Cet ouvrage est consacré aux Sonetos espirituales (1917) de Juan Ramón Jiménez (Moguer 1881, Porto Rio 1958). Ce recueil, trop souvent délaissé, se révèle essentiel en ce qu'il occupe une place déterminante dans le cheminement poétique de l'écrivain. À la charnière de ses années de jeunesse et de la pleine maturité de son art, c'est la voix jiménienne qui prend corps dans ce recueil de cinquante-cinq sonnets. Le poète présentant son œuvre de façon récurrente comme "una sucesión", c'est sous le signe de la métamorphose toute-puissante et de la spiritualité, terme qualifiant la totalité de ses compositions, que nous avons choisi de placer notre étude. Dans un premier chapitre, nous nous intéressons, à travers ses écrits, à l'espace et au temps du poète, à la dynamique que crée la tension qui se fait jour entre ses désirs les plus ardents et ses peurs les plus profondes. Nous abordons ensuite les éléments (formels, rythmiques, graphiques, structurels, syntaxiques) qui, véritablement constituent le corps poétique de Sonetos espiriturales en insistant sur la signifiance de leur agencement. Enfin, nous montrons que la métamorphose est, pour le poète andalou, un véritable exercice spirituel dans le langage poétique qui contribue à faire de ce recueil un miroir de papier dans lequel, grâce à "la mémoire de l'oubli" et à la conscience, le moi vient se refléter et identifier une image de dieu.

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Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-03-17Bitstream added on 2014-06-13T19:22:29Z : No. of bitstreams: 1 franzoni_ma_dr_assis.pdf: 649296 bytes, checksum: f6fa76a9cda2589ae1acece2c2f21fa9 (MD5) / Diario de un poeta reciencasado (1917) é o livro que dá entrada à segunda época da poesia de Juan Ramón Jiménez. Ele é um elo entre as duas épocas do poeta: estabelece a unidade, a continuidade, mas também as mutações. Nada é tão importante no Diario quanto seu profundo e misterioso simbolismo. Um aspecto a que Juan Ramón Jiménez se mantém fiel desde o início de sua poesia e que se reforça é manter com a natureza e com a mulher uma ambígua relação de profunda e recíproca atração e aversão. Nesse processo o poeta acaba por colocar-se à distância, olhando e corrigindo. Ao isolar-se da natureza e da mulher, ao observar de longe, ao enquadrá-las em cenas, mantendo a atitude de um voyeur que tudo vê - mas corrige - o poeta constrói sua arte. O espaço e o tempo passam a ser mostrados em dimensões diferentes. São essas novas relações do eu poético com a natureza, com a mulher, com o espaço, com o tempo e com sua alma que fazem de Diario de un poeta reciencasado uma obra metafísica. Sob esse enfoque analisamos seus poemas nos caminhos da terra, do mar e do céu, enfatizando que esses caminhos marcam a entrada de Juan Ramón na segunda e última época de sua poesia e concorrem para a construção do que foi o signo da escola juanramoniana: a poesia em movimento. / Diario de un poeta reciencasado is the book that starts the second season of Juan Ramón Jiménez poetry. Itþs a link between two poet seasons, and establish the unity, the literary composition continuity, but also the mutations. Nothing is more important in the Diary than the deep and misterius simbolism. One aspect that Juan Ramón Jiménez maintain fidelity since the begin of his literary composition and reinforce in Diario is to maitain with the nature and with the woman one deep, reciprocal atraction and aversion ambiguous relation. In this process he puts himself faraway, looking and correcting. Isolating himself from nature and the woman, looking them from farway, framing them in scenes and with them maintain the attitude of one voyeur that see everything - but corrects - the poet build his art. The space and time becomes to be showed in a strange dimensions out of reality. This is the new relations from himself poetic with the nature, with the woman, with the space, with the time and with him soul makes the Diario de un poeta reciencasado one literary composition metaphysics. Under this view we analyse his poems in earth, sea and sky ways, emphasizing that this ways mark the Juan Ramón entrance in the second and last season os his poetry and concour for the construction that was the juanramoniana school sign: the poetry in movement.

The purpose of this study is to determine how stand-up comedians outside the U.S. have succeeded to adapt the art of stand-up comedy to their own regional contexts and to define the extent of the influence of American comedians on comedians from other countries, discussing the concept of Americanisation and globalised media. Two stand-up comedy presentations, one by American comedian Bill Hicks, Revelations; and one by Swedish comedian Magnus Betnér, Inget är heligt, were analysed using comparative content analysis in order to determine similarities and differences in the subjects addressed during the presentations along with similarities and differences in the style of performance. In-depth interviews were conducted as part of this research with professional comedians from Costa Rica: actor and stand-up comedian Hernán Jiménez, and members of the comedy group “La Media Docena” Édgar Murillo and Erik Hernández.

