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Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Poems in Spanish with English analysis. Typescript. Vita. Includes bibliographical references (leaves 182-185). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Poems in Spanish with English analysis. Typescript. Vita. Includes bibliographical references (leaves 182-185). Also available on the Internet.

The present work explores the presence of Andean textile imagery in the poetry and the visual art of Jorge Eduardo Eielson and Cecilia Vicuña with the goal of illustrating how these woven aesthetics enrich the content of the written word and other artistic media by supplementing them with non-verbal, visual and tactile planes of meaning. Through the discourse of the thread, Eielson and Vicuña generate an alternative means of expression that dialogues with the conventionality of human language, the creation of cultural memory and the connection between intercultural groups. To prove this thesis, I approach the authors’ poetry and visual art based on theoretical and cultural studies regarding the materiality and the visuality of the text and other media in combination with a comparative analysis of the structural and the design properties of Andean and indigenous cloth products, namely the tejido and the khipu. In addition to close readings of poems that illustrate how the presence of the textile augments the meaning of the written text, I also illustrate how Andean weaving aesthetics provide the metaphorical springboard of comparison upon which a critical analysis of their visual art is based. / text

Thesis (M.A.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 112-117).

Thesis (M.A.)--Miami University, Dept. of Spanish and Portuguese, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 54-57).

This study focuses on the works of three authors whose first poetry books appeared in the 1970s, in the context of the dictatorial and authoritarian regimes that began seizing power in Latin America in the 1960s and '70s. At a juncture in which both traditional leftist discourse and the programs of earlier avant-gardes had begun to seem inadequate, younger poets sought to articulate, in the realm of the symbolic, coherent responses to increasingly oppressive and polarized political environments. The works in question are the following: Brazilian Waly Salomão's "Me segura qu'eu vou dar um troço" (Rio de Janeiro, 1972); Juan Luis Martínez's "La nueva novela" (Santiago, Chile, 1977); and, by Mexican conceptual artist Ulises Carrión, the unpublished "Poesías," from 1973, as well as a selection of his poetry-based artists books. These are hyper-referential, process-oriented, polyphonic works. They are not only politically motivated, but, given their understanding of the entwinement of politics and genre, are also decidedly against the ideology bolstering the lettered tradition, lyrical poetry, and self-expressive tendencies. At the core of their critique is a rejection of an economy of meaning in which the author's function, as Foucault puts it, equals "the principle of thrift in the proliferation of meaning." First and foremost, in their goal to burst open the meaning-making process, Salomão, Martínez, and Carrión disembody the utterance and question notions of literary value that set apart literary language from common speech. Relying heavily on appropriation and framing devices, they each posit an alternate model of authorship in which writing and reading are inextricable and, consequently, the work is co-created by the reader. Key among their strategies is that of acousmatics--here understood as the concealment of the source of the utterances in the text--in order to, primarily, create conditions of reception in which the reader can interact with the material on the page directly, without its being mediated by the poem's subject. Salomão, Martínez, and Carrión each achieve the uttering subject's removal from the text through different procedures that are contrasted in the dissertation. Emulating the cacophony of popular culture, Salomão performatively adopts multiple subjectivities in his works, saturating them to the point that no unitary subject can be said to be manifest in them. Martínez, on the other hand, mirrors the cacophony of printed matter. Besides failing to attribute the copious materials he samples in the wide-ranging word/image works comprising "La nueva novela," in presenting them he adopts the depersonalized institutional tone of textbooks, photographic captions, and paratextual materials such as footnotes, editor's notes, and bibliographical annotations. In Carrión's works the subject seems to have vacated the poem entirely, as author function is reduced to misreading canonical materials and performing interventions and erasures on them. Resulting from Carrión's operations are open structures that serve as models for post-literary ways to engage with texts. The way these authors assembled and put their books in circulation is also examined, since "Me segura qu'eu vou dar um troço," "La nueva novela," and Carrión's artist books are the result of a thorough rethinking of the politics of the book, the lettered tradition's keystone institution.

The poetry, prose, and personality of Walt Whitman have attained a truly global circulation, and scholarship continues to reveal his complex and lasting impact on literature, art, and politics around the world. This dissertation reveals Walt Whitman's extensive appropriation by the Latin American avant-garde, an artistic current that encompassed dozens of regional, national and transnational vanguardia movements across the Americas from roughly 1918 through the late 1930s. My work tells the story of how these pugnacious literary and artistic communities used Whitman as the raw material for a self-consciously "modern" art, as they circulated, adapted, and repurposed the US poet and his texts. The dissertation moves from south to north, beginning in Chile, proceeding to Nicaragua and Mexico, and ending with Latino writers in the United States. "Out of Place: Walt Whitman and the Latin American Avant-Gardes" argues that the literary and political appropriation of Whitman becomes a part of these movements' active participation in the hemispheric and global conversation of their day. What these aggressive avant-garde groups find useful, provocative, or generative in Whitman, then, offers us a unique perspective that cannot be left out of American literary studies. For as they wrestle with Whitman and the concept of "America," as they adapt Whitman into their notions of art, of nation and of language, and as they read him against the backdrop of globalization and modernity, a new Walt Whitman emerges, a vanguardista Whitman who sheds new light on the enduring relevance of his own radical project of making a poetry for the Americas.

No description available.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1952. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [524]-543).