El artículo estudia el cambio léxico-semántico de apechugar, atarantado, baraja, blanca, desayunarse, pelar y pluma en varios países de Hispanoamérica (Colombia, Argentina, Uruguay y otros más), aunque hace hincapié en Venezuela. Verifica la evolución de estas voces mediante importantes obras lexicográficas. Su punto de partida lo constituye el uso que de estas piezas hace Juan de Castellanos en Elegías de Varones Ilustres de Indias (1589). Los resultados señalan que, transcurridos 500 años, salvo desayunarse, las palabras, aunque lexicalmente se mantienen en América, han generado nuevas entidades y, adicionalmente, han modificado su contenido. / This paper studies the lexical-semantic changes suffered by apechugar [undertake], atarantado [astounded, lightheaded, thoughless], baraja [quarrel], blanca [money], desayunarse [to get astonishing news], pelar [to get someone’s money], pluma [money] in several Spanish-speaking American countries (e.g. Colombia, Argentina, Uruguay and others) with emphasis on Venezuela. These words were used by Juan de Castellanos in his Elegías de Varones Ilustres de Indias (1589). The study verifies the evolution of these voices through lexicographical important books. The investigation concludes that, after 500 years, (i) the examined lexis stay in America, (ii) new entities have been produced from these vocabularies, (iii) the terms have changed their meaning, what giving them character own to the American Spanish.

La fin du XXe siècle et le début du XXIe siècle ont vu renaître le débat sur les rapports entre l’histoire et la littérature, entendue comme fiction, dans le sens d'un effacement des frontières entre les deux. Partant de ce postulat, notre étude, à la croisée de ces deux notions, a pour objectif de montrer les liens qui existent entre l’histoire centraméricaine contemporaine et la fiction dans les romans de l’auteur honduro-salvadorien Horacio Castellanos Moya. En effet, l’histoire de plusieurs pays d’Amérique centrale, marquée par des années de dictature, de guerres civiles et de violences politiques ou économiques, a eu un impact considérable sur de nombreux auteurs de la région. L’œuvre fictionnelle de Horacio Castellanos Moya en porte des traces évidentes. Pour les déceler, comprendre leurs enjeux et la manière dont elles figurent dans les romans, l’étude a été divisée en trois grandes parties. La première traite les données biographiques de Horacio Castellanos Moya en tant qu’homme et écrivain ; la deuxième, des principaux faits historiques thématisés et la dernière de leur mise en scène dans l’œuvre. / The late twentieth century and early twenty-first century have seen revived the debate about the relationship between history and literature, understood as fiction, in the sense of a blurring of boundaries between the two. Based on this premise, our study at the crossroads of these two concepts aims to show the links between contemporary Central American history and fiction in novels of Honduras-Salvadoran author Horacio Castellanos Moya. Indeed, the history of several Central American countries, marked by years of dictatorship, civil wars and political or economic violence has had a significant impact on many local authors. The fictional work of Horacio Castellanos Moya bears evident traces. To identify, understand their issues and how they appear in the novels, the study was divided into three main parts. The first deals with the biographical data Horacio Castellanos Moya as man and writer; the second, the main historical facts themed and the last of their stage in the work.

In this dissertation I offer an analysis of the ideological significance of Juan de Castellanos' writings in light of the epic model provided by Alonso de Ercilla's La Araucana. My main goal is to demonstrate that, unlike Ercilla, Castellanos embraced and manipulated the resources at the disposal of epic poets not only to praise the deeds and defend the rights of the first wave of colonists, but also to challenge the policies of Hapsburg monarchs concerning the administration of the recently established Viceroyalties in the New World. Hence, this dissertation aims to foreground the complexities and ambiguities of a text that bears evidence of an internal ideological fissure that significantly shaped Spain’s political and territorial expansion and contributed to the emergence of a new type of literature. If epic, as has been persuasively argued by Elizabeth B. Davis "was invaluable to the ruling circles of the imperial monarchy, who used it to forge a sense of unity and to script cultural identities during the period of expansion and conquest" (10), then the heroic poems written by Castellanos on behalf of the conquistadors and encomenderos represent the boldest attempt to turn the most prestigious vehicle of Spanish imperial propaganda, epic poetry, into a tool for the expression of colonial political concerns, a project which included but was not limited to the deployment of aggressive practices of poetic imitation, the expression of a new sense of selfhood, and the demarcation of a new sense of patriotism. Nevertheless, from its inception Castellanos' project was also plagued by many contradictions, most of which are the result of his nostalgia for the values and practices commonly associated with the warrior nobility of the feudal era, and by the constraints imposed by simultaneously having to point to and erase the trace of Ercilla's text. / text

This study undertakes an analysis of Rosario Castellanos' 1953 feminist poem "Lamentación de Dido". It takes into account the influence of Simone de Beauvoir, Virginia Woolf and Simone Well, the classical foreground of Virgil and Homer, and the relations of the poem to Luis de Gongora's cultismo. In "Lamentación", Castellanos attempts to create a public feminist discourse in a time and space where women were supposed to remain in the domestic-private sphere. An in-depth analysis of "Lamentación" shows that for Castellanos the issues of race and gender were tightly intertwined. For Castellanos, the creation of a discourse that could change the extreme discrimination suffered by women and the indigenous people of Mexico became a life-long quest.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 205-214). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 205-214). Also available on the Internet.

El presente trabajo se ha inscrito como una investigación que pretende indagar en cierta especificidad de un tipo de trabajo escritural en nuestro continente latinoamericano. Este se refiere a la producción literaria de mujeres en nuestro contexto. La motivación por indagar en este ámbito se conecta con la formación recibida en esta casa de estudios desde el año 1990, cuando comienzo a desarrollar los estudios de postgrado y mi especialización. El área en que se inscribe esta trayectoria académica se refiere a los estudios de género y el planteamiento innovador y transformador para acceder a formas de conocimiento que no habían sido trabajadas anteriormente en los ámbitos de los estudios superiores. Estos nuevos enfoques dicen relación con los cruces interdisciplinarios que abren perspectivas motivadoras y atractivas para proponer nuevas vía de acceso al conocimiento de hechos, fenómenos, prácticas y teorías. La instalación de la presente investigación se lleva a cabo en el cruce innovador y transformador de la literatura y la perspectiva de género. Creo que esta vertiente investigativa proporciona luces respecto de la necesidad de estructurar una genealogía de mujeres productoras de cultura. Esta necesidad no es tan sólo para generar la visibilización de ellas, cuestión que políticamente me parece urgente, sino para producir el diálogo necesario entre la producción literaria signada por los varones desde una perspectiva androcéntrica y las diferencias, si es que existen, con la de las mujeres escritoras que no son pocas en nuestro continente. Tarea que viene elaborándose en esta casa de estudios, por lo menos, desde la década del ochenta de manera incipiente.

Este estudio examina la teoría de la imagen-tiempo de Gilles Deleuze tal como queda representada en Los adioses (2017), con el propósito de plantear la eterna recurrencia del pasado en la vida de la escritora mexicana Rosario Castellanos (1925-1974). Además, explora las diferentes técnicas de imagen-tiempo que utiliza Beristáin tales como la yuxtaposición entre las temporalidades del pasado, presente y futuro que conforman las respectivas memorias del pasado y que, al ser combinadas con las vivencias del presente, representan una culminación de experiencias que permiten una nueva perspectiva del pasado. Con cada nueva perspectiva se presenta una dinámica representación de emociones y sensaciones que causan un choque afectivo y por ende hacen manifiesto el constante cambio a la otredad de la escritora.

For the last eleven years of her life—1963 to 1974—the Mexican woman-of-letters Rosario Castellanos published a regular article in the opinion section of the Mexico City newspaper Excélsior. This edition provides a selection of 65 of these 341 articles, in both the original Spanish and in translation to English, with editorial annotations illuminating the articles’ historical, literary, and textual contexts; it is accompanied by a chronology largely of Castellanos’s life and work, in particular detail for the Excélsior years, and by a catalogue of all her Excélsior opinion articles. / 2024-11-16T00:00:00Z

This thesis proposes a new perspective and critical reflection on two contemporary Latin American novels, Insensatez (2004) by Honduran-Salvadorean author Horacio Castellanos Moya and La dimensión desconocida (2016) by Chilean author Nona Fernández. Situating each novel within its respective historical context of political transition following years of violent national conflict, the politics of memory and the concomitant concern for human rights directly informs the argument. The theoretical framework which directs the analysis of each work centers on the intertextual relationship between the narrative and the novel's foundational document. In Insensatez, the intertext of interest is the official report of the Recovery of Historical Memory Project (REMHI) titled Guatemala: Nunca Más (1998) and in La dimensión desconocida the intertext is the interview with the former Chilean intelligence agent, Andrés Valenzuela, published in the magazine Cauce (1985). This thesis first reveals how Castellanos Moya utilizes various literary strategies in combination with the libreta as a narrative element to question the privileged position of testimonio in the memory works that have proliferated in postwar Central America. This thesis also demonstrates how Nona Fernández constructs a complex intertextual dialogue with the testimony of the victimizer Valenzuela to interrogate the ethical binaries that have sustained Chilean literary production on historical memory since the dictatorship. The combined analyses of these two novels enable new perceptions of how contemporary Latin American fictions can creatively employ intertextuality as a narrative tool to problematize the cultural and literary representation of a traumatic past. / Master of Arts / This thesis proposes new critical perspectives on two contemporary Latin American novels, Insensatez (2004) by Honduran-Salvadorean author Horacio Castellanos Moya and La dimensión desconocida (2016) by Chilean author Nona Fernández. Situating each novel within its respective historical context of political transition following years of violent national conflict, the analysis centers on the textual relationship between the narrative and the novel's foundational document. In Insensatez, the document of interest is the official report of the Recovery of Historical Memory Project (REMHI) titled Guatemala: Nunca Más (1998) and in La dimensión desconocida the essential document is the interview with the former Chilean intelligence agent, Andrés Valenzuela, published in the magazine Cauce (1985). This thesis first reveals how Castellanos Moya utilizes various literary strategies in combination with the libreta as a narrative element to question the favored position of testimonio in the memory works that have proliferated in postwar Central America. This thesis then demonstrates how Nona Fernández constructs a complex dialogue with the confession of the victimizer Valenzuela to challenge the ethical oppositions that have sustained Chilean literary production on historical memory since the dictatorship. The combined analyses of these two novels enable new perceptions of how contemporary Latin American fictions can creatively use textual relationships as a tool to interrogate the cultural and literary representation of a traumatic past.