The main purpose of this doctoral thesis is the delimitation of the main aesthetic postulates of the sound discourse of composer Voro García, as well as the realization of an analytical approach to some of his compositions, most of them composed during last decade. Moreover, approach the sound world and artistic conception from his own perspective and reflection. His creative approach in the field of musical composition is based on the interrelation of musical influences of the past and extra musical influences, and getting closer to the organization of different parameters of the sound discourse from compositional activity and practical application of these concepts in some works. The theoretical, conceptual and stylistic development bases mainly starts on the concept of sonorous object of Pierre Schaeffer (without forgetting predecessors like Edgar Varèse), the concept of figures of the music of Salvatore Sciarrino or the Helmut Lachenmann's sonorous typology, essential in the training stage. Furthermore, there are influences of thematic or metaphysical principles from literature, like "De la sombra a la luz" (José Ángel Valente or Miguel Hernández), "Laberintos" (Jorge Luis Borges) or "Las mascaras" (Federico García Lorca). The concept of sonorous object and, principally, the concept of sound figures, as the basis of the aesthetic foundations and strategies in the organization of a sound discourse, will be approached in a broad and detailed way for a better understanding of its application, with a compositional and pedagogical approach, reflected in the creation of the selected compositions. The results evaluation obtained through these compositions will verify the validity of the applied creative approach. / La tesis doctoral que nos ocupa tiene como propósito principal la delimitación de los principales postulados estéticos del discurso sonoro del compositor Voro García, así como la realización de una aproximación analítica a algunas de sus obras, compuestas en su mayor parte en la última década. Acercarse al mundo sonoro y pensamiento del compositor Voro García a través de su obra desde la perspectiva y reflexión del propio creador. Un enfoque creativo propio en el ámbito de la composición musical basado tanto en la interrelación de influencias musicales del pasado, como en otras extramusicales. Acercándose a la organización de los distintos parámetros del discurso sonoro desde la actividad compositiva y de la aplicación práctica de estos conceptos en algunas obras. La fundamentación teórica, conceptual y de desarrollo estilístico parte principalmente del concepto de Objeto sonoro de Pierre Schaeffer (sin olvidar a predecesores como Edgar. Varèse), figuras de la música de Salvatore Sciarrino o la tipología sonora de Helmut Lachenmann que han sido esenciales en la etapa de formación del creador, así como influencias de otras disciplinas artísticas. El concepto de objeto sonoro y principalmente, el de figuras sonoras, como base de los fundamentos estéticos y estrategias en la organización del discurso sonoro, será abordado de manera amplia y detallada para un mayor entendimiento de su aplicación, con un enfoque compositivo y a la vez pedagógico, reflejado en la creación de las obras seleccionadas. La valoración de los resultados obtenidos a través de estas obras verificará la validez del enfoque creativo aplicado. / La tesi doctoral que ens ocupa té com a propòsit principal la delimitació dels principals postulats estètics del discurs sonor del compositor Voro García, així com la realització d'una aproximació analítica a algunes de les seues obres, compostes en la seua major part en l'última dècada. Apropar-se al món sonor i concepció artística del compositor Voro García des de la perspectiva i reflexió del propi creador. Un enfocament creatiu propi en l'àmbit de la composició musical basat tant en la interrelació d'influències musicals del passat, com en altres extramusicals. Acostant-se a l'organització dels distints paràmetres del discurs sonor des de l'activitat compositiva i de l'aplicació pràctica d'aquests conceptes en algunes obres. La fonamentació teòrica, conceptual i de desenvolupament estilístic parteix principalment del concepte d'objecte sonor de Pierre Schaeffer (sense oblidar a predecessors com Edgar Varèse), del concepte de figures de la música de Salvatore Sciarrino o de la tipologia sonora de Helmut Lachenmann, essencials en l'etapa de formació. A banda de les influències de temàtiques o principis metafísics provinents de la literatura, "de la sombra a la luz" (José Ángel Valente o Miguel Hernández), "los laberintos" (Jorge Luis Borges) o "las máscaras" (Federico García Lorca). El concepte d'objecte sonor i principalment, el de figures sonores, com a base dels fonaments estètics i estratègies en l'organització d'un discurs sonor, serà abordat de manera àmplia i detallada per a un major enteniment de la seua aplicació, amb un enfocament compositiu i a la vegada pedagògic, reflectit en la creació de les obres seleccionades. La valoració dels resultats obtinguts mitjançant aquestes obres verificarà la validesa de l'enfocament creatiu aplicat. / García Fernández, S. (2017). Fundamentos estéticos, estrategias en la organización del discurso sonoro y su aplicación, en la obra del compositor Voro Gacía [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90409

