[EN] The concept of progressive variation refers to a creative process that was first raised by Arnold Schoenberg, focusing mainly on the music of Brahms. This thesis investigates the role such proceedings have in Verklärte Nacht, Schoenberg's earliest masterwork, exploring till what extent they rule the relationships between all the themes appearing in the piece. The first part sets the basis of this study in five chapters dedicated, respectively, to the presence of cadences, importance of the sequences, remarkable harmonic issues, overall structure of the work and an essay on the concept of progressive variation that serves as an introduction to the thematic analysis that follows. The second part is devoted to a systematic analysis of the motives appearing in Verklärte Nacht, which leads to the conclusion that all of them are originated on a basic form or Gestalt . Given the weak presence of cadential processes, the limited functionality of harmony and the apparently inconsistent formal structure of the work, the thematic analysis of the piece brings out the progressive variation as an essential element of cohesion and unity. The widespread use of motivic development as a way of creating music gives great independence to the voices and many harmonics events begin to be casual rather than causal. The qualities of the processes explored and described in this study lead to the conclusion that motivic development can be considered the link between tonal and atonal music, since it is a common procedure on both sides. Therefore, it can be suggested that Schoenberg's path towards atonality was not a sudden change or a break, but a continuous evolution that finds its main thread in the method of motivic construction. / [ES] El concepto de variación progresiva se refiere a un procedimiento creativo que fue planteado por primera vez por Arnold Schoenberg centrándose, sobre todo, en la música de Brahms. Esta tesis investiga el papel que dicho procedimiento tiene en Verklärte Nacht, la primera obra maestra de Schoenberg, explorando hasta qué punto marca las relaciones entre todos los temas que aparecen en ella. La primera parte sienta las bases del estudio en cinco capítulos dedicados, respectivamente, a la presencia de cadencias, la importancia de las secuencias, los elementos armónicos destacables, la estructura general de la obra y un ensayo sobre el concepto mismo de la variación progresiva como introducción al análisis temático que le sigue. La segunda parte efectúa el análisis sistemático de los motivos que aparecen en Verklärte Nacht, el cual lleva a la conclusión de que todos ellos provienen de una forma básica o Gestalt. Dada la débil presencia de procesos cadenciales, la escasa funcionalidad de la armonía y la poco cohesionada estructura formal de la obra, el análisis temático de la pieza descubre en la variación progresiva el elemento primordial de cohesión y unidad. La generalización del uso del desarrollo motívico como forma de crear música otorga a las voces una gran independencia y muchos sucesos armónicos comienzan a ser casuales, en vez de causales. Las cualidades de los procesos explorados y descritos durante este estudio llevan a la conclusión de que el desarrollo motívico se puede considerar el nexo de unión entre la música tonal y la atonal, ya que es un procedimiento común en ambos bandos, con lo cual se puede decir que el camino de Schoenberg hacia la atonalidad no fue un cambio brusco ni una ruptura, sino una evolución continua que encuentra su principal hilo conductor en el proceso de construcción motívica. / [CAT] El concepte de variació progressiva es referix a un procediment creatiu que va ser plantejat per primera vegada per Arnold Schoenberg centrant-se, sobretot, en la música de Brahms. Esta tesi investiga el paper que el dit procediment té en Verklärte Nacht, la primera Schoenberg primerenc, explorant fins a quin punt marca les relacions entre tots els temes que apareixen en ella. La primera part assenta les bases de l'estudi en cinc capítols dedicats, respectivament, a la presència de cadències, la importància de les seqüències, els elements harmònics destacables, l'estructura general de l'obra i un assaig sobre el concepte mateix de la variació progressiva com a introducció a l'anàlisi temàtica que li seguix. La segona part efectua l'anàlisi sistemàtica dels motius que apareixen en Verklärte Nacht, el qual porta a la conclusió que tots ells provenen d'una forma bàsica o Gestalt. Donada la dèbil presència de processos cadenciales, l'escassa funcionalitat de l'harmonia i la poc cohesionada estructura formal de l'obra, l'anàlisi temàtica de la peça descobrix en la variació progressiva l'element primordial de cohesió i unitat. La generalització de l'ús del desenrotllament motívic com a forma de crear música atorga a les veus una gran independència i molts esdeveniments harmònics comencen a ser casuals, en compte de causals. Les qualitats desl processos explorats i descrits durant este estudi porten a la conclusió que el desenrotllament motívic es pot considerar el nexe d'unió entre la música tonal i l'atonal, ja que és un procediment comú en ambdós camps, amb la qual cosa es pot dir que el camí de Schoenberg cap a l'atonalitat no va ser un canvi brusc ni una ruptura, sinó una evolució contínua que troba el seu principal fil conductor en el mètode de la construcció motívica. / Amat Arocas, C. (2016). La variación progresiva en Verklärte Nacht, op. 4, de Arnold Schoenberg y su importancia en la construcción de la obra, así como en la evolución de su método de escritura [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62823 / TESIS

