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L'objet de cette thèse se situe à la croisée de la linguistique et de la littérature puisqu'il porte sur le haiku dans la littérature hispanique, qu'il s'agit de caractériser en tant que forme poétique dans le contexte littéraire hispanophone et comme « prototype » du bref du point de vue de ses modalités discursives et énonciatives. Traditionnellement associé à la culture japonaise dont il est issu, le haiku se pose comme une des formes poétiques les plus brèves au monde. Avec ses dix-sept syllabes en tout, il oblige à la plus grande rigueur dans le choix des mots, une expression concise et une « condensation » du sens qui en font un poème dense, qu'il faut souvent méditer après sa lecture. Ni le vers ni la rime ne font partie de contraintes métriques du haiku japonais. Son esthétique, influencée par le bouddhisme zen, se veut contemplative, portée par la subjectivité de la voix poétique qui apparaît comme « témoin du monde », ne faisant que retranscrire des faits parfois « insignifiants », souvent triviaux, qui font pourtant le quotidien de tout homme. Dans la poésie occidentale, le haiku n'a pas d'équivalent, tant du fait de sa brièveté que du fait de son esthétique « puriste ». Or, force est de constater qu'il est fortement représenté dans la littérature hispanique contemporaine. Ni l'orientalisme du début du XXe siècle ni les remises en question poétiques débutées par les Modernistes et poursuivie par les Avant-Gardes ne suffisent à expliquer cet engouement des poètes de langue espagnole pour ce poème japonais. En effet, la littérature hispanique s'empare de ce phénomène littéraire dès la publication des premières traductions des anthologies poétiques japonaises dans les années 1910. Il n'y a pourtant aucun lien linguistique entre le haiku et les poètes de langue espagnole. Néanmoins, les premiers recueils de haikus datent également des années 1910, signe qu'il n'y guère de latence entre l'apparition du haiku et son adaptation en espagnol. C’est en partant de ces constats que nous avons tenté par une approche mutli-focale fondée notamment sur l'analyse littérale, de retracer l’itinéraire littéraire et linguistique de cette forme poétique, depuis les rouleaux en papier de riz japonais jusqu'au haiku dit « hispanique ». / The purpose of this thesis is set at a crossroads between linguistics and literature since it is about the haiku in Hispanic literature, which we aim to characterize as a poetic form in the Spanish-speaking literary context and as a "prototype" of the brief from the perspective of its discursive and enunciative terms. Traditionally associated with Japanese culture, in which it takes root, the haiku is one of the shortest poetic forms in the world. With its seventeen syllables in all, it compels to the greatest thoroughness in the choice of words, a concise expression and a "condensation" of the meaning that make it a succint poem, often to be pondered after reading. Neither verse nor rhyme are part of the metrical constraints of the Japanese haiku. Its aesthetics, influenced by Zen Buddhism, aims to be contemplative, supported by the subjectivity of the poetic voice, which appears as a "witness of the world", only transposing facts that are sometimes "unimportant", often trivial, yet nonetheless a part of any person's daily life. In Western poetry, the haiku has no equivalent, owing as much to its brevity as to its "puristic" aesthetics. However, it should be noted that it is strongly represented in contemporary Hispanic literature. Neither the Orientalism from the beginning of the XXth century nor the poetic re-assessments started by the Modernists and carried on by the Avant-Garde movements are enough to explain this enthusiasm of the Spanish-speaking poets for this Japanese poem. Indeed, Hispanic literature took hold of this literary phenomenon as soon as the first translations of Japanese anthologies were published, in the 1910s. There is, however, no linguistic connection between the haiku and Spanish-speaking poets. Nevertheless, the first collections of haikus also date back to the 1910s, which indicates that there was no latency between the appearance of the haiku and its adaptation into Spanish. Starting from these observations, we attempted, through a multi-focal approach notably based on literal analysis, to retrace this poetic form's literary and linguistic path, from the Japanese rice paper rolls to the so-called "Hispanic" haiku.

