Made available in DSpace on 2016-04-01T17:54:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-10-23. Added 1 bitstream(s) on 2016-04-01T18:00:34Z : No. of bitstreams: 1 000860183.pdf: 1354965 bytes, checksum: 1e382fc2f7e81a689fb336861ebb8740 (MD5) / Programa de apoio a estudantes de Doutorado do Estrangeiro PAEDEX-UNESP em colaboração com a AUIP / Esta pesquisa propõe a análise da construção do corpo de Evita no romance Santa Evita, de Tomás Eloy Martínez, tendo como foco a decisiva atuação narrativa baseada nas experiências recuperadas tanto do corpo vivo quanto do corpo embalsamado de Evita, presentes nesse romance. O escritor argentino reconstrói, com a ajuda dos diferentes elementos narrativos, um corpo vivo em que a vida adquire poder, mas, também, um corpo morto com um poder ainda maior. Assim, a incidência do corpo na História argentina, apresentada no romance, demarca as rotas sociais na imagem corporal de Evita para filtrá-la, através da literatura, pelas lembranças das testemunhas que a conheceram em diferentes momentos. A construção do corpo é concebida, no romance, pelas diferentes estratégias narrativas que o autor usa para lograr seu propósito. Assim, o objetivo desta dissertação é pesquisar as diversas construções literárias que o autor faz: primeiro explorando a construção de um corpo vivo para chegar à construção de um corpo embalsamado depois de muito tempo. Será analisada, portanto, a maneira pela qual o autor constrói os diferentes tipos de corpos de Evita, usando para isso, o estudo das diversas estratégias narrativas / This research proposes the analysis of Evita's body building in Tomás Eloy Martínez's novel, Santa Evita, focusing on the narrative decisive action based on the experiences retrieved from both, the alive and the embalmed Evita's body, present in this novel. The Argentine writer reconstructs it helped by different narrative elements, an alive body full of power, but also a dead body with an even greater power. Thus, the incidence of the body in Argentine history presented in the novel marks the social routes in body image of Evita to filter it through literature, the memories of witnesses who knew her at different times. The body construction is designed, in the novel, by the different narratives strategies that the author uses to achieve his purpose, therefore, the aim of this work is to research the different literary constructions made by the author, first exploring the construction of an alive body to get the construction of an embalmed body after a long time. It is analyzed the way in which the author constructs the different types of bodies by using multiple narrative strategies

Not available / text

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2015. / Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2015-10-28T10:54:18Z No. of bitstreams: 1 2015_LucianaMedeirosTeixeira.pdf: 3312314 bytes, checksum: edcb29a3ccb58e2cf8e47f85f5aef2e8 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2015-10-28T17:41:09Z (GMT) No. of bitstreams: 1 2015_LucianaMedeirosTeixeira.pdf: 3312314 bytes, checksum: edcb29a3ccb58e2cf8e47f85f5aef2e8 (MD5) / Made available in DSpace on 2015-10-28T17:41:09Z (GMT). No. of bitstreams: 1 2015_LucianaMedeirosTeixeira.pdf: 3312314 bytes, checksum: edcb29a3ccb58e2cf8e47f85f5aef2e8 (MD5) / O propósito desta dissertação foi analisar, a partir de uma narrativa ficcional, como um cadáver pode despertar uma onda de fanatismo e violência e simbolizar o destino de uma nação. Igualmente buscamos refletir sobre os resquícios do período ditatorial nas primeiras décadas do século XXI por meio do cruzamento entre ficção, história e discurso político. Para tanto, analisamos o romance Santa Evita, do jornalista e escritor argentino Tomás Eloy Martínez. Partimos, primeiramente, do estudo do contexto histórico no qual se insere a narrativa para, assim, considerar a violência do período, o tratamento dado à memória, os resquícios do estado de exceção que sobrevivem na contemporaneidade e seu cruzamento com a literatura latino-americana. Logo, passamos para o estudo das representações de Eva Perón presentes na narrativa e suas utilizações na política, assim como sua relação com o mito fundador argentino, para chegarmos, enfim, à análise da violência infligida a seu corpo morto. Percebemos, na narrativa de Santa Evita, seu corpo roubado como um lugar de violência e de resistência ao regime ditatorial. Evita como vítima e desaparecida prefigura, dessa forma, a repressão posterior dos anos 60, 70 e 80. Ela é a primeira dos 30 mil mortos e desaparecidos políticos da última ditadura argentina. Na obra, Evita é a metáfora do poder, mas também da resistência contra seus abusos. / This dissertation’s purpose was to analyze, from a fiction narrative, how a corpse can arouse a wave of fanaticism and violence and symbolize a nation’s destiny. We also sought to reflect on the remnants of the dictatorial period in the first decades of the twenty-first century through the crossing between fiction, history and political discourse. Therefore, we analyzed the novel Santa Evita, from the Argentine journalist and writer Tomás Eloy Martínez. First we set out the study of the historical context in which the narrative is inserted to thus consider the period’s violence, the treatment given to memory, the state of exception’s vestiges that survive in contemporary times and its intersection with Latin American literature. Then we moved on to the study of Eva Perón’s representations present in the narrative and its uses in politics as well as its relationship with the Argentine myth founder to reach, finally, the analysis of violence towards her dead body. We realize, in Santa Evita’s narrative, her stolen body as a place of violence and resistance to the dictatorial regime. Evita as a victim and missing prefigures, thereby, the subsequent repression of the 60s, 70s and 80s. She’s the first of 30.000 political dead and missing of the last Argentine dictatorship. In the book, Evita is the power’s metaphor, but also resistance against its abuses.