This dissertation re-evaluates the place of José Donoso in the Latin American Boom as well as the consequences of this period in the writing process of his most renowned novel, The Obscene Bird of Night (1970). Its focal points are under-utilized archival material related to the novel's writing process, including Donoso's notebooks, typescripts and his personal correspondence. Spotlighting the transformation of specific episodes of the novel and the traces of the Boom through his notebooks, I argue that the published version of this work is in great part the result of Donoso's relationships with the writers of the Boom and the "nueva novela". The borderline position that Donoso occupies in the Boom (sometimes included, sometimes not) can best be explained by the late publication of this crucial novel, since Donoso's correspondence reveals that he was an important agent in the machinery behind the Boom.

This essay deals with the fantasy aspects that exist in work of Julio Cortázar. It is knownthat Cortázar frequently uses certain narrative tools in order to make a story to one of thefantastic kind. The purpose of the study is therefore to plunge into some of the fantasyaspects that are included in his work. The questions that the thesis answers are: which narrative techniques does the author use in the chosen stories to make these storiesfantastic? How does he utilize these techniques in the three stories? The corpus consistsof a short synopsis of the plots of the stories “Axolotl”, “Noche boca arriba” and“Continuidad de los parques” from the compilation Final del juego (1956). The methodof analysis used for the three stories consists of a reading that focuses on narrative aspects,including the characteristics of the fantasy genre. The results show role of the aspects of fantasy such as animalization, anthropomorphism, and identity change in “Axolotl”. Inaddition, the narrating voice is revealed to be an important literary aspect in this story. When it comes to "Noche boca arriba" and "Continuidad de los parques" the presence ofparallel realitiesis noticeable. Both of those story worlds are equally possible andimportant, according tothe theory of possible worlds (PW-theory). In "Continuidad de los parques", we can clearly see two worlds that experience a fusion in the moment they collide. Again, according to the theory of possible worlds, both are equally important. As a theoretical tool, Tzvetan Todorov's theory of the fantastic is used. The application of Todorov's theory is useful for the study as it serves as the basis in order to define the threestories aspart of the fantasy genre. / Este ensayo aborda los aspectos fantásticos que existen en la obra de Julio Cortázar. Essabido que Cortázar utiliza con frecuencia ciertas herramientas narrativas que hacen elcuento fantástico. El propósito del estudio es, por lo tanto, profundizar en algunos de losaspectos fantásticos incluidos en su obra. Las preguntas que la tesina responde son: ¿Quétécnicas narrativas utiliza el autor en los cuentos elegidos para hacerlos fantásticos?;¿Cómo utiliza estas técnicas en los tres cuentos? El corpus consiste en una breve sinopsisde las tramas de los cuentos “Axolotl”, “Noche boca arriba” y “Continuidad de losparques” de la compilación Final del juego (1956). El método de análisis utilizado paralos tres relatos consiste en una lectura que se enfoca en aspectos narrativos, inclusive enlas características de lo fantástico. Los resultados muestran el papel de los aspectosfantásticos como la animalización, el antropomorfismo y el cambio de identidad en “Axolotl”. Además, se revela que la voz narradora es un aspecto literario importante en este cuento. En cuanto a “Noche boca arriba” y “Continuidad de los parques” se nota la presencia de realidades paralelas. Ambos de estos universos narrativos son igualmenteposibles e importantes, deacuerdo con la teoría de mundos posibles. En "Continuidad delos parques", podemos verclaramente dos mundos que experimentan una fusión en elmomento en el que colisionan.Otra vez, de acuerdo con la teoría de mundos posibles,ambos son igualmente importantes. Como herramienta teórica se utiliza la teoría sobre lo fantástico de TzvetanTodorov. La aplicación de la teoría de Todorov es útil para el estudioya que sirve de basepara definir a los tres relatos como parte del género fantástico.

