ironia e formas afins, fazendo um percurso pelos principais filósofos e teóricos que abordaram estas questões. Estudar-se-á especialmente a parodia, por ser ela a forma constitutiva da escrita de Copi, mas também por ser uma das formas recorrentes da arte (tanto literária quanto pictórica) das ultimas décadas. Em relação ao segundo objetivo, ao vincular a obra de Copi a tradição literária argentina, realizar-se-á um estudo dos seguintes gêneros e movimentos da literatura rioplatense: gauchesca, sainete, grotesco, criollismo, tango. A intenção da pesquisa visa esclarecer e fornecer uma leitura... / This research aims to study the work of Copi (Raúl Damonte Botana 1939-1987), Argentinean writer, in a broader scenery of topics, that will be of theoretical and critical support, to permit a more general boarding. From the totality of his work (he wrote novels, theatrical plays, and is also the author of cartoons and humoristic comics), we will emphasize the study of his theater and within it three plays: Cachafaz, A sombra de Wenceslao, and Eva Perón. They were chosen because they are highly representative of the author’s controversial esthetics, humorous, parodic and ironic. Our first objective is to investigate about the forms of humor relating them to the texts of the Argentinean author and looking for a critical reading that allows us to represent those categories in the light of the particularities of Copi’s work. In a second time, we are going to situate the author’s texts in relation to the Argentinean literature. His work must to be read as a conversation with the Argentinean literature and history, with the myths and stigma of its culture (both literary and historical) that are part or have been part of the “great traits” of what is supposed to be the “argentinity”. In relation to our first objective, we will study the genesis, the specificity and the differences between the humor, the hilarious, the parody, the satire and the irony and related forms, beginning from the main philosophers and theoretic whom studied these themes. The parody is specially going to be analyzed, not only because it is the form that constitutes Copi’s work, but also because it is one of the recurrent forms of the art (both literary and pictorial) of the lasts decades. In relation to our second objective, when relating Copi’s work to the Argentinean literature, we are going to study the following genera and movements of Rioplatense literature: gauchesca, sainete, grotesco, criollismo, tango. The intention of this research aims to...

Orientador: Sylvia Helena Tellarolli de Almeida Leite / Banca: Maria Dolores Aybar Ramirez / Banca: Pablo Fernando Gasparini / Resumo: A pesquisa visa estudar a obra de Copi ( Raúl Damonte Botana 1939-1987), escritor argentino, num âmbito maior de questões, que servirão de apoio teórico- crítico possibilitando uma abordagem mais ampla. Da totalidade de sua obra (ele escreveu romances, peças teatrais e é autor também de desenhos e quadrinhos humorísticos), enfatizar-se-á o estudo da série teatral e dentro dela três peças: Cachafaz, A sombra de Wenceslao, e Eva Perón. Elas foram escolhidas por serem altamente representativas da estética controversa, humorística, paródica e irônica do autor. Primeiramente, tem-se como objetivo realizar uma investigação das formas do humor relacionando-as aos textos do autor argentino e procurando uma leitura crítica que permita repensar essas categorias à luz das particularidades da obra de Copi. Num segundo momento, situar-se-ão estas obras do autor em relação à tradição literária argentina. Elas devem ser lidas como um diálogo com a literatura e a história argentina, com os mitos e estigmas de sua cultura (tanto literários quanto históricos) que compõem ou têm composto os "grandes traços" daquilo que se supõe ser a "argentinidade". Em relação com o primeiro objetivo, estudar-se-á teoricamente a gênesis, as especificidades e diferenças entre o humor, a comicidade, a paródia, a sátira e a ironia e formas afins, fazendo um percurso pelos principais filósofos e teóricos que abordaram estas questões. Estudar-se-á especialmente a parodia, por ser ela a forma constitutiva da escrita de Copi, mas também por ser uma das formas recorrentes da arte (tanto literária quanto pictórica) das ultimas décadas. Em relação ao segundo objetivo, ao vincular a obra de Copi a tradição literária argentina, realizar-se-á um estudo dos seguintes gêneros e movimentos da literatura rioplatense: gauchesca, sainete, grotesco, criollismo, tango. A intenção da pesquisa visa esclarecer e fornecer uma leitura... / Abstract: This research aims to study the work of Copi (Raúl Damonte Botana 1939-1987), Argentinean writer, in a broader scenery of topics, that will be of theoretical and critical support, to permit a more general boarding. From the totality of his work (he wrote novels, theatrical plays, and is also the author of cartoons and humoristic comics), we will emphasize the study of his theater and within it three plays: Cachafaz, A sombra de Wenceslao, and Eva Perón. They were chosen because they are highly representative of the author's controversial esthetics, humorous, parodic and ironic. Our first objective is to investigate about the forms of humor relating them to the texts of the Argentinean author and looking for a critical reading that allows us to represent those categories in the light of the particularities of Copi's work. In a second time, we are going to situate the author's texts in relation to the Argentinean literature. His work must to be read as a conversation with the Argentinean literature and history, with the myths and stigma of its culture (both literary and historical) that are part or have been part of the "great traits" of what is supposed to be the "argentinity". In relation to our first objective, we will study the genesis, the specificity and the differences between the humor, the hilarious, the parody, the satire and the irony and related forms, beginning from the main philosophers and theoretic whom studied these themes. The parody is specially going to be analyzed, not only because it is the form that constitutes Copi's work, but also because it is one of the recurrent forms of the art (both literary and pictorial) of the lasts decades. In relation to our second objective, when relating Copi's work to the Argentinean literature, we are going to study the following genera and movements of Rioplatense literature: gauchesca, sainete, grotesco, criollismo, tango. The intention of this research aims to... / Mestre