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics & Modern European Languages / D. Lit. et Phil. (Spanish)

O objetivo do presente trabalho é estudar o espaço e sua influência no modo de ser de algumas personagens do romance Mau tempo no Canal, de Vitorino Nemésio. Foram selecionadas Margarida Clark Dulmo e João Garcia, personagens centrais da obra. Para isso foram analisadas as diferentes tipologias espaciais no romance, ou seja, espaços abertos, fechados, interiores, exteriores e outros que se tornaram importantes para o desenvolvimento do tema proposto. / This master dissertation investigates space and its influence in the two main characters of the Vitorino Nemesios novel, Stormy Isles: An Azorian Tale, Margarida Clark Dulmo and João Garcia. In order to achieve its aim, different novel space typologies were analyzed, such as closed and open spaces as well as interiors and exteriors and many other important aspects to the development of the chosen theme.

O objetivo do presente trabalho é estudar o espaço e sua influência no modo de ser de algumas personagens do romance Mau tempo no Canal, de Vitorino Nemésio. Foram selecionadas Margarida Clark Dulmo e João Garcia, personagens centrais da obra. Para isso foram analisadas as diferentes tipologias espaciais no romance, ou seja, espaços abertos, fechados, interiores, exteriores e outros que se tornaram importantes para o desenvolvimento do tema proposto. / This master dissertation investigates space and its influence in the two main characters of the Vitorino Nemesios novel, Stormy Isles: An Azorian Tale, Margarida Clark Dulmo and João Garcia. In order to achieve its aim, different novel space typologies were analyzed, such as closed and open spaces as well as interiors and exteriors and many other important aspects to the development of the chosen theme.

Denna uppsats undersöker hur samma historiska händelse kan ha olika betydelser i film. Idag är människor mer benägna att se en film om en historisk händelse än att läsa en historiebok, och detta innebär att vi måste lära oss att förstå de konventioner som används för att placera historia på film. Historiefilmen kan sägas besitta en palimpsestisk historiskt medvetenhet där lager av fakta och myt smälter samman, hellre än att skiljas åt. Men för att en historisk händelse ska passa in i filmens tidsram måste den bearbetas och detta resulterar i att vissa människor, händelser och rörelser prioriteras, medan andra utesluts. Därför undersöker denna uppsats vad som lagts till / uteslutits och effekterna på sammanhanget och trovärdighet, hur filmen hävdar sin autenticitet, och hur upphovsmannen påverkar trovärdigheten. Analysresultaten av två filmer om den kubanska revolutionen, visar att beroende på vilken del av den historisk händelsen som skildras, skapar filmerna helt olika berättelser med olika budskap. Medan filmen Che-Argentinaren (2008) fungerar som en hyllning av gerillanledaren Che Guevara som Kubas frälsare, visar en vänsterideologi och uttrycker USA förakt, skildrar däremot den andra filmen The Lost City (2005) revolutionens baksida. Den visar en högerideologi, familjevärderingar och USA som frihetens och drömmarnas land. Båda filmerna använder sig av liknande stilistiska strategier för att uppnå illusionen av autenticitet, och filmernas upphovsmän påverkar filmernas trovärdighet i olika grad. Vad jag i uppsatsen till sist menar är att historiefilmen inte bör tas som sanning, utan har en viktig roll som intresseväckare, som förhoppningsvis leder till att åskådaren blir intresserad av att söka sig mer kunskap. / This paper examines how the same historical event can have different meanings in films. Today people are more likely to watch a film about a historical event than to read a history book, and this means that we must learn and understand the conventions used to place history on film. The history film can be said to possess a palimpsetic historical consciousness in which layers of fact and myth come together rather than be separated. But for a historical event to fit within the film's time frame, it must be processed and this results in that certain people, events and movements are given priority, while others are excluded. Therefore, this paper studies what has been added/excluded and the effects on the context and credibility,how the film claims its authenticity, and how the author/filmmakers affects the credibility. The results of the analysis of two films about the Cuban revolution, shows that depending on which part of the historical event depicted, the films create entirely different stories with very different message. While the film Che-Part One (2008) serves as a celebration of the guerrilla fighter Che Guevara as Cuba's savior, according to a leftist ideology and the film is expressing U.S. disdain, the other film The Lost City (2005) however, portrays the revolutions backside, it shows a right-wing ideology, family values and the U.S. as the land of freedom and dreams. Both films use similar stylistic strategies to achieve illusion of authenticity, and the films' creators affect the films credibility in different amounts. What I finally conclude, is that the history film should not be considered as truth, but serve to arouse interest, which will hopefully lead the spectator to seek more knowledge about the historical event.