The Spanish expression haciendo memoria is almost always translated as "remembering." I chose the literal translation "making memory" because it more adequately describes the task of mourning that takes place when dealing with trauma. Psychology tells us that when a traumatic event occurs, only a non-narrative imprint of an event is recorded--seared--in the mind, and the narrative form must be created. Only then can it be mentally manipulated and even communicated and --in both a literal and literary sense-- made history. The trauma explored in this study is centered on the dirty war in Argentina of the 1970’s and 1980’s. This period is usually framed as the excessively brutal and violent extermination of armed rebels by the last Argentine military dictatorship (March 1976-December 1983). But this emplotment of history does not adequately explain the origins or the severity of the violence. In part, it is this narrative deficit which keeps the trauma fresh in the Argentine collective consciousness. There is an overwhelming wealth of information about this period; yet the traditional models for framing history do not seem to suit the data nor do they fully capture the ethos. They are like loose characters and events searching for a story in which to belong or a narrative to call home. Part of the mourning process is the creation of emplotments and narrative structures which can make sense –make memory—of the dirty war. This dissertation focuses on the early narrative of Martín Caparrόs, one of the narrative voices ‘making memory’ of this time period. In my dissertation I will explore his first three novels against the backdrop of Michael Rothberg’s study “Traumatic Realism”, which identifies three dimensions of the representation of traumatic history: a demand for documentation, a demand for reflection on the limits of representation, and a demand for engagement with the public sphere. I will disentangle Caparrόs’ complex narrative techniques in order to uncover his early struggle with these three demands, as he attempts to create his own constellation of meaning.

En este trabajo se analiza cómo la cultura del miedo en la sociedad contemporánea influye en la creación literaria de nuestro tiempo. La finalidad es primero mostrar cómo se ve esta influencia y luego qué mensajes nos dan las obras elegidas cuando las analizamos partiendo de los miedos compartidos en nuestra sociedad. Para lograr este objetivo hemos elegido hacer un estudio comparativo de El comité de la noche de Belén Gopegui y Distancia de rescate de Samanta Schweblin. Al poder comparar dos obras diferentes nos aseguramos de que los miedos no son individuales, sino que si hay conexiones entre los dos libros y la cultura del miedo, podemos suponer que son compartidos a una escala más amplia en la sociedad. Al usar los puntos claves de la teoría de la cultura del miedo en nuestra comparación de las dos obras, hemos logrado nuestro objetivo de confirmar que hay una influencia de este fenómeno cultural en los objetos de estudio, y que dan un mensaje en su conjunto debido a que los miedos compartidos en la sociedad son productos de esa misma.

En Argentine et à l'étranger, le tango inspire un engouement croissant depuis un peu plus de dix ans. Mais lorsqu'on fait référence au tango on omet souvent que l'on désigne en fait un ensemble complexe d'expressions artistiques populaires -musique, danse et paroles chantées- qui mettent en scène une identité argentine. Les identités sont en effet le résultat de constructions discursives -informées par les discours sociaux sur les rapports de classe, de race et de sexe- qui se manifestent et font l'objet d'une reformulation constante dans les objets culturels. L'objectif consiste à comprendre comment une identité est véhiculée dans le tango et à identifier les discours sociaux qui l'ont construite selon des modalités singulières en fonction des époques. Pour ce faire, nous travaillerons à partir du corpus des refrains et des strophes constitué par l'ethnologue Robert Lehmann-Nitsche dans son ouvrage Textos Eróticos del Río de la Plata, ainsi que à partir des paroles de tango publiées entre 1900 et 1935, période qui correspond à deux étapes fondamentales : la Guardia Vieja et la Guardia Nueva. L'étude de l'œuvre poétique du groupe Gotan Project et de l'œuvre picturale surréaliste du peintre argentin Juan Carlos Liberti compléteront notre corpus à partir des formes contemporaines.Dans le premier volet de l'étude, il s'agira d'analyser la définition institutionnelle du tango à partir de l'étude du discours des historiens cosignataires de la demande d'inscription du tango dans le répertoire des objets culturels faisant partie du patrimoine immatériel universel auprès de l'Unesco. Dans la deuxième partie, nous questionnerons les luttes symboliques au principe des périodisations à l'œuvre dans l'histoire du tango. Un retour sur les premiers tangos recueillis par Lehmann-Nitsche, dont les thématiques sont associées aux maisons closes, qualifiés de " préhistoriques ", et de ce fait marginalisées par la critique, nous permettra de rétablir les origines populaires du tango.

