Thesis (Ph. D.)--University of California, Los Angeles, 1974. / Vita. Includes bibliographical references (leaves 322-335).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 319-327).

No description available.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1963. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [271]-279).

Thesis (Ph. D.)--Ohio State University, 1972. / Bibliography: leaves 166-174. Available online via OhioLINK's ETD Center

Postítulo en composición musical / La presente tesina pretende fundamentar el acto creativo, realizado por medio del lenguaje musical escrito, de las primeras dos escenas (de un total de cinco) de nuestra ópera inspirada en el Caso Matute. Para tales efectos comenzaremos averiguando cuáles son los antecedentes de óperas concebidas en Chile desde el siglo XIX hasta la actualidad. Luego responderemos a la pregunta ¿por qué el caso Matute puede ser llevado al género de la ópera? Mediante apartados que indagan, uno, sobre la importancia de la opinión pública y otro sobre el caso Matute en la expresión artística. Además nos adentraremos en nuestra creación describiendo la producción tanto del libreto como de la partitura por medio de un breve análisis; sobre el estilo, en cuanto al libreto, y otro musical y de motivos, ambos respectivos a la partitura. Por último, para seguir con el análisis musical, se considerarán aspectos concernientes a las asociaciones musicales con los personajes y el contrapunto tanto instrumental como vocal.

Renowned Spanish author, Ana Mari­a Matute, lived through the violent and uncertain years of the Spanish Civil War (1936-1939) and the Franco dictatorship (1939-1975) that followed. Her writing is a reflection of the dysfunctional society that was left in the wake of decades of social upheaval and it serves as a greater metaphor for the national identity crisis Spain experienced in the 20th Century. The intent of this study is to demonstrate how trauma and memory influence individual and national identity formation in selected short stories by Matute. Little study has been done on the role of trauma and memory in this type of narrative despite the frequent presence of trauma in Spanish literature. Further, insufficient academic attention has been given to Matute's short fiction relative to her novels.The characters in Matute's short fiction are dominated by violent and antisocial behavior that results from living in severely fragmented environments where both physical and mental cruelty and the absence of the nuclear family are commonplace. Matute's characters that suffer from traumatic events frequently fail to recover their former identity and remain in posttraumatic states, inhibiting healthy personal development and involvement with others in society. The memory of traumatic events dominates their persona and the characters are unable to distinguish the past from the present, causing a crisis of identity. In addition, Matute's characters can rarely rely on the community at large or family for support; this further propels them into isolation and negatively impacts their sense of self. Although Matute's literature is fictional, one can infer the toll of the Civil War and the dictatorship on the Spanish nation and its identity.

Magíster en artes con mención en composición musical / La presente tesis procura argumentar el acto creativo, realizado por medio del lenguaje musical escrito, de nuestra ópera inspirada en el Caso Matute. Para tales efectos debemos conocer, antes que todo, los fundamentos que nos puedan ayudar a penetrar en una concepción de la tragedia, para lo que nos introduciremos principalmente en Aristóteles, Shakespierre y Kafka, dado que en ellos podemos encontrar todo lo imperioso para cimentar la creación de una obra multidisciplinaria basada en un suceso relevante para nuestra época y sociedad.

Tesis doct.--Universidad de Amsterdam, 2002. / Bibliogr. p. 185-199.

Die vorliegende Arbeit liefert einen Beitrag zur Erforschung der institutionalisierten Zensur von literarischen Texten im Franquismus anhand der Untersuchung von Werken Ana María Matutes. Als repressives Instrument diente die Zensur der Kontrolle, dem Schutz vor ‚kritischen‘ Inhalten sowie der Propagierung, Durchsetzung und Konsolidierung des franquistischen Dogmas. Zensiert wurden ‚bedrohliche‘ Werke aufgrund ihres kommunikativen Gehalts, aber auch wegen der sie charakterisierenden materiellen Fixierung, konnte die ‚gefürchtete‘ Aussage ihre Wirkung doch an vielen Orten noch lange nach dem Moment ihrer Entstehung entfalten. Die originale unzensierte Textfassung vieler Werke ist deswegen für den Leser bis heute oft unzugänglich. Das gilt auch für das Œuvre Matutes, einer der bedeutendsten spanischen Autorinnen der zweiten Hälfte des 20. Jahrhunderts. Anhand der erhaltenen Zensurakten zu vier Romanen – „Los Abel“, „Luciérnagas“/„En esta tierra“, „Los hijos muertos“ und „La trampa“ – wird zunächst deren unterschiedliches ‚Schicksal‘ zwischen staatlicher Zensur und forcierter Selbstzensur rekonstruiert. Die daraus gewonnenen Erkenntnisse dienen als Ausgangsbasis für die literaturwissenschaftliche Analyse der individuellen Auswirkungen dieser Eingriffe auf inhaltlicher, struktureller, figürlicher und formal-stilistischer Ebene sowie zur Feststellung des Grads an ‚Co-Autorenschaft‘ der Zensoren, die die Texte im Hinblick auf ihre Konformität mit den etablierten moralischen, politischen und religiösen Normen rezipierten. Darüber hinaus werden Funktionsweise, Irrtümer und Grenzen der literarischen Kontrollinstanz anhand von vier weiteren Werken dargestellt, zu denen „Fiesta al Noroeste“, „Pequeño teatro“, „Los niños tontos“ und „Los soldados lloran de noche“ zählen. Auf diese Art und Weise kann ein umfassender Einblick in die Arbeits- und Funktionsweise der franquistischen Zensurbehörde innerhalb des machtstrukturellen Kontextes des Franco-Regimes gegeben werden. / This research paper contributes to the study of institutionalized censorship of literary texts under Francoism by examining the works of Ana María Matute. As a repressive instrument, censorship served to control, protect against 'critical' content and propagate, enforce and consolidate Francoist dogma. 'Threatening' works were censored because of their communicative content, but also because of the material fixation that characterized them, since the 'feared' statement could continue to have its effect long after the moment of its creation and in many places. The original uncensored text version of many works is therefore often inaccessible to readers even today. This also applies to the oeuvre of Matute, one of the most important Spanish authors of the second half of the 20th century. Using the surviving censorship files for four novels – “Los Abel”, “Luciérnagas”/“En esta tierra”, “Los hijos muertos” and “La trampa” - we first reconstruct their different 'fates' between state censorship and forced self-censorship. The insights gained from this serve as a starting point for the literary analysis of the individual effects of these interventions on the level of content, structure, characters and formal style, as well as for determining the degree of 'co-authorship' of the censors, who only received the texts with regard to their conformity with established moral, political and religious norms. In addition, the functioning, errors and limits of the literary control authority are presented on the basis of four other works, which include “Fiesta al Noroeste”, “Pequeño teatro”, “Los niños tontos” and “Los soldados lloran de noche”. In this way, a comprehensive insight can be given into the working and functioning of the censorship authority within the power structure context of the Franco regime.