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics and Modern European Languages / D. Lit. et Phil. (Spanish)

This thesis interrogates García Márquez’s representations of sexualities in the following selected novels: Chronicle of a Death Foretold (1981); The Autumn of the Patriarch (1975); One Hundred Years of Solitude (1967); The Sad and Incredible Tale of Innocent Erendira and her Heartless Grandmother (1972); and Memories of My Melancholy Whores (2004). It is argued here that García Márquez’s employment of the sexuality motif enables him to delve into many worldwide current concerns such as the irrelevance of some socio-cultural sexual practices; commercial sexual exploitation of children; the different manifestations of prostitution; and female powerlessness under autocratic rule. Earlier literary critics have tended to narrowly interpret García Márquez’s employment of the sexuality motif as just a metaphor for colonial exploitation of the colonised. The study also explores the writer’s artistic role and concludes that García Márquez speaks against commercial sexual exploitation of children as he concurrently speaks on behalf of children so exploited. Similarly, the writer speaks on behalf of prostituted womanhood by showing how prostitutional gains do not seem to cascade down to the prostitutes themselves. García Márquez also invests female sexual passivity as a coping mechanism against a dictator’s limitless power over the life and death of his citizens. However, the writer also constructs female agency that grows from the rejection of an initial victimhood to develop into an extremely flawed and corrupt flesh trade that co-opts and indentures children into sex work with impunity. Thus the study breaks new ground to show that García Márquez’s representations of different sexualities are not merely soft porn masquerading as art. His is a voice added to the worldwide concerns over commercial sexual exploitation of children in the main and also the recovery of a self-reliant female self-hood that was previously inextricably bound to male sexual norms. Quite clearly, García Márquez demonstrates that female prostitution is driven by a lack of social safety nets, a lack of other economically viable options and also a distinct lack of educational opportunities for female economic independence, hence the flawed female agency. / English Studies / D. Litt. et Phil. (English)