Grounded in the theory of intra-media agenda-setting, this research will analyze the dynamic process among the Mexican national television networks during the 2006 presidential election campaign period. Specifically, what were the intra-media agenda-setting effects between the Mexican television media Televisa and TV Azteca during the 2006 presidential election campaign? The television content analysis data set is from a systematic random sample of national Mexican prime time television news programs broadcast during the official Instituto Federal Electoral's (Federal Electoral Institute) presidential campaign period, which runs from January 19 to June 28, 2006. The Mexican television newscasts that were analyzed are Televisa's El Noticiero con Joaquín López Dóriga, and TV Azteca's Hechos de la Noche. Overall, the results indicated that television news strongly influences a presidential candidate's television political spots. The flow of communication between television news and a candidate’s television political spots was scrutinized in several time frames in order to examine the influence from a general perspective (3 months, then 2 months) into a specific (month by month) perspective. The outcome at the 3-month scale indicated that television news strongly influenced a candidate’s political spots. The same pattern was observed at the two-month interval. Finally, the month-by month outcome also indicated that television news influenced a candidate’s political spots. / text

Taking as a point of reference the voice and figure of Carmen Sotillo, the present study analyzes Miguel Delibes’ Cinco horas con Mario (1966), the theatrical adaptation with the same name directed by Josefina Molina, and the film Función de noche (1981), directed also by Molina. The study addresses, on the one hand, the analysis of the mentioned works, establishing a cause-consequence relationship between Carmen’s speech and the educational paradigms of the Francoist regime in regard to women. On the other hand, the study is interested, from a general perspective, in the ideological state apparatuses and the mechanisms destined to reinforce a specific women archetype, among which will be included the postwar school structure, the institution of la Sección Femenina, women’s legal status, and other spaces devoted to reproduce and reinforce ideological content –religion, family–. Lastly, the essay also reflects on the contents of the works from their own media specificity, pointing out the links between content and their particular staging and ideological approach, trying from a general point of view to give an answer to the questions brought up by Carmen Sotillo and Lola’s speech, her alter ego.

xi, 236 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Writers in the Caribbean, like writers throughout the postcolonial world, return to colonial texts to rewrite the myths that justified and maintained colonial control. Exemplary of a widespread, regional phenomenon that begins at mid-century, writers such as Aimé Césaire and George Lamming take up certain texts such as Shakespeare's The Tempest and recast them in their own image. Postcolonial literary theory reads this act of rewriting the canon as a political one that speaks back to power and often advocates for political and cultural independence. Towards the end of the twentieth century and at the beginning of the twenty-first century, Caribbean women writers begin a new wave of rewriting that continues in this tradition, but with certain differences, not least of which is a focused attention to gender and sexuality and to the literary legacies of romance. In the dissertation I consider a number of novels from throughout the region that rewrite the romance, including Jean Rhys's Wide Sargasso Sea (1966), Maryse Condé's La migration des coeurs (1995), Mayra Santos-Febres's Nuestra señora de la noche (2006), and Dionne Brand's In Another Place, Not Here (1996). Romance, perhaps more than any other literary form, exerts an allegorical force that exceeds the story of individual characters. The symbolic weight of romance imagines the possibilities of a social order--a social order dependent on the sexual behavior of its citizens. By rewriting the romance, Caribbean women reconsider the sexual politics that have linked women with metaphorical constructions of the nation while at the same time detailing the extent to which transnational forces, including colonization, impact the representation of love and desire in literary texts. Although ultimately these novels refuse the generic requirements of the traditional resolution for romance (the so-called happy ending), they nonetheless gesture towards a reordering of community and a revised notion of kinship that recognizes the weight of both gendered and sexual identities in the Caribbean. / Committee in charge: Karen McPherson, Chairperson, Romance Languages; David Vazquez, Member, English; Tania Triana, Member, Romance Languages; Judith Raiskin, Outside Member, Womens and Gender Studies

