Facultad de Filosofía y Humanidades / Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Hispánica / Esta investigación está centrada en la novela Av. 10 de julio Huamachuco, de la chilena Nona Fernández. El tema central trabajado dentro de la investigación es la relación entre el espacio y la memoria, para ello se ha propuesto la idea de desespacialización como forma de edificar la memoria. Proponemos que se construye a través de fragmentos, alegorías y referencias intertextuales, como piezas que van accionando el ejercicio mnemotécnico por parte de los protagonistas de esta novela: Juan y Greta. Dentro de todo esto, es fundamental el rol que cumple la ciudad modernizada, en tanto solo nos entrega fragmentos de diversos espacios como son la ciudad, la casa y la pieza oscura. El recorrido que hacen los protagonistas Juan y Greta en busca de las piezas originales que perdieron los hará regresar a la adolescencia, veinte años atrás, donde quedaron deudas pendientes que ahora serán resueltas por medio del ejercicio de reconstrucción del pasado a través del viaje que realizan por la ciudad

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.

Au début du XXIe siècle émerge en Espagne un mouvement littéraire qu’on appelle « mutant » et qui annonce la fin du paradigme postmoderne. Cette étude se centre sur l’écriture narrative de Jorge Carrión, Agustín Fernández Mallo et Vicente Luis Mora : figures représentatives de ce phénomène, ils jettent les bases d’une poétique mutante, à travers des œuvres singulières, rendant compte des transformations culturelles à l’époque contemporaine. Les nouvelles technologies et les médias récents sont des outils narratifs récurrents dans leurs textes, mais ils fournissent également un modèle d’organisation aussi bien générationnelle que textuelle, ou encore médiatique, qui pourrait être désigné comme le réseau mutant. La thèse se donne pour objet de montrer que la poétique de ces auteurs se construit à travers des relations réticulaires qui se tissent entre les personnes, entre les œuvres et entre les perspectives théoriques que ces écrivains explorent. À l’époque de l’expansion narrative, il faut chercher l’unité dans les nœuds et les liens qui assemblent les pièces, les lieux, les genres, les moyens de communication et de diffusion, etc. Les transformations auxquelles est soumise l’esthétique de la postmodernité dans les textes mutants pointent l’avènement d’une ère nouvelle, celle du postnumérique, époque dans laquelle la tension entre l’écriture et la technologie est mise au service d’une création littéraire hybride. / At the beginning of the 21st century, a new literary movement, called “mutant”, appears in Spain, thus announcing the end of the postmodern paradigm. The present research study focuses on the narrative of Jorge Carrión, Agustín Fernández Mallo and Vicente Luis Mora. These three significant figures attempt to lay the ground for a mutant poetics, by creating literary works which point out the cultural changes that are taking place in our contemporary world. They use the new technologies and media as narrative tools, as well as a model for their organisation as a generation and for the organisation of their texts, in interaction with other platforms. One may therefore speak of a mutant network. The purpose of this dissertation is to indicate that these authors’ poetics is built through reticular relations between people, between works and theories. In this time of narrative expansion, one must search for unity in the nodes and the links which bind the pieces, the places, the literary genres, the means of communication and transmission, etc. In the mutant texts, the postmodern aesthetic is transformed, thus indicating a new cultural turn, the post-digital era, where the tension between writing and technology is used to create hybrid literary works.

C'est un lieu commun de la critique que d'attribuer à Lucas Fernández, avec son maître Juan del Encina, la co-paternité du théâtre en langue castillane. Malgré cette place honorable dans l'histoire littéraire, rares sont les études à avoir tenté de mettre en lumière ce qui fait la spécificité même de son œuvre, à savoir sa théâtralité. Ce travail de thèse a comme objectif d'explorer le vaste champ de la théâtralité à travers la mise en relief du fonctionnement dramaturgique des pièces qui composent les Farsas y églogas (Salamanque, 1514), le seul recueil de pièces de cet auteur qui soit parvenu jusqu'à nous. Ainsi commençons-nous par l'analyse des potentialités du texte dramatique en termes de gestuelle et plus largement, de communication non verbale, domaine englobant des signes hétérogènes comme le corps du personnage, les regards échangés, les attitudes physionomiques ou les déplacements. Nous poursuivons par l'étude du cadre de la fiction dramatique, en portant une attention particulière à la façon dont les oppositions spatiales concourent à doter les pièces de leur signification globale. Enfin, notre travail s'achève sur la description des mécanismes d'écriture du dialogue dramatique, en s'inspirant des apports méthodologiques de l'analyse du discours, et tout particulièrement de l'approche pragmatique et énonciativiste. Ce dernier versant de l'étude nous permet, par l'exploration de ce que Michel Vinaver appelle la « surface » des répliques, de montrer la variété des stratégies dramatiques de Lucas Fernández, dont l'œuvre, au-delà du primitivisme qu'on lui attribue du fait de ses intrigues réduites, s'avère résolument ancrée dans un « théâtre de la parole » aux accents particulièrement modernes.

<p>The following thesis is dedicated to the investigation of the comparative gender discourse of two of the current South American female Presidents: Michelle Bachelet, the first woman elected President in Chile for a four year term, in 2006 and Cristina Fernández de Kirchner, the first woman elected President in Argentina also for a four year term, but in 2007. Using secondary sources and critical discourse analysis, the study attempts to characterize their agenda on gender both before and after their election campaigns. Recognizing that a candidate must balance between many actors, as one of the principles of social constructivism runs, the essay presents a short history of the feminist movement in both countries and the current state that the movement finds itself in, either institutionalized or absorbed and fragmented by party politics. The conclusions that the study arrives to are that, of the two subjects, the one who has presented a more concrete and convincing stand on gender thanks to her political views, the space created for feminism by her coalition and the climate of her country, is Michelle Bachelet.</p>

Ce travail a comme but l'analyse, par un cadre analytique précis, de données littéraires, scientifiques, empiriques et statistiques portant sur la République dominicaine. Les principaux sujets traités sont l'incidence des changements politiques apportés par le gouvernement Fernandez, de 1996 à aujourd'hui, sur l'éducation et la polarisation sociale. L'analyse se construit à deux niveaux, soit les niveaux macro-politique et micro-politique, pour ensuite, établir les liens rationnels expliquant leurs impacts sur l'éducation et la polarisation sociale. Les concepts de paramètres structurels de l'État et du système d'éducation seront utilisés, considérant l'histoire dominicaine, l'idéologie étatique ainsi que la décentralisation et la privatisation, et ce, afin d'expliquer l'envergure et l'impact des politiques du gouvernement Fernandez au niveau macro-politique. Les concepts d'inégale distance et d'effet d'établissement, concepts utilisant des faits et données, telles que le milieu familial ou les ressources pour l'inégale distance; le rendement d'une institution scolaire, ses ressources et son environnement pour l'effet d'établissement. Ces concepts permettront l'analyse du niveau micro-politique. La question centrale de ce travail est la suivante : les politiques et les réformes ont-elles transformé les structures étatiques et éducatives? Ces changements de structure ont-ils permis d'éviter la reproduction de la polarisation sociale? C'est en étudiant la relation linéaire entre les deux dimensions, soit macro-politique et micro-politique, que les réponses à la question de recherche seront trouvées. Le travail permet d'arriver aux conclusions suivantes : les politiques de Fernandez ont eu un impact relativement mitigé sur la polarisation sociale et sur l'éducation. Bien qu'il y ait eu plusieurs améliorations, elles ne sont pas suffisantes, à l'instant où cette étude a été rédigée, pour affirmer que l'impact sur la polarisation sociale est important. La population dominicaine demeure, jusqu'à maintenant, habitée par une grande iniquité et les changements politiques, aux deux niveaux analysés lors de ce travail, n'ont su modifier profondément l'inégalité et la polarisation sociale du pays. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : République dominicaine, Fernandez, Éducation, Polarisation sociale, État, Effet d'établissement, Inégale distance

Made available in DSpace on 2016-05-17T16:51:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-08-10. Added 1 bitstream(s) on 2016-05-17T16:54:55Z : No. of bitstreams: 1 000863941.pdf: 776229 bytes, checksum: abbaafb75d6390fc7a4b1d25494ca9e7 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O duplo há muito tempo está presente na literatura e passou a ser mais recorrente a partir do século XVIII, no Romantismo. Vários escritores produziram obras que dão destaque ao tema. E, por estar na literatura das mais diversas formas, trazendo os mais diversos significados, o duplo proporcionou e proporciona, consequentemente, diversos estudos. Esta dissertação é resultado de uma pesquisa que teve por objetivo principal a realização da análise interpretativa do duplo, sob perspectiva da literatura fantástica, na obra da escritora contemporânea espanhola Cristina Fernández Cubas (1945-). Para a realização da análise, foi feita a seleção dos seguintes contos: Lúnula y Violeta (1980), En el hemisferio sur (1983), Helicón (1990), La mujer de verde (1994), La fiebre azul (2006) e El moscardón (2006). No desenvolvimento da pesquisa, foi feito o estudo do duplo na literatura, do fantástico e do gênero conto. Tais estudos, serviram de base para a realização das análises interpretativas dos contos. Em relação ao suporte teórico, citamos, em especial: Juan Herrero Cecilia (2000, 2011), Sigmund Freud (1976), Nádia Battella Gotlib (1998), Carl Gustav Jung (1987), Rebeca Martín López (2006), Otto Rank (1939), David Roas (2011), Clément Rosset (2008) e Teresa Martín Taffarel (2001). Das considerações finais do trabalho, destacamos: a constante presença da abordagem do processo criativo do escritor por meio da figura do duplo e, inseridas em meio à narrativa, discussões e reflexões sobre o tema do duplo e o gênero fantástico. Em relação ao duplo, este apresenta-se das mais diversas formas, prevalecendo o duplo subjetivo. Em suma, na maior parte dos contos analisados, o tema está relacionado à questão da identidade e associado ao fantástico / The double has been long present in literature and it became a recurring theme since the Romantic period in the 18th century. Many writers have highlighted the double in their works. As the double has been represented in a variety of ways and acquired varied meanings, it has been subject of several studies. This thesis results from a research that had as main goal to perform, from the perspective of the fantastic literature, an interpretative analysis of the double in the work of the contemporary Spanish writer Cristina Fernández Cubas (1945 - ). To do such analysis, we have selected the following short stories: Lúnula y Violeta (1980), En el hemisferio sur (1983), Helicón (1990), La mujer de verde (1994), La fiebre azul (2006) and El moscardón (2006). During the research we have studied the double in literature, the fantastic and the short story genre. Such studies constitute the basis for our interpretative analysis of the above short stories. As theoretical framework, we have used the works: Juan Herrero Cecilia (2000, 2011), Sigmund Freud (1976), Nádia Battella Gotlib (1998), Carl Gustav Jung (1987), Rebeca Martín López (2006), Otto Rank (1939), David Roas (2011), Clément Rosset (2008) and Teresa Martín Taffarel (2001). From the final remarks of this study, we draw attention to: the constant approach of the creative process of the writer by means of the double and the discussions, inserted throughout the text, on both the double and the fantastic genre. Relating to the double, it appears in several ways, but the subjective double prevails. In most cases, in the analyzed short stories, the double is related to the question of identity and associated with the fantastic