Eloy Vaquero Cantillo (Montalbán de Córdoba, 28 de junio de 1888 - Nueva York, 14 de septiembre de 1960) maestro, político, periodista, poeta y abogado hace suyas las dos propuestas de Domingo Barnés; estas propuestas se materializan el día uno de mayo de 1923 con la inauguración de la “Escuela al Aire Libre” (en adelante E.A.L.) de Córdoba. El propio E.V.C. explicita estas propuestas “conjuntadas” cuando define esta realización pedagógica de la siguiente manera: “La Escuela al Aire Libre es un bello cuerpo, cuya alma propia, especial, inconfundible es el método activo, y el procedimiento intuitivo, aspiración a “urbanizar el campo y rusticar la urbe”, fomentar el amor a la Naturaleza y al Arte, disciplina de la actividad y de la libertad, religiosidad profunda empapada de amor al prójimo, sin odio, sin abcecación, sin fanatismo fratricida.” (VAQUERO CANTILLO, Eloy. Las Escuelas al Aire Libre. Atmósfera pura, luz, flores para los niños, pág. 88. “Minerva”. Artes Gráficas. Córdoba-1926.) Como es presumible el estudio de la Escuela al Aire Libre de Córdoba, como realización pedagógica, habrá de hacerse desde las claves históricas y pedagógicas, las del creador y las de su criatura. La Escuela al Aire Libre de Córdoba fue, en su día, una propuesta, una oferta educativa formulada desde una concepción antropológica de “armonía” institucionista y una acción “ad extra” de la masonería cordobesa. La admiración-atracción de Eloy Vaquero hacia la naturaleza desde niño, las experiencias personales en un ambiente de crisis política, regional-andaluza, colonial, social, agraria y religiosa, como experiencia previa, lo llevan a una concepción de hombre, de escuela y de sociedad compatible con una armonía superadora de los dualismos que desgarraban España, la España de la Restauración y la España de la República.

Made available in DSpace on 2016-04-28T19:58:40Z (GMT). No. of bitstreams: 1 Mariana Bittencourt Faraco.pdf: 1210670 bytes, checksum: 3856d3f080a43c49b8c7a15f0234b8d4 (MD5) Previous issue date: 2011-05-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study discusses the effect of hybridization of the historical and the detective novels approaches from the perspective of Latin America (contemporary literature). Emerged in Europe in the 19th century, these two novel subgenres has achieved a prominent position in the literary scene. Since its genesis, both historical and detective novels deal with the question of the search for truth. The objective of this study is to detect how the enigma element, when combined with a historical narrative, reorganizes the belief in the official version of historical events. This study does a comparative analysis of two novels: Agosto, written by the Brazilian Rubem Fonseca, and Santa Evita, written by the Argentinian Tomás Eloy Martinez. Written in the 90's, both noveis look back to the 50's historical events and characters. The research recovers the criticism of both Fonseca and Martinez work, and then examines the long and traditional uneasy relations between literature and history, from Aristotle to Linda Hutcheon's historiographic metafiction. By addressing the origins and transformations of both historical and detective novels, this dissertation shows the evolutions of the subgenres and also puts into dialogue current studies of the hybrid detective-historical novel. The analysis of Agosto and~ Santa Evita, following the methodology of Comparative Literature, focuses specially on the different ways how both novels are constructed. The results demonstrate that the enigma element, when inserted into a historical narrative, contributes to a destabilization of the official report, through a multifaceted view. However, each author's different narrative strategies reveal distinct effects of this destabilization which are discussed in the present study / Este trabalho discute os efeitos da hibridização entre o romance histórico e o romance policial, sob a perspectiva da contemporaneidade latino-americana. Surgidos na Europa, no século XIX, esses dois subgêneros do romance têm alcançado posição de destaque na cena literária. Como ambos, desde sua génese, gravitam em torno da questão da busca pela verdade, o objetivo deste trabalho é detectar como o elemento enigma, ao ser estruturado em uma narrativa de extração histórica, reorganiza a crença na versão oficial dos fetos. Para tanto o estudo faz uma análise comparativa dos romances Agosto, do brasileiro Rubem Fonseca, e Santa Evita, do argentino Tomás Eloy Martinez, que colocam o olhar dos anos 90 sobre acontecimentos e personagens históricos dos anos 50. O estudo recupera a critica sobre a obra dos dois autores para em seguida abordar as relações desde sempre intranquilas entre literatura e história, retomando o pensamento de Aristóteles até a perspectiva da metaficção historiográfica cunhada por Linda Hutcheon. Ao tratar das origens e transformações tanto do romance histórico quanto do romance policial, o trabalho mostra as transformações pelas quais os subgêneros têm passado e põe em diálogo estudos atuais sobre o híbrido policial-histórico. A análise das duas obras, que segue a metodologia da Literatura Comparada, focaliza principalmente as diferentes formas como os romances são construidos. Os resultados demonstram que o elemento enigma, ao ser inserido em uma narrativa de extração histórica, colabora para uma desestabilização do relato oficial, impregnando-o de multiplicidade. No entanto, as diferentes estratégias narrativas de cada autor apontam para efeitos distintos dessa desestabilização, que são discutidos no presente estudo