Questionner la construction du paysage urbain nocturne, c’est développer une approche dialectique du regard entre l’ombre et la lumière. Parce que la ville devient invisible dans l’obscurité, la nuit menace celle-ci de disparition. Dans ce contexte, ce travail explore les nouvelles images et interprétations de la ville dévoilées par la lumière artificielle. L’enjeu est de comprendre les aspects changeants et instables liés à l’apparence de la ville. Découvrir la ville la nuit, c’est la comprendre dans l’éphémérité de ses modes d’apparition, dans sa capacité de survivance et de transformation grâce à la lumière artificielle. La nuit révèle tant des imaginaires liés à la fascination de la lumière qu’à la peur de l’obscurité. Dominée par des transformations visuelles, elle intensifie et démultiplie les significations portées aux espaces. Entre nuit dionysiaque et nuit maligne, c’est toute une variété de « tableaux urbains nocturnes » qui apparaissent. Penser le paysage urbain nocturne, c’est envisager la nuit comme une « hétérotopie », qui, parce qu’elle modifie les conditions d’apparition de la ville, modifie les perceptions du territoire. Au croisement du réel et de l’imaginaire, il s’agit de dépasser les limites du visible pour apprendre à voir l’invisible. Ce travail révèle une relation complexe de la ville avec la lumière; il interroge le rapport entretenu avec les espaces urbains la nuit et remet en perspective la manière de voir l’obscurité. La lumière offre un fond de toile pour le déroulement des activités, elle régule les perceptions et les expériences de la ville. L’espace-temps nocturne offre l’opportunité d’envisager les tensions entre lumière et obscurité. Dans cet « entre- deux », cette recherche contribue à ouvrir la voie à une perspective transversale de la ville la nuit. Celle-ci comprend donc une revue de littérature sur les différentes visions de l’éclairage, mais aussi sur la nuit et l’obscurité. Elle permet une compréhension des nouvelles approches en éclairage comme des nouveaux concepts émergeant des recherches sur la nuit. S’appuyant sur des démarches anthropologiques et expérientielles du paysage, l’originalité de cette étude est d’explorer les différentes manières d’envisager la nuit. Des imaginaires développés par les acteurs de l’aménagement — issus d’entretiens avec des experts en urbanisme, en architecture, en paysage, en design et des arts — à l’expérience visuelle et sensible — issue d’explorations nocturnes —, ce travail dévoile une pluralité de paysages qui compose le territoire. Recourant à Montréal comme cas d’étude, cette métropole canadienne offre un contexte original pour comprendre le regard que pose la société occidentale sur la ville la nuit. Cette recherche révèle alors une hiérarchisation des représentations liées aux espaces urbains nocturnes. De la consécration des espaces centraux, à la méconnaissance des espaces marginaux, en passant par la banalité des espaces quotidiens, celle-ci dépeint un portrait inédit de Montréal vu et imaginé de nuit. À travers l’étude des représentations socioculturelles, cette investigation contribue à une nouvelle compréhension de la planification et de l’expérience de la ville. Elle définit ce que revêt la notion de « paysage urbain nocturne ». / This thesis questions the ways the urban landscape is constructed at night. It develops a dialectical approach of sight, between luminosity and darkness. Because the city becomes invisible in the darkness, the night puts the existence of the city in jeopardy. This thesis explores the new interpretations of the city resulting from the illuminated landscapes. The purpose is to understand the changing and unstable appearances of the city at night. To discover the city at night implies understanding the ephemeral aspects of its appearance, its capacity to survive and to be visually transformed. The night reveals the fascination for light as well as the fear of darkness. Night is governed by visual changes; it intensifies and multiplies the significance of the urban spaces to the viewer. Between Dionysian and malign nights, a variety of “urban nocturnal scenes” appears. Because night changes the visual conditions and therefore the perception of the city, this study develops a reflection on the urban landscape considering the night as a “heterotopia”. Situated at the meeting point of the real and the imaginary, this investigation questions the limits of what is visible in order to look at what is invisible. This research reveals a complex relationship between the city and lighting; it examines how the society looks at darkness and how new relations with urban spaces emerge at night. Lighting provides the backdrop for activities; it regulates city perceptions’ and experiences’ at night. Night time enables to consider the tensions between luminosity and darkness. This investigation of the “in-between” of light and dark contributes to the comprehension of the city at night through a transversal perspective. Therefore, this study is composed of a literature review on the evolution of urban lighting approaches, and on the relation that the city has with the night time iii and the darkness. It provides an understanding of new approaches of lighting design with the addition of new concepts emerging in the literature on the night. The methodological approach includes anthropological and experiential landscape perspectives to question the different ways of looking at the night. Interviews with stakeholders from different disciplines—urban planning, architecture, landscape architecture, design and art—and the study of the visual and sensitive experience of the city at night, provide a diversity of ways to see the city at night. Using Montreal as a case study, this Canadian metropolis offers an original context to better understand the relation that the occidental society has with the city at night. The dissertation presents a hierarchization of the representations of the urban spaces. From the recognition of downtown spaces, passing by the banalization of daily spaces and the misreading of marginal places, this research depicts a new portrait of Montreal and how it is seen and imagined at night. It contributes in a new comprehension on how the city is planned and experienced, depending on sociocultural representations of night time. It aims at defining what is the “nocturnal urban landscape”.