Following the bloody Revolution of 1910-1917, Mexican leaders took a great interest in rebuilding their devastated, war-torn country. In an attempt to further national unity, the post-Revolutionary regime sought to construct a unified, national identity. Many officials, such as José Vasconcelos, Mexico's first Secretario de Educación, viewed education as one of the keys to redeeming the nation. These government officials, empowered by their ideals and their sense of civic duty, worked to extend educational benefits to even the most overlooked segments of Mexican society. This thesis will examine two fictional texts that consider these efforts to transform and unify the nation through education in the post-Revolutionary years. Emilio "El Indio" Fernández's film, Río Escondido (1947), and Rosario Castellanos's novel, Balún Canán (1957), document the results of this federal intervention on behalf of its citizens in frontier towns far from the nation's capital. Nonetheless, Fernández and Castellanos provide very different appraisals of Mexico's post-Revolutionary education agenda. I view Río Escondido as official discourse because it lauds the national government initiatives to extend learning to all Mexicans and suggests that education will redeem the Mexican people. In Balún Canán, on the other hand, those in power utilize the education system to maintain control in society. Thus the novel criticizes failures within federal policies to provide education to less privileged sections of society. Despite their differences, both texts speak to a reality that Mexico dealt with during the mid-twentieth century when it attempted to solve its problems through education.

This dissertation investigates a common methodology of staging Cuban and Cuban exile historiography in three novels by Roberto G. Fernández (b. 1950), Antonio Benítez Rojo (1931-2005), and Ana Menéndez (b. 1970). This methodology develops a counterpoint between, first, the diagetic (strictly fictional) stories of characters who attempt to research or write Cuban history from exile and, second, the extradiagetic (extra or non-fictional) use of actual sources and tendencies of Cuban, Caribbean, and U.S. historiography structuring the narrative fiction. Reinforcing the density of the discursive field, the authors additionally incorporate works of Spanish, Latin-American, Caribbean, and/or Cuban literatures as constitutive elements of their fictions’ extradiagetic “noise.” I make the case that Fernández’s, Benítez Rojo’s, and Menéndez’s U.S.-produced historical novels develop a critical and investigative approach to the politics of Cuban exile and diaspora historiography. As such, they participate in the emergence of a post-exile Cuban literature, in dialogue with broader Caribbean and Latin American literatures. I analyze what I call archival dissonance in (1) the first, paradigm-setting novel in the body of historical fiction narrated from the frame of a dystopian future by Roberto G. Fernández, La vida es un special; (2) in Ana Menéndez’s use of reader response and archival research methods to critically recast a history of family division under the Cuban Revolution as popular romance fiction in Loving Che and (3) in the only novel Antonio Benítez Rojo lived to write in the United States, Mujer en traje de batalla (about the accidental arrival to New York City of the “first female Cuban physician” Enriqueta Faber, 1791-1827). Departing from the methodology presented with the narrative structure of each of the novels, in which a diagetic process of a character’s reading and/or writing Cuban history from a site of exile is countered by extradiagetic documentary and metaliterary information, I examine each novel’s metacritical approach to the politics of exile and diaspora historiography, as well as toward Cuban, Caribbean, Latin American, and/or U.S. literary textual economies. / text

The thesis focuses on theme of cultural identity of Mexican Americans. The introduction is based on the common history of Mexico and the United States of America (the question of the immigration, the Chicano Movement, Chicano Spanish). Attention is paid to the conception of Mexican American literature and essayistic, poetic and narrative work of Tomás Rivera, the major representative of the Chicano movement literature. The most important part of this work consists of the analysis of some peculiar motives in Rivera's cycle ...And the Earth Did not Devour Him, that create a picture of Mexican American life (the motive of religion, despair, journey, etc.). To understand the integrity of Mexican American literature, (i.e. the literature of the Chicano Movement and the Chicana literature) Rivera is compared with Roberta Fernández's novel in six stories Fronterizas. 1