Os motivos de honra e honor na dramaturgia de Federico García Lorca. Análise da trilogia rural, Bodas de sangre, Yerma e La casa de Bernarda Alba. Os motivos de honra e honor e suas funções no desencadeamento das tragédias. Honra e honor como traços culturais da região de Andaluzia. / Los motivos de honra y honor en la dramaturgia de Federico García Lorca. Análisis de la trilogía rural, Bodas de sangre, Yerma y La casa de Bernarda Alba. Los motivos de honra y honor y sus funciones en el desencadenamiento de las tragedias. Honra y honor como trazos culturales de la región de Andalucía.

The traditional cante jondo is a song unique to Andalusia as it developed from the "mosaic" of cultures that have inhabited its borders, including Arabs, Jews and Gypsies. The genre expresses the history of the region, reveals the typography of the landscape and cries the tears of its people. "Deep song," the translation for cante jondo, is the forerunner of the flamenco, but it is a communication of a dark soul rather than an exuberant entertainment. The original folk idiom is a medium less concerned with beauty than the cathartic release of pain of every day life. It expresses the soul of Andalusia. This study explores the history and the poetic and musical forms Andalusian cante jondo as the inspiration for the poetry of Federico Garcia Lorca set by Elisenda Fabregas in the song cycle, Five Poems of Garcia Lorca (1992). Lorca felt the validity of "deep song" and he was disturbed that it was being corrupted by commercialism and was afraid it would be lost to posterity. His goal was to preserve the essence of the song and lift it to an artistic plain. He saw folk music as the core of the national musical and literary identity in Germany, France and Russia and worked to establish Spain as an artistic equal. Lorca's writings were not imitations of the traditional cante jondo. They echoed the history, the landscape and the tears, but they did so through symbolism and vivid imagery. The poet communicated on several levels, one as a voice of Andalusia, Spain and ultimately mankind and another with his own private message. His life was short, but his legacy is long. Fabregas, like Lorca, has taken a folk medium and expanded it beyond its original boundaries. Being of Spanish heritage, but not Andalusian, she is less committed to the local musical constraints. She felt the humanity in Lorca's poetic cries and expressed them through her own language. As a result her songs are intensely dramatic and are exciting pieces to perform.

En la presente investigación trataremos temas como la relación del cine y el conflicto armado, el tratamiento del personaje infantil, y el personaje infantil y la violencia. Para el análisis tomamos al cine como fenómeno social y a la imagen fílmica como transmisora de representaciones, basándonos en las propuestas de Marc Ferro en “Historia contemporánea y cine” (1995) y Pierre Sorlin en “Sociología del cine: la apertura para la historia del mañana” 1985), ya que los personajes infantiles protagónicos en nuestro cine, cuyo número es limitado Gregorio (Grupo Chaski-1984), Juliana (Grupo Chaski -1988), Juan (Fabrizio Aguilar-2003) y Cayetana (Rosario García Montero – 2011), están rodeados de violencia e injusticia, contextualizados en una época de conflicto social. / Tesis

Tsang, Tak Fai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 163-168). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgement --- p.iii / Dedication --- p.iv / Contents --- p.v / Chapter Chapter 1 - --- Introduction / Postmodernism and the poststructuralist view of enunciation / Chapter A.) --- What is Postmodernism? - Three Dimensions --- p.1 / Chapter B.) --- What constitutes a problem with Postmodernism? --- p.26 / Chapter C.) --- What is an alternative framework? --- p.33 / Chapter D.) --- Conclusion --- p.41 / Chapter Chapter 2 - --- Complementary relationships between discourses and subjects / One Hundred Years of Solitude - solitudes longing for dialogue / Chapter A.) --- Introduction - a Poetics of Contest --- p.42 / Chapter B.) --- The Insufficiency of Contest and Subversion --- p.60 / Chapter C.) --- One Hundred Years of Solitude - a longing for dialogue --- p.69 / Chapter D.) --- Conclusion: Dialogism and Liberal Humanism --- p.83 / Chapter Chapter 3 - --- Subject and History / Midnight's Children - dialogues of individual and national unity / Chapter A.) --- Hutcheon's view of subjectivity and history --- p.84 / Chapter B.) --- Hypothesis: a dialogical structure of discourses in Midnight's Children --- p.93 / Chapter C.) --- Conclusion: re-defining the liberal humanist subject --- p.115 / Chapter Chapter 4 - --- Subject and Politics / Beloved 226}0ؤ Agency and the articulation of a favourable identity for ex-slaves / Chapter A.) --- p.117 / Chapter B.) --- Problems of Hutcheońةs framework in Beloved --- p.131 / Chapter C.) --- "Modifying Hutcheońةs framework: Dialogism, Centres and Discourses" --- p.137 / Chapter D.) --- Conclusion: redefining postmodernist subjectivity --- p.149 / Chapter Chapter 5 - --- Conclusion / Reconfiguring Liberal Humanism - an enunciative basis / Chapter A.) --- Significance --- p.151 / Chapter B.) --- "The Enunciating Subject, The Enonce and Power" --- p.152 / Chapter C.) --- From Epistemology to Ethics --- p.156 / Chapter D.) --- Opening the Dialogue - the Performative --- p.158 / Chapter E.) --- A Forward Glance: Dialogue in a Postmodernity --- p.160 / Epilogue --- p.162 / Bibliography / Works Cited --- p.163 / Works Consulted --- p.167