The main objective of this work, was to elaborate on the topic of Isabella I. of Castile. The main focus was an emphasis on historical facts, of which I derived from Czech and foreign literatures and historical compendiums. The first part describes the political and economic situation in the Ibe c y I b ' coronation. Further, I look at her biography with a focus on details that could testify about her character and personality. This section provides the basis and support for the second part of this thesis. Besides the historical books, I explore also studies in the field of psychology. In the second part I deal with the motives which led I b g g z d I' interested in her tendency to her fanatical behavior. The theme of the Spanish inquisition in this work occupies a marginal position. The whole work is written with the need to view Isabel from the most different ways. This is supported by typologies of her personality and her tendency to achieve her goals from her position. In conclusion, I summarize the thesis defense, which I had already set out in the introduction of this thesis. I wanted to defend this theory: "Isabela as the only one in the history of her family, was able to effectively complete the Reconquista. What helped her was - religious fanaticism, coupled with unusually strong internal...

El debate sobre la violencia y las víctimas ha cobrado mayor protagonismo en los últimos años, así como la producción cultural que se hace alrededor de esta categoría. Pero esta centralidad de la víctima se ha vuelto problemática, como ya lo han señalado otros estudios, en cuanto encasilla a los sujetos en roles pasivos o los inserta como meros objetos. Es por esta razón que me ha interesado analizar la novela La sangre de la aurora, pues si bien mantiene a la víctima como una categoría central y remanente de la violencia, su visión va más allá de ella y no permite limitarla a un estereotipo determinado. Considero que esta tesis rescata esos elementos que la novela de Salazar Jiménez visibiliza sobre la violencia y los tipos de violencia que sufren las víctimas y cómo se diferencia de otras narrativas al representarla, dándole una nueva configuración al término. Asimismo con la ayuda de la teoría psiconalítica determino que la novela ahonda en el pasado traumático de las víctimas y construye una noción de trauma que se ve reflejado en la forma narrativa fragmentada y caótica. Todo ello, dentro de una perspectiva de género que nos revela una potencialidad de lo femenino. De este modo, la novela va más allá de las víctimas al devolverles a éstas su condición de sujetos políticos, otorgándoles una voz y agencia propias, recogiendo todas sus complejidades y experiencias y, además, problematizando el término al incluir al perpetrador en dicha categoría. / Tesis

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El debate sobre la violencia y las víctimas ha cobrado mayor protagonismo en los últimos años, así como la producción cultural que se hace alrededor de esta categoría. Pero esta centralidad de la víctima se ha vuelto problemática, como ya lo han señalado otros estudios, en cuanto encasilla a los sujetos en roles pasivos o los inserta como meros objetos. Es por esta razón que me ha interesado analizar la novela La sangre de la aurora, pues si bien mantiene a la víctima como una categoría central y remanente de la violencia, su visión va más allá de ella y no permite limitarla a un estereotipo determinado. Considero que esta tesis rescata esos elementos que la novela de Salazar Jiménez visibiliza sobre la violencia y los tipos de violencia que sufren las víctimas y cómo se diferencia de otras narrativas al representarla, dándole una nueva configuración al término. Asimismo con la ayuda de la teoría psiconalítica determino que la novela ahonda en el pasado traumático de las víctimas y construye una noción de trauma que se ve reflejado en la forma narrativa fragmentada y caótica. Todo ello, dentro de una perspectiva de género que nos revela una potencialidad de lo femenino. De este modo, la novela va más allá de las víctimas al devolverles a éstas su condición de sujetos políticos, otorgándoles una voz y agencia propias, recogiendo todas sus complejidades y experiencias y, además, problematizando el término al incluir al perpetrador en dicha categoría. / Tesis

Empathy and cultural understanding of groups that are marginalized due to religious, ethnic or sexual background is essential for peace in schools, neighborhoods, and society at large. Literacy classrooms can be a safe environment in which students can develop their own understandings and empathies. Although worthwhile, much of the research lacks details of student reactions to the people and cultures read about in historical narratives, as well as a focus on pedagogical practices that could give students a deep understanding of the culture. This study analyzed the empathetic responses of 13 sixth grade students to themes presented in a Mexican American narrative text, The Circuit. The purpose of this study was to understand the nature of student empathy and how empathetic responses reflect a rich historical and visual context. Key data sources of this interpretive study included large group discussions, small group discussions, written journal responses, and interviews. The results of this study indicated that students' empathetic responses are varied and complex and seem to reflect familiarity with topics in the text and personal background. Minimizing the cognitive demand of cultural content seemed to be a key pedagogical factor in helping students reach deeper levels of empathy. Suggestions are given for educators looking to teach empathy through cultural texts. Possible areas of research are recommended.