In this essay, I examine the intertextuality of Lydia Sandgren's debut novel Collected Works (2020). Throughout the novel, references to other literary works is constantly made, such as books by Ernest Hemingway, Ulf Lundell, Jack Kerouac, Klas Östergren, Simone de Beauvoir and Sigmund Freud. The question I work with is as follows: What are the functions of the intertexts in Collected Works? Who is the narrator who places the intertexts, and how does he or she evaluate this literature?     As far as the theory is concerned, I start with Gérard Genette's book Palimpsestes, in which he divides the concept of intertextuality into five subcategories. The ones I use in this essay are intertextuality (which includes quotations, allusions and plagiarism) and hypertextuality (which has to do with the relationship between the new text and the original text). Harold Bloom's way of looking at intertextuality, that there is some kind of power struggle between the poet and its predecessors, is found in the main character in Collected Works. Bloom's concepts of clinamen (the successor tries to twist the previous work to where it should have been) and apophrades (the successor takes the position of his predecessor) are clearly visible in the main character Martin Berg. / I den här uppsatsen kartlägger jag intertextualiteten i Lydia Sandgrens debutroman Samlade verk (2020). Genom romanens gång refereras det ideligen till andra litterära verk som bland annat böcker av Ernest Hemingway, Ulf Lundell, Jack Kerouac, Klas Östergren, Simone de Beauvoir och Sigmund Freud. Den frågeställning jag arbetar utifrån lyder som följande: Vilka funktioner har intertexterna i Samlade verk? Vem är berättaren som placerar in intertexterna, och hur värderar vederbörande denna litteratur?    Vad teorin anbelangar utgår jag från Gérard Genettes bok Palimpsestes, i vilken han delar upp intertextualitetsbegreppet i fem underkategorier. De jag använder mig av i den här uppsatsen är intertextualitet (som innefattar citat, allusioner och plagiat) och hypertextualitet (som har att göra med relationen mellan den nya texten och ursprungstexten). Harold Blooms sätt att se på intertextualitet, att det råder något slags maktkamp mellan poeten och dess föregångare, anträffas hos huvudkaraktären i Samlade verk. Blooms begrepp clinamen (efterträdaren försöker vrida det föregående verket dit det borde ha kommit) och apophrades (efterträdaren intar sin föregångares position) är helt klart synliga i huvudkaraktären Martin Berg.

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This thesis explores how the Cuban writer and anthropologist, Lydia Cabrera, experienced exile following the Cuban Revolution of 1959. Cabrera’s personal letters and photos show that she endured a nontypical exile experience. Instead, Cabrera is an example of a transnational exile, because throughout her life she remained both professionally and personally connected to people in multiple locations. Although discussion regarding the Cuban Revolution describes its transnational scope, for Cabrera and similar transnational figures, the events of 1959 meant a disruption to their longstanding international networks. In this way, this thesis will present evidence of Cabrera’s transnational connections and her response to disruption of these networks from 1960 – 1962. Key sources for this thesis can be found in the archival holdings at the University of Miami’s Cuban Historical Collection in Coral Gables, FL.

Lydia Cabrera, the acclaimed 20th-century Cuban writer and ethnographer, is widely recognized for her pioneering studies, beginning in the 1920s, of Afro-Cuban religions and cultures. The broad scope of her contribution to Cuban culture, one that encompasses both Cuba’s African and European cultural heritage, however, has been all but overlooked in critical studies. Often categorized as either fiction or ethnography, Cabrera’s work tends to be dismantled and the various pieces, when not altogether ignored, relegated to critical study from distinct academic disciplines (anthropology and literary studies, and to a lesser extent, lexicography and ethnomusicology). In this study I set aside these disciplinary distinctions by viewing the different parts of Cabrera’s career as a coherent whole. In conjunction with her Afro-Cuban story collections and her extensive ethnographic work documenting Afro-Cuban cultures, which produced not only El monte but also dictionaries and glossaries of Afro-Cuban languages and traditions, I examine Cabrera’s lesser known projects related to Cuba’s colonial European cultural foundations, and particularly her work on decorative arts and the restoration and curation of Cuba’s colonial architecture. I argue that these apparently unrelated and even conflicting facets of her career are not only related but in fact indivisible. To bring together her work on Afro-Cuba and her work on Cuba’s Spanish colonial history, I address two physical and conceptual spaces that overlap and intersect in Cabrera’s career as they do in Cuban culture: the vieja casa criolla, or the traditional Cuban home, and the monte—the sacred ancestral forest. Part I of my study centers on the vieja casa criolla, an intimate and majestic space characterized by Spanish colonial architecture, period furniture and decorative arts. I use the concept of the vieja casa criolla broadly to include religious architecture and artistic traditions associated with Cuba’s Spanish colonial influences. I propose that Cabrera’s work to conserve Spanish colonial architecture and antiques beginning in the 1920s and continuing through the 1950s was not an aberration in her career but integral to her effort to create a living archive of Cuba’s cultural history, both African and European. In the same way that she painstakingly documented Afro-Cuban religions, oral traditions, and cultural practices, she worked to conserve, restore and promote Cuba’s European material culture. Part II of my study focuses on the physical and textual spaces of the monte in Cabrera’s work and in Afro-Cuban culture. I explore the monte (the place) in Cabrera’s fiction and ethnographic writing and move into a discussion of El monte (the book). As the home to Afro-Cuban spirits and the source of traditions and ritual objects, I demonstrate that the monte mirrors Cuba’s casa criolla and religious architecture. Accordingly, in El monte and its complementary studies of Afro-Cuban liturgical languages and customs Cabrera curates the plants and mythology of the monte in the same way that she does her art and antique exhibitions. Cabrera’s conservation of colonial architecture and her documentation of Afro-Cuban religions and cultures together represent integral components for understanding and preserving Cuba’s cultural history.