Made available in DSpace on 2016-04-28T19:59:05Z (GMT). No. of bitstreams: 1 Moises Raimundo de Souza.pdf: 333379 bytes, checksum: c487cb3ea1412e0f4bb5d33c6ec30ebe (MD5) Previous issue date: 2007-10-23 / Secretaria da Educação do Estado de São Paulo / This research aims to study the female character from the famous Brazilian writer Machado de Assis and his point of view at love relationship at the end of XIX century. It is from the analyses of two work of Machado de Assis, first period they are called Helena e Iaiá Garcia. We will try to analyze in addition to the main characters mentioned also the character Stela, from Iaiá Garcia. It will be like watching the characters not less important to the plot with their reaction and point of views related to the marriage and the women situation at this time. We tend to discuss from the behavior of these characters the treatment given by Machado de Assis (the writer) to the woman in the romantic and realist periods in the Brazilian literature. We want to analyze from this writer, Machado de Assis because he took part in these two periods. Thus searching for mutations happened to the aesthetic in the work of Machado de Assis, trying to discover him. Yet how he got so famous from simple romantic romances at this time, he wrote famous best sellers called Mémoria Postumas de Brás Cubas and Dom Casmurro. We will search for the characteristic and the signs of these changes which could have started with Iaiá Garcia. For this we will compare Iaiá Garcia with Helena the ones that we consider a work predominantly romantic. Thus we will try to catch these modifications and take the transition moment. We consider the following characteristics of Machado de Assis as typical from second period: The dissimulation of his characters, the ambiguity, the irony, the blue moody, the pessimism, the boredom and the incredulity between life and human being. We will search these indicators the ones that by chance can be found in Iaiá Garcia. We will also try to confirm the predominance of Helena romantic characteristics to affirm that Iaiá Garcia can already be considered a romance with realist tendencies. It is next to the second period of Machado de Assis while Helena still being a typical romantic romance / Esta pesquisa tem por objetivo estudar a personagem feminina machadiana e sua postura em face à relação amorosa, no final do século XIX, partindo da análise de duas obras da primeira fase de Machado de Assis, Helena e Iaiá Garcia. Procuraremos analisar, além das protagonistas dos romances citados, também a personagem Estela, de Iaiá Garcia, assim como, observar o comportamento de outras personagens não menos importantes à trama, com suas reações e posturas em relação ao casamento e a situação da mulher naquela época. Nossa intenção é abordar por meio das atitudes dessas personagens, o tratamento dado pelo narrador à mulher nas épocas romântica e realista da literatura brasileira, partindo da análise de um escritor que fez parte desses dois períodos, Machado de Assis. Desse modo, buscando as mutações ocorridas na estética machadiana, procurando descobrir como ele, de um escritor de romances românticos, tão comum naquela época, chegou ao Machado de Assis de Memórias Póstumas de Brás Cubas e Dom Casmurro. Buscaremos as características, os sinais dessa mudança, que já pode ter começado em Iaiá Garcia. Para isso compararemos Iaiá Garcia com Helena, que consideramos uma obra predominantemente romântica, para assim, tentarmos flagrar essas modificações e captarmos o momento da transição. Consideramos as seguintes características de Machado de Assis, como típicas da segunda fase: a dissimulação de suas personagens, a ambigüidade, a ironia, o humor negro, o pessimismo, o tédio e a descrença em relação à vida e ao ser humano e ainda outras que não poderão ser citadas devido a objetividade desse resumo. Portanto, rastrearemos esses indicadores, que por ventura possam surgir em Iaiá Garcia, e procuraremos confirmar a predominância das características românticas de Helena, para podermos afirmar que Iaiá Garcia já pode ser considerado um romance com fortes tendências realistas, bem próximas das obras da segunda fase machadiana, enquanto Helena, continua a ser um típico romance romântico