La presente investigación analiza la dinámica del surgimiento del movimiento Libertad, centrándose, principalmente, en tres grandes factores que se consideran claves en este. Estos son: El movimiento de rechazo a la propuesta de estatizar la banca, el nuevo mensaje político liberal y el liderazgo de Mario Vargas Llosa, el cual es visto como una pieza clave dentro de la dinámica estudiada. La tesis se centra en cómo estos tres factores convergen y le otorgan fuerza al proyecto liberal que traían los actores centrales de este movimiento político, los cuales hacía algunos años habían visto en Mario Vargas Llosa a una figura carismática capaz de liderar la nueva agrupación. Se percibe, además, como estos actores esperaron el momento oportuno, la propuesta de estatización de la banca de Alan García, para entrar en escena y aparecer a la cabeza de la oposición que se había conformado a esta medida de gobierno. Desde este ‘movimiento anti-estatización’, que acaba derrotando al presidente García, Mario Vargas Llosa y sus aliados conformarán Libertad. Sobre la ideología liberal, esta se estudia a partir de la coherencia ideológica que le dio al movimiento, lo que permitió la unión de Vargas Llosa con algunos intelectuales que fueron influyentes dentro de este, y cómo a partir del Movimiento Libertad el liberalismo se volvió hegemónico entre las élites económicas e influyentes de la sociedad peruana. iv La investigación se realiza a partir de entrevistas a actores que participaron del movimiento, fuentes primarias, como diarios, revistas, o testimonios de los propios actores de Libertad y, finalmente, libros y trabajos de investigación que estudian a esta agrupación política. En la investigación se halla que Libertad surge a partir de la voluntad y la organización de estos intelectuales liberales, gracias a la popular figura de Vargas Llosa y al error político de Alan García, quien no calculó la gran oposición que lograría su propuesta de estatización / Tesis

This study investigates the imbrications and porosity between journalism and narrative fiction in Latin America. It examines how three journalist-writers, Afonso de Lima Barreto (Brazil), José Marín Cañas (Costa Rica) and Gabriel García Márquez (Colombia) write in a fluid double-sided process of textual creation during the twentieth century. In their journalistic production, these writers include characters or situations that are false or imagined and, at the same time, while working in newspapers, write novels based on their journalistic reports. This discursive dialogism results in works with different degrees of hybridity that relativize the argument of those who see rigid boundaries between journalism and literature in Latin America. The literary figure of the journalist-writer, who produces narrative fiction while simultaneously working full-time for newspapers, magazines and news services, is a deeply rooted tradition in Latin American letters. In this study, special attention is given to the complex deployment of reference, hyperbole, deception and lying. During the twentieth century, when Latin American newspapers wanted to appear less political and more commercial to their readers, the journalist-writers continually masked their political views under the cloak of a fact-oriented journalistic discourse. This dissertation analyzes genre borders and develops concepts like "favela de las letras" ("Favela" in contradistinction to the Republic of Letters) and "diarismo magico" ("magical journalism"). The dissertation also examines the conundrums of verisimilitude raised by the imbrication of journalism and literature referred to above. The notion "magical journalism," which echoes "magical realism" yet structurally is more akin to the ambivalence that Tzvetan Todorov detects in the fantastic, produces its effect by the doubt that arises from the tangle of two principles of decoding: the realist, naturalist one that is expected of journalism and the preternatural. The latter is not the realm of the supernatural, as in marvelous verisimilitude, but ensues from apparently immeasurable political power, which in the texts of these writers is presented not only in a realist mode but coded through literary devices like allusion, allegory, hyperbole. In this way, the texts both refer to a concrete reality and simultaneously register it in a literary mode that produces astonishment, consternation and a range of effects of verisimilitude. / Romance Languages and Literatures