Le réalisateur espagnol Eloy de la Iglesia (1944-2006) est l’auteur de vingt-deux longs métrages réalisés entre 1966 et 2003. Sa vaste filmographie recouvre une période décisive de l’histoire de l’Espagne contemporaine, avec laquelle elle établit un dialogue constant. Plébiscité par le public, Eloy de la Iglesia s’attira les foudres de la censure qui surveilla de près sa production et l’inimitié d’une grande partie de la critique, y compris progressiste, qui lui reprocha immanquablement son opportunisme, sa démagogie, son penchant immodéré pour la provocation et son mauvais goût flagrant. Notre étude porte sur l’intégralité de la filmographie du réalisateur et met en lumière son extrême cohérence interne autour de deux axes majeurs : la marginalité et la transgression. Cinéaste situé à la périphérie des principaux courants et des tendances esthétiques majoritaires, Eloy de la Iglesia a pu mener à bien une œuvre personnelle et prolifique, à la croisée du cinéma d’auteur et du cinéma populaire, dans laquelle nous voulons voir le projet original d’analyser la société espagnole à partir de ses marges et sous l’angle de la transgression des normes et des valeurs dominantes. Son cinéma antiélitiste et résolument installé dans la culture de masse fait mine d’accepter les règles et le langage du cinéma commercial pour mieux les subvertir de l’intérieur. Il y introduit des sujets tabous et polémiques et développe un discours critique radical sur la réalité contemporaine espagnole. / Spanish director Eloy de la Iglesia (1944-2006) is the author of twenty-two feature films made between 1966 and 2003. His vast filmography covers a crucial period in the history of contemporary Spain, with which it is in constant dialogue. Acclaimed by audiences, Eloy de la Iglesia incurred the wrath of the Film Censorship Board (which kept a close watch on his work) and the hostility of many critics, including the most progressive ones, who inevitably rebuked him for opportunism, demagogy, excessive penchant for provocation and blatant bad taste. Our study focuses on his entire filmography and highlights its extreme internal coherence around two main axes: marginality and transgression. Always on the margins of major cinematic movements and aesthetic tendencies, Eloy de la Iglesia managed to develop a personal and prolific work at the crossroads of art-house and popular cinema; an original project to analyse Spanish society from its fringes and through transgression of dominant norms and values. His anti-elitist cinema, deeply rooted in mass culture, pretends to accept the rules and language of commercial cinema to better subvert them from within, by introducing taboo and controversial topics and developing a radical critical discourse on contemporary Spanish reality.

This doctoral thesis studies the relationship between journalism and literature in contexts in which freedom of speech is at risk. It takes as primary sources a variety of nonfiction, crónicas, literary journalism and testimonial novels published by Latin American authors in Spanish, from the 1950s to the 2000s. I propose the concept ‘documentary narratives’ to refer to all literary modes of discourse which are related, in diverse degrees, to a journalistic representation of reality. My corpus covers a wide range of topics such as social protests, dictatorships, civil wars, natural disaster, crime and migration. While scholars have focused on the rhetoric and history of this kind of narratives, my reading considers the real, face-to-face encounter between the journalist and others. I argue that the representation of these encounters influences the pact with the reader and challenges the notion of truthfulness. I contend that documentary narratives can serve as a tool for the transmission of knowledge and the production of public debate in societies marked by political and social instability. In a world overwhelmed by data production and immersed in violent acts against those to be considered ‘Others’, I argue that storytelling is still an essential form of communication among individuals, classes and cultures. Contrary to the authors’s intentions of documenting others’ lives, I conclude that these stories offer an (interrupted) account of oneself, that is, the account of a contemporary storyteller pursuing a rarely fulfilled desire of getting to know the Other truly. The thesis has two appendices. Appendix 1 showcases archival material that support some of my arguments. Appendix 2 includes the transcripts of the interviews that I conducted with eight Latin American authors: Elena Poniatowska, Leila Guerriero, Cristian Alarcón, Arturo Fontaine, Santiago Roncagliolo, Francisco Goldman, Martín Caparrós, and Juan Villoro.