Esta dissertação, resultado do trabalho de investigação e escritura para a conclusão do Mestrado em Literatura Comparada, explora o tema tradução nos contos de Aldyr Garcia Schlee que se apresentam na obra de duas versões: em espanhol, El dia en que el Papa fue a Melo; e, em português, O dia em que o Papa foi a Melo. Confrontando e comparando os contos em ambas as línguas, procura-se um resíduo de regularidade através dos índices lexicais apontados como indício de escolha tradutória. Partindo desse material, faz-se uma análise do que está implicado nessas escolhas e qual sua repercussão para o significado e forma dos contos. Uma vez materializados esses dados e essas hipóteses sobre a tradução e a criação literária, busca-se dar sentido mais amplo ao resultado dessas tarefas a que se dispõe o autor-tradutor através do signo da representação. / This dissertation, result of investigation work and writing to the conclusion of the Master’s Degree in Compared Literature, explores the theme of translation in Aldyr Garcia Schlee’s short stories presented in his work in two versions: in Spanish, El día en que el Papa fue a Melo; and, in Portuguese, O dia em que o Papa foi a Melo (my translation suggested for the title of the book: The day that the Pope went to Melo). Confronting and comparing the short stories in both languages, I sought to find residues from the regularity of lexical index pointed as a possible translation choice. Starting from this material, I made an analysis of what is implied in those translation choices and its consequence to the meaning and form of the short stories. Once this data and the hypothesis about translation and literary creation involved are materialized, I sought to give a wider sense to the result of these tasks to which the author-translator put himself in dispose through the sign of representation.

This dissertation analyses the violence of patriarchal culture as it is staged in three twentieth century texts: the Colombian writer Gabriel Garcia Marquez's Chronicle of a Death Foretold (1981), the South African novelist Mark Behr's The Smell of Apples (1993) and the American film Night of the Hunter (1954) directed by Charles Laughton. Each of these works focuses on the induction of the boy child into culture and the trauma attendant on this process of accession. The thesis is that if culture is violent then it must follow that damage is done to the developing subject in the process of its construction by the cultural forces that shape masculinity. The theoretical grounding of the analysis is derived from two main sources: Jacques Derrida's account of the violence of culture in Of Grammatology (1976) and the analysis of patriarchy and the Oedipal development of the boy child into manhood found in the work of Freud and Lacan. Derrida is used for his thinking on the inherently violent nature of culture and the way in which cultural discourse is structured through binary dualisms. The three chosen works all critique and dismantle binarist thinking as a move towards imagining a less destructive discursive order. The Oedipal narrative, as a myth which describes and explains the forces shaping the male child in the process of acculturation, exemplifies and illustrates cultural violence: As expounded by Freud and Lacan, the Oedipal myth is one which underpins all three of the chosen works. Derrida, Freud and Lacan have been very usefully mediated by several cultural critics and therefore extensive use is made of commentaries by Kaja Silverman, Frank Krutnik and Madan Sarup. Slavoj Zizek's interpretations of Lacan have also yielded much that is interesting about the nature of the Law of the Father and consequently reference is made to his ideas, principally in Chapter Four.This dissertation analyses the violence of patriarchal culture as it is staged in three twentieth century texts: the Colombian writer Gabriel Garcia Marquez's Chronicle of a Death Foretold (1981), the South African novelist Mark Behr's The Smell of Apples (1993) and the American film Night of the Hunter (1954) directed by Charles Laughton. Each of these works focuses on the induction of the boy child into culture and the trauma attendant on this process of accession. The thesis is that if culture is violent then it must follow that damage is done to the developing subject in the process of its construction by the cultural forces that shape masculinity. The theoretical grounding of the analysis is derived from two main sources: Jacques Derrida's account of the violence of culture in Of Grammatology (1976) and the analysis of patriarchy and the Oedipal development of the boy child into manhood found in the work of Freud and Lacan. Derrida is used for his thinking on the inherently violent nature of culture and the way in which cultural discourse is structured through binary dualisms. The three chosen works all critique and dismantle binarist thinking as a move towards imagining a less destructive discursive order. The Oedipal narrative, as a myth which describes and explains the forces shaping the male child in the process of acculturation, exemplifies and illustrates cultural violence: As expounded by Freud and Lacan, the Oedipal myth is one which underpins all three of the chosen works. Derrida, Freud and Lacan have been very usefully mediated by several cultural critics and therefore extensive use is made of commentaries by Kaja Silverman, Frank Krutnik and Madan Sarup. Slavoj Zizek's interpretations of Lacan have also yielded much that is interesting about the nature of the Law of the Father and consequently reference is made to his ideas, principally in Chapter Four. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.