Thesis (Ph.D.)--Tufts University, 2005. / Adviser: Laurence Senelick. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 270-290). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Lisa L. Moore. Vita. Includes bibliographical references.

Akademisk avhandling--Teologi--Uppsala, 1982. / Bibliogr. p. 206-215. Index. Résumé en anglais.

The map of Iron Age Anatolia (ca. 1200-550 BCE, Turkey) is dotted by territorial kingdoms that rose and were subsumed into larger political entities throughout its history. Current archaeological narratives commonly place Lydia into this scene quite late in the Iron Age with the rise of its Mermnad elite in the seventh century BCE. Their power is well attested by the rapid expansion of their influence in Anatolia, as well as by their ambitious buildings programs that monumentalized their capital city Sardis. Among these programs, monumental urban terrace platforms hold a unique position, for they regularized the rugged topography of a naturally elevated district at the heart of Sardis, converting it into a visibly dominant promontory to house the Lydian palace. Until recently there were no precedents for these enormous man-made investments, hence the narrative of the Mermnad elite’s late and fast emergence and the reconstruction of Sardis as an agglomeration of small sites before their time. The fresh discovery of a long sequence of large-scale constructions (2000-700 BCE) in the city’s elite precinct now casts doubt on this narrative. In this dissertation, I study these early monumental constructions along with the later terraces to investigate the course of Lydian elite placemaking and their wider implications for Lydia’s place in Iron Age Anatolia. This research is multi-scalar, expanding out from a detailed study of architecture, to the place of terraces within the socio-spatial fabric of diachronic settlements at Sardis, and finally to wider regional Anatolian context. I begin with the examination of the corpus of urban terrace constructions in Sardis and their architectural design principles and dating evidence. Next, I compare the terraces to constructions from domestic neighborhoods as well as other Mermnad elite structures. Their scalar facets—large size, costly materials, and large labor requirements—mark them as monumental in each building episode. I consider symbolic and experiential facets using a variety of theoretical frameworks—memory, social submission, performance, and domination—to demonstrate how these terraces shaped their socio-spatial environments through ongoing claims of an old central precinct. This was achieved by introducing architectural novelties as well as more formality and regularity, employing transformative labor as a means of public spectacle and creating built representations of spatial control and domination. At the same time, I show the extent to which these practices foreshadow Mermnad elite placemaking ideologies. Thus, this research marks Lydian constructions in the ninth and eighth centuries BCE as productions of a previously unregistered early Lydian elite. I conclude by contextualizing early Lydian placemaking practices within Anatolia’s broader socio-political spheres. This study reveals terracing to demarcate elite space as a Lydian mode of placemaking and that in timing and ideology it followed the culture-political trajectories of Anatolia—by peer-polity competition—more so than those of the Aegean. As a result, I acknowledge the deeper history of the ruling elite in Lydia, one that reverses the narrative of a sudden, late, and rapid development fostered by the Mermnads. This study, thus, makes a place for Lydia in the Iron Age maps of Anatolia two centuries earlier than has been previously believed.

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This project focuses on African American and Afro- Hispanic literature and folklore. Specifically, I employ Fernando Ortiz’s theory of transculturation. Ortiz makes the case that a new Afro- Cuban identity is created with the intermingling of African, Spanish and native inhabitants of Cuba. Using Ortiz’s critical framework as the foundation of my study, I undertake a new critique of Zora Neale Hurston’s portrayal of African American identity. Analyzing Hurston’s work through the model of transculturation, I examine the parallel between her work and that of Lydia Cabrera, a Cuban ethnographer whose work represents Afro-Cuban identity as a transcultural one. Establishing this comparison, I reflect on the similarities and differences among their strategies of representing Transculturation in African- based identities. I look at their works from a womanist lens to analyze how their female anthropologist status influenced their folkloric portrayals and how they enacted a political agenda that emphasized female agency. I also analyze the oral aesthetic of their texts; in my opinion, Hurston and Cabrera reproductions of the spoken are ways to represent transcultural dialogue. Finally I compare their ethnographic studies of the African- based spiritual systems of Santeria and Voodoo.