Del folletin al reality: una aproximacion teorica a modelos de lectura y consumo sobre la ficcion y la realidad (From the Serialized Story to the Reality Show: a Theoretical Approach to Models of Reading about Fiction and Reality) discusses and combines three hypotheses. In the introduction, this research intends to expand Reader Response theories proposing that the reading experience occurs in a concrete frame of time and space. This has been called the 'spatial condition of reading acts.' The premise is that literary artifacts manipulate the reader, not only by their content, but also through their form.Chapter I examines how reality and fiction are both constructed as cultural discourses, and reviews how fictitious texts negate their invented nature. Simultaneously, it evaluates the formal structure of an audiovisual narrative, and identify another level of manipulation over a spectator, in this case, through film montage. Chapter II studies a third facet of literary domination exerted by popular culture artifacts; this is the production and distribution of the serialized novel. Additionally, its presents the second hypothesis of this research: the consumption of fiction works as a synecdoche regarding the consumption of exchange goods in a consumerist society.Chapter III, then are the previous chapter is more focused on content. It reviews a necessity of fiction in contemporary society to explain daily life experiences, motivating a cultural sense that reality pretends to imitate fantasy. Therefore serialized stories become models for interpreting real life. Finally, Chapter IV states the third hypothesis of this investigation: serialized stories and reality shows share a similar structure of distribution and content to present its message. Consequently, the tenuous boundary between reality and fiction becomes a becomes an experience manipulated by mass media which turns out, turning out serialized stories as valid referent for a hyper-media and hyper-consumer society.In sum, this dissertation examines Hispanic culture from the most abstract of the literary phenomena, to the consumption of hyper-real symbols of contemporary culture. The theoretical and practical contribution of this perspective is to extend literary, to media studies; reviewing economical and popular phenomena from discourse perspectives.

Bernardino de Ávila Girón was a Spanish merchant and notary who lived in Japan between 1594 and 1619. He traveled from Spain to Manila around 1583, took up residence in Nagasaki and was living there when six missionaries and twenty Japanese were crucified on February 5, 1597. He witnessed the persecution of Christians after the edict of expulsion of European missionaries on February 14, 1614. Based on these experiences and his observation of Japanese customs, he wrote the Relación del reyno del Nippon al que llaman corruptamente Jappon, the only secular account written in Spanish about Japan and the failed expansion of Christendom in the sixteenth and seventeenth centuries. The ties linking seventeenth-century Spain and the Americas in literature have been widely explored. Literary critics have studied the relationship between Spain and Asia in the context of medieval travel writing and nineteenth- and twentieth-century Orientalism. The relations between the Spanish empire and the empires of Asia, however, have been studied mostly by historians. My dissertation examines Bernardino de Ávila’s work not as a historical account, but as a narrative composed by a layman who would not have been considered in the seventeenth century either a historian or a reliable chronicler of martyrdoms. However, he provides a valuable and memorable eyewitness account that defies categorization. I use published sources and archival documentation to establish a more complete biography of Bernardino de Ávila, study the textual transmission of the Relación, a work that exists in multiple copies, place the Relación and Bernardino de Ávila’s life in historical context, and focus on its relation to other historical and literary writing of the period, including writing on the Japanese martyrs by the Jesuit Pedro Morejón and the playwright Lope de Vega, who were writing for very different readerships. I define the genre of the Relación and examine ideas of authority in the writing of history and hagiography and conclude by tracing the history of this work from the seventeenth century to our own day, and offer an explanation of why it has been excluded from the literary and historical canon.

My purpose in writing this dissertation is to re-evaluate the works of three influential Spanish-Caribbean authors who seem to be remembered more as exceptional historical characters rather than for their literature itself. Although often considered to be important contributors to the Spanish-Caribbean literary canon, these writers have also suffered a measure of marginalization as scholars have relegated them to the status of discursive subjects rather than evaluate them as authorial agents. As a consequence, the majority of their works have not been fully recognized as important factors in nineteenth, twentieth, and twenty first century literary production. I show how in their writings – many of which have been misunderstood, under-evaluated, and/or forgotten altogether – these writers narrated their own precarious situations and lifted their voice in protest against slavery, racism and economic oppression at a time when the dominant discourses and heavy-handed controls of the Spanish colonial government strictly forbid them to do so. These authors are Juan Francisco Manzano, Gabriel de la Concepción Valdés (Plácido) and Eleuterio Derkes. Because these authors lived in Cuba (Manzano and Plácido) and Puerto Rico (Derkes) as colonial subjects underneath the oppressive structures of their respective plantation and hacienda economies based on sugar production and slave labor, they experienced difficult colonial conditions and as such are able to narrate this life through a unique perspective that other writers associated with the dominant discourses of the time could not. While these brands of hegemony were indeed forced upon them as writers and artists, it did not stop them from narrating and communicating their unique Spanish Caribbean perspective. I show how these authors, as marginalized figures of nineteenth century plantation society, engineered their own discourses around these hegemonic institutions – writing between the lines of hegemony and concurrent with it at the same time – in order to create an alternative image of nineteenth century Spanish Caribbean society that requires further critical consideration and perspective. / text