This work focuses on the topic of identity and, particularly, on the study of lies as a component of identity through the analysis of the main character in the comedy La verdad sospechosa , and the Court represented in the play. The text has been divided into two sections: the text's reality and the stories invented by the main character. This distinction serves to establish the relation between the elements of both parts, as well as their consequent influence in the construction of the character's identity. Conditions such as space, time and, particularly, social surrounding are taken into account in the fabrication of lies. The work shows how lying serves as a tool to create, sometimes fictitious but nevertheless useful, routes that help achieve an immersion in the society, even if it seems to go completely against the social values that, on the other hand, helps attain. Through the deconstruction of the character's lies, this work shows how, gradually, the made-up stories assimilate with the reality of the text until they become one with it. This gradual assimilation goes hand in hand with the character's immersion into the community, which includes the learning of social values and the fulfillment of the community's expectations.

No description available.

Dai Wangshu 戴望舒 (1905-1950) was a prolific translator, working on both French and Hispanic literature. However, his translation work has often been considered relevant only to the extent that it helped him to develop a self-fashioned modernist style in his own poetic writing. Moreover, no systematic study has been conducted on his interest in Hispanic literature, particularly on his translation of Federico García Lorca’s poetry, a project to which he dedicated over half of his professional career but left unfinished. In addition, investigations on Dai have been generally approached from a narrow theoretical perspective that has risked overlooking the social factors that affected his literary activities. This thesis, therefore, aims to reveal the extent and the way in which translating Lorca into Chinese contributed to the establishment and consolidation of Dai’s position as a social agent in the field of literary production in China. The methodology is constructed in an attempt to reconcile a sociological perspective on translation drawing on Pierre Bourdieu’s theory with a more interpretive understanding of literary writing based on the notion of transculturation inherited from Latin American cultural studies. Examining Dai’s translation of Lorca’s poetry from this integrated perspective allows foregrounding the heterogeneity and multiplicity of Dai’s literary dispositions, at both a macroscopic and a microscopic level, without ignoring the social factors involved in his translation practice. By embedding Lorca’s poetry in the field of literary production in China, Dai privileged a particular set of possibilities over the others, both literary and ideological at the same time. This kind of behaviour in Dai can be interpreted in terms of transculturation and observed in various textual domains, involving formal literary elements, discourses and worldviews. Furthermore, Dai’s project of translating Lorca’s poetry, which expanded over a three-decade period, allows establishing striking connections among literary journals and groups at various temporal and spatial locations, each of them associated with different and often competing views on translation, literature and politics. In sum, Dai’s translation project of Lorca played a pivotal role in establishing and consolidating Dai’s position in the literary scene to the extent that his status as a literary figure was more determined by his translation work than by his own poetic writing. Dai’s translation of Lorca involved not only transculturating a specific text-type, the romance, but also a particular view on the role of literature in society that, unexpectedly, positioned him as an author opportunistically committed to the Communist cause. This investigation contributes new evidence that helps to question some long-standing assumptions both in studies on Dai and in reflections on the role of translation in Chinese literature. In addition, it allows arguing for a study of such a role at large without the need to subsume translation to any other sort of practice.

En este estudio se analiza la función y uso de elementos o fenómenos naturales en las metáforas de la novela El coronel no tiene quien le escriba. Tomamos como punto de partida teorético la obra de Lakoff y Johnsson (1980) Metáforas de la vida cotidiana. Así mismo analizamos conceptos como la metáfora animal y semejanza. Para el análisis se usa el método de la hermenéutica donde se hace una interpretación analítica de algunas metáforas textuales y otras conceptuales encontradas en la obra. Como resultado se destacan dos funciones principales del uso de elementos de la naturaleza: expresión y sentido de sentimientos abstractos y semejanza. Se concluye este trabajo expresando las dificultades de esta investigación y proponiendo algunas ideas para una futura investigación en el tema.