Esta dissertação propõe uma leitura crítica do romance Libro de navíos y borrascas, do escritor argentino Daniel Moyano, publicado em 1983. Tal leitura se constrói a partir do desenvolvimento de perspectivas de análise que levam em conta, por um lado, o caráter alegórico da narrativa e, por outro, a singularidade da enunciação de seu narrador, sendo a experiência do exílio o eixo articulador de nossa abordagem crítica. A teoria de Walter Benjamin sobre alegoria e narração e as relações entre enunciação e subjetividade, pensadas a partir das reflexões de Benveniste, Ricardo Piglia e Giorgio Agamben, nos fornecem alguns dos embasamentos teóricos mais fundamentais no traçado de uma reflexão acerca de como a relação entre linguagem e experiência configura a narrativa de Libro de navíos y borrascas como uma ficção do exílio. Na tentativa de contribuir para a consolidação de uma fortuna crítica da obra de Daniel Moyano, um autor pouco estudado tanto na Argentina como no Brasil, nosso estudo parte de fatores estéticos e históricos que dizem respeito ao contexto de produção do romance, bem como a determinadas concepções de seu autor acerca da escrita literária e às perspectivas críticas que se dedicaram à ficção argentina dos anos 1980, produzida sob o último regime militar vivido por aquele país. / This dissertation proposes a critical reading of the Argentinean writer Daniel Moyanos novel Libro de navíos y borrascas, published in 1983. Such reading is built on the development of perspectives of analysis that consider, on the one hand, the narratives allegorical characteristics, and on the other hand, its narrator enunciation uniqueness, where the exile experience is the articulating axis of our critical approach. Walter Benjamins theory on allegory and narration, as well as the relations between enunciation and subjectivity, considered from Benvenistes, Ricardo Piglias and Giorgio Agambens reflections, provide us some of the most fundamental theoretical foundation on the outline of a reflection on how language and experience define Libro de navíos y borrascass narrative as an exile fiction. In an attempt to contribute towards consolidating the critical fortune of Daniel Moyanos work, a scarcely studied author both in Argentina and Brazil, our study considers aesthetical and historical factors regarding the novels context of production, as well as certain conceptions of its author about literary writing and critical perspectives that dedicated themselves to the 1980s Argentinean fiction, produced under the latest military regime lived by that country.

Orientador: Miriam Viviana Garate / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T15:37:41Z (GMT). No. of bitstreams: 1 Catalao_Marco_D.pdf: 1572658 bytes, checksum: 265065dffa4d24e8e80f9c0325a39107 (MD5) Previous issue date: 2013 / Resumo: Este trabalho se divide em duas partes: na primeira, apresentamos um ensaio interpretativo sobre a obra do poeta argentino Roberto Juarroz (1925-1995), tendo como eixo a investigação acerca da proeminência da metáfora do vazio em seus textos. Na segunda, aportamos uma antologia bilingue de 262 poemas traduzidos para o português. Tomando como centro de nossa analise a metáfora do vazio, tentamos estabelecer um eixo interpretativo que norteasse nossa indagação acerca de todos os outros aspectos relativos à obra de Juarroz: sua posição em relação a outros escritores argentinos e hispano-americanos da época; os elementos definidores de seu estilo literário; a apropriação em sua poética de elementos da cultura oriental, especialmente do Budismo Zen; o uso recorrente de termos que remetem a esfera mística e religiosa; assim como a definição de outra metáfora fundamental como denominador de toda a sua obra, a verticalidade, que se manifesta não apenas no titulo de seus livros, mas como elemento norteador de sua interpretação da realidade. A metáfora do vazio aparece nesta obra frequentemente associada à busca de uma alteração na percepção do leitor acerca dos limites do real. Alguns elementos estilísticos recorrentes chamam a atenção para esse caráter de exercício imaginativo, que tem como meta uma transformação radical do leitor, "sua própria invenção a partir da interminável invenção que e a linguagem". O rastreamento desses traços estilísticos evidenciou que o caráter de "exercício espiritual" não se limita a metáfora do vazio, mas se estende a parte significativa da produção literária de Juarroz, podendo ser encontrado desde o seu primeiro livro, revelando-se também uma das concepções fundamentais em suas reflexões teóricas sobre a literatura / Abstract: This thesis is divided in two parts: in the first one is presented an interpretative essay about the work of the Argentinean poet Roberto Juarroz (1925 - 1995), in which prevails an investigation about the prominence of the metaphor of emptiness in his texts. The second part presents a bilingual anthology with 262 poems translated into Portuguese. As we chose to center the analysis in the metaphor of emptiness, we tried to establish an interpretative axis in which our questions about all other aspects related to Juarroz's work would be accomplished, such as: his position in relation with other Argentinean and Latin-American writers of his time; the elements that define his literary stile; the appropriation of oriental culture elements in this poetics, especially Zen Buddhism; the recurrent use of words that are indicatives to mystical and religious spheres; as well as the definition of other metaphor that is crucial as a denominator of all his work: the verticality, that is manifested not only in his book's titles, but also as a guide element for his interpretation of reality. The metaphor of emptiness appears in this work frequently associated to a search for a change in the reader's perception about the limits of reality. Some recurrent stylistics elements call attention towards this imaginative exercise nature, that aims a radical transformation of the reader, "his personal invention whereof the endless invention that is language". The pursuit of these stylistic traces makes clear that the nature of "spiritual exercise" is not limited to the metaphor of emptiness, but is extended to a significant part of Juarroz's literary production, possible to be found since his first book, revealing also one of the crucial conceptions in his theoretical thoughts about literature / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária