Describe y resalta los principios rítmicos que predominan en la creación poética de Carlos Germán Belli y las formas tradicionales de la poesía castellana que este recupera, y que servirán de molde para manifestar su visión crítica de la realidad. De este modo, se emprenderá un análisis rítmico de Canciones y otros poemas, con el fin de precisar los valores del ritmo y las formas tradicionales de la poesía occidental, en general, y en particular, la poesía italiana y española, que denotan el fundamento primordial de su consagración poética. / Tesis

abstract: The revolution that took place in Nicaragua during the 70's led the country into misery; this war was a consequence of the Somoza dictatorship that had been in power for forty-five years. The Nicaraguan people were hoping to recover their peace and freedom by rising in arms against the dictatorship. Augusto Cesar Sandino is known to be the most significant patriotic figure for the Sandinista revolutionaries. His legacy inspired the foundation of the revolutionary party Frente Sandinista de Liberación Nacional (FSLN). The FSLN was able to overthrow the Anastasio Somoza regime and declared their victory on July 19, 1979. The memories of the Sandinista Revolution are portrayed in the autobiographies of two Nicaraguan writers: Gioconda Belli and Sergio Ramirez. El país bajo mi piel (2001) y Adiós muchachos. Una memoria de la revolución sandinista (1999) are the texts analyzed in this study as part of those remembrances that revive the most significant events of the revolution from very unique perspectives. In order to develop this analysis we have consider the theoretical work of Phillip Lejeune. We have based our research in his definition of autobiography, his concept of autobiographical pact and the idea of contract between author and reader. Also, we have incorporated Evelyne Ender´s research on memory as the principal element in the literary construction of reminiscences. Ender explains the role of the rememberer, who is responsible of constructing their memories based on a subjective, cognitive, emotional and esthetic performance. At the same time, we have included the concept of biographical space explained by Leonor Arfuch, which is perceived as multi-faced space where different tendencies coexist. The purpose of this study is to explore the autobiographies of these Nicaraguan writers as an esthetical process where remembrances of the Sandinista Revolution come to live in a prose reflective narrative. Analyzing Belli and Ramirez's memoirs, we perceived their private and public stories of life that depict the most significant events of their lives and nation. The Sandinista Revolution is part of the Nicaraguan history and it cannot be forgotten that's the purpose behind this autobiographies to document these transcendental happenings. / Dissertation/Thesis / M.A. Spanish 2012

Made available in DSpace on 2015-06-11T02:35:09Z (GMT). No. of bitstreams: 1 000470260-Texto+Completo-0.pdf: 569 bytes, checksum: be689618d02e4098bbd00711d5d81181 (MD5) Previous issue date: 2015 / This dissertation aims to study power and genre in three Latin American novels: Mister President, by Miguel Ángel Asturias, His Excellency, the Ambassador, by Erico Verissimo and A women’s country, by Gioconda Belli. Dealing with the definition of concepts of the literary field of Guatemala, Brazil and Nicaragua, from the year of publication of the analyzed works, the textual analyses are directed towards the perception of the way power stablishes itself under the form of dictatorship oppression in Latin America, and how female characters are presented in these narratives according to this oppression. There is also the identification of the speeches of possible worlds of equality and social justice in Latin America, as produced by the authors. / O objetivo dessa dissertação é o estudo dos temas poder e gênero em três romances latino-americanos: O Senhor Presidente, de Miguel Ángel Asturias; O Senhor Embaixador, de Erico Verissimo; e O País das mulheres, de Gioconda Belli. Tratando de definir os conceitos de campo literário da Guatemala, do Brasil e da Nicarágua, a partir do ano de publicação das obras estudadas, as análises textuais se direcionam à percepção de como o poder se estabelece sob forma de opressão nas ditaduras das Américas, e de como as personagens femininas se apresentam nessas narrativas segundo essa opressão, além da identificação dos discursos dos mundos possíveis de igualdade e de justiça social na América Latina, produzidos pelos autores.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-06-10T12:57:13Z No. of bitstreams: 1 470260 - Texto Completo.pdf: 936714 bytes, checksum: b12b9576b3d9ed54a16c6ec463e42d0c (MD5) / Made available in DSpace on 2015-06-10T12:57:13Z (GMT). No. of bitstreams: 1 470260 - Texto Completo.pdf: 936714 bytes, checksum: b12b9576b3d9ed54a16c6ec463e42d0c (MD5) Previous issue date: 2015-01-01 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This dissertation aims to study power and genre in three Latin American novels: Mister President, by Miguel ?ngel Asturias, His Excellency, the Ambassador, by Erico Verissimo and A women?s country, by Gioconda Belli. Dealing with the definition of concepts of the literary field of Guatemala, Brazil and Nicaragua, from the year of publication of the analyzed works, the textual analyses are directed towards the perception of the way power stablishes itself under the form of dictatorship oppression in Latin America, and how female characters are presented in these narratives according to this oppression. There is also the identification of the speeches of possible worlds of equality and social justice in Latin America, as produced by the authors. / O objetivo dessa disserta??o ? o estudo dos temas poder e g?nero em tr?s romances latino-americanos: O Senhor Presidente, de Miguel ?ngel Asturias; O Senhor Embaixador, de Erico Verissimo; e O Pa?s das mulheres, de Gioconda Belli. Tratando de definir os conceitos de campo liter?rio da Guatemala, do Brasil e da Nicar?gua, a partir do ano de publica??o das obras estudadas, as an?lises textuais se direcionam ? percep??o de como o poder se estabelece sob forma de opress?o nas ditaduras das Am?ricas, e de como as personagens femininas se apresentam nessas narrativas segundo essa opress?o, al?m da identifica??o dos discursos dos mundos poss?veis de igualdade e de justi?a social na Am?rica Latina, produzidos pelos autores.

This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse. Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment. Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque. Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing. Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse. Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society. Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women. Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.

This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse. Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment. Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque. Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing. Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse. Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society. Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women. Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.

This thesis is an intellectual history of the 'Grotian tradition' from the works of Hugo Grotius to the contemporary writings of the 'English School'. Its central argument contends that, contrary to its contemporary conceptualisation, the Grotian tradition has not, historically speaking, been a tradition of thought about international society. Rather, it is a moral tradition, derived in essence, if not always in substance, from Grotius' most famous work De Jure Belli ac Pads, and perpetuated in the international legal writings of a range of scholars including Samuel Pufendorf, James Kent, Henry Wheaton, Cornelius van Vollenhoven and Hersch Lauterpacht before being transformed into its current form in the works of Martin Wight and Hedley Bull. In explicating this argument, this thesis pursues two inter-related lines of inquiry. The first is concerned with the meaning of the term 'Grotian', both in relation to Hugo Grotius and as it has been employed in subsequent scholarship. In doing so, it introduces a three-tiered moral scheme that is central to Grotius' thought and highlights its perpetuation in international legal and political thought. The second line of inquiry considers what it means, both in theoretical and practical terms, to designate a set of thinkers and ideas a 'tradition' and considers the epistemological ramifications of doing so. As such, it is concerned not only with the manner in which the term 'tradition' has been employed by proponents of the 'Grotian tradition' but seeks to highlight some of the broader implications associated with the construction of traditions for the discipline of International Relations.