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-03-14Bitstream added on 2014-06-13T20:15:59Z : No. of bitstreams: 1 fleck_gf_me_assis.pdf: 1093747 bytes, checksum: a5a7d62c2289963ea9bc4091da8c88e2 (MD5) / A partir da análise de uma série de romances históricos hispânicos, e apoiando-nos no pressuposto de que história e literatura sempre mantiveram entre si um diálogo intenso, buscamos, aqui, focalizar alguns recursos e procedimentos inerentes à ficção de caráter histórico. Para tanto, lançamo-nos ao desafio de analisar, dentro do subgênero romance histórico contemporâneo, mais especificamente, as obras El último crimen de Colón (2001), do argentino Marcelo Leonardo Levinas, e Colón a los ojos de Beatriz (2000), do espanhol Pedro Piqueras, obras que contemplam a figura de Cristóvão Colombo sob o discurso poético. A análise destas obras destaca procedimentos formais que constituem um discurso metaficcional: a paródia, a carnavalização, a intertextualidade, a heteroglossia, a hiper-correção de dados históricos, entre outros, que contribuem para a formação de novas imagens do descobridor da América. Num jogo de construção e desconstrução de imagens, estes romances questionam as verdades históricas, colocando em xeque inclusive suas fontes de referências, as quais são constantemente reescritas. Buscamos estabelecer, pois, as diferenças entre o discurso histórico assertivo e o discurso poético sob o qual estas obras e as imagens de Colombo nelas contidas foram gestadas. Revela-se, pelas relações transtextuais, uma poética da hipertextualidade referente ao tema do descobrimento da América. / Starting from the analysis of a series of Hispanic historical novels and working on the presumption that History and Literature have always been living under a friendly relationship and keeping an intensive dialogue, we intent to point out in this work some of the resources and proceedings which are inherent to the historiographic fiction. In order to do so we set up ourselves the challenge to analyze more specifically under the concepts of the contemporary historical novels, the books El último crimen de Colón (200l), by the Argentinean Marcelo Leonardo Levinas and Colón a los ojos de Beatriz (2000), by the Spanish Pedro Piqueras. Both novels present as character the Admiral Christopher Columbus who is recreated in them through a poetic discourse. The analysis of the mentioned novels intends to point out some of the formal aspects used in their elaboration which turn out as being a historiographic metafiction discourse such as parody, carnivalization, and intertextuality, between others. Those procedures contribute to create new images of the discoverer of America. Using complex procedures of building up images of the discoverer these novels establish a process of questioning the historical truths concerning the man and his acts, calling into question even the historical sources of references which are constantly rewritten. In this way our intention is to establish the differences between the assertions of the historical discourse and the artistic discourse of the poetry under which the novels and the images of the discoverer here analyzed were created. Poetry of hipertextuality is shown to us in relation to the theme of the discovery of America through transtextuality.

Orientador: Heloisa Costa Milton / Banca: Maria Lídia Lichtscheidl Maretti / Banca: Livia de Freitas Reis / Resumo: A partir da análise de uma série de romances históricos hispânicos, e apoiando-nos no pressuposto de que história e literatura sempre mantiveram entre si um diálogo intenso, buscamos, aqui, focalizar alguns recursos e procedimentos inerentes à ficção de caráter histórico. Para tanto, lançamo-nos ao desafio de analisar, dentro do subgênero romance histórico contemporâneo, mais especificamente, as obras El último crimen de Colón (2001), do argentino Marcelo Leonardo Levinas, e Colón a los ojos de Beatriz (2000), do espanhol Pedro Piqueras, obras que contemplam a figura de Cristóvão Colombo sob o discurso poético. A análise destas obras destaca procedimentos formais que constituem um discurso metaficcional: a paródia, a carnavalização, a intertextualidade, a heteroglossia, a hiper-correção de dados históricos, entre outros, que contribuem para a formação de novas imagens do descobridor da América. Num jogo de construção e desconstrução de imagens, estes romances questionam as verdades históricas, colocando em xeque inclusive suas fontes de referências, as quais são constantemente reescritas. Buscamos estabelecer, pois, as diferenças entre o discurso histórico assertivo e o discurso poético sob o qual estas obras e as imagens de Colombo nelas contidas foram gestadas. Revela-se, pelas relações transtextuais, uma poética da hipertextualidade referente ao tema do descobrimento da América. / Abstract: Starting from the analysis of a series of Hispanic historical novels and working on the presumption that History and Literature have always been living under a friendly relationship and keeping an intensive dialogue, we intent to point out in this work some of the resources and proceedings which are inherent to the historiographic fiction. In order to do so we set up ourselves the challenge to analyze more specifically under the concepts of the contemporary historical novels, the books El último crimen de Colón (200l), by the Argentinean Marcelo Leonardo Levinas and Colón a los ojos de Beatriz (2000), by the Spanish Pedro Piqueras. Both novels present as character the Admiral Christopher Columbus who is recreated in them through a poetic discourse. The analysis of the mentioned novels intends to point out some of the formal aspects used in their elaboration which turn out as being a historiographic metafiction discourse such as parody, carnivalization, and intertextuality, between others. Those procedures contribute to create new images of the discoverer of America. Using complex procedures of building up images of the discoverer these novels establish a process of questioning the historical truths concerning the man and his acts, calling into question even the historical sources of references which are constantly rewritten. In this way our intention is to establish the differences between the assertions of the historical discourse and the artistic discourse of the poetry under which the novels and the images of the discoverer here analyzed were created. Poetry of hipertextuality is shown to us in relation to the theme of the discovery of America through transtextuality. / Mestre

This analysis employs the sociolinguistic framework of status and solidarity (Holmes, 2001) to examine the use of codeswitching on the relational development between the characters in three plays by Cuban-American playwright Dolores Prida. The three plays discussed are Beautiful Señoritas (1978), Coser y cantar (1981) and Botánica (1991). Linguistic scholars recognize the lack of linguistic analysis of literary texts; specifically, codeswitching at present is not fully explored as a linguistic phenomenon in written contexts. Furthermore, Prida's works have never before been appraised using linguistic methodology. Hence, this work aims to add to scholarly research in the fields of codeswitching, discourse analysis, and literary linguistics, using the status and solidarity framework to examine the codeswitching in Dolores Prida's plays. Dolores Prida is a feminist and Hispanic dramatist whose central theme is the search for identity of Hispanic immigrants, specifically women, in the United States today. Due to her ideological stance, it is expected that a strong emphasis on solidarity rather than status and the use of affective rather than referential speech functions are present in the relationships in her plays. Accordingly, the analysis of Botánica reveals that indeed codeswitching between the characters does affect their relational development in maintaining solidarity and intimacy. However, the relationships found in Beautiful Señoritas and Coser y cantar do not offer such conclusions, due to the variable nature of the relationships identified. Further analysis of these and other literary works will more accurately determine benefits of the status and solidarity framework as applied to the codeswitching research.

This analysis employs the sociolinguistic framework of status and solidarity (Holmes, 2001) to examine the use of codeswitching on the relational development between the characters in three plays by Cuban-American playwright Dolores Prida. The three plays discussed are Beautiful Señoritas (1978), Coser y cantar (1981) and Botánica (1991). Linguistic scholars recognize the lack of linguistic analysis of literary texts; specifically, codeswitching at present is not fully explored as a linguistic phenomenon in written contexts. Furthermore, Prida's works have never before been appraised using linguistic methodology. Hence, this work aims to add to scholarly research in the fields of codeswitching, discourse analysis, and literary linguistics, using the status and solidarity framework to examine the codeswitching in Dolores Prida's plays. Dolores Prida is a feminist and Hispanic dramatist whose central theme is the search for identity of Hispanic immigrants, specifically women, in the United States today. Due to her ideological stance, it is expected that a strong emphasis on solidarity rather than status and the use of affective rather than referential speech functions are present in the relationships in her plays. Accordingly, the analysis of Botánica reveals that indeed codeswitching between the characters does affect their relational development in maintaining solidarity and intimacy. However, the relationships found in Beautiful Señoritas and Coser y cantar do not offer such conclusions, due to the variable nature of the relationships identified. Further analysis of these and other literary works will more accurately determine benefits of the status and solidarity framework as applied to the codeswitching research.