Thesis (M.A.)--Sonoma State University, 2003. / Includes bibliographical references (leaves 15-19)

Thèse - Université de Paris. / Bibliography: p. [21]-74 (1st group).

Resumé of the author's thesis of the same title presented at the Universidad Complutense, 1976. / "Edición no venal de 300 ejemplares ..." Includes bibliographical references.

Thesis--University of Michigan. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis--University of North Carolina. / Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 141-148). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 141-148). Also available on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Emerging organically in the 1960s and soon incorporated into the revolutionary leadership‟s official drive to democratise culture, the Cuban talleres literarios have expanded over the decades into a significant literary movement based on grassroots participation. In 2009, the municipio-based talleres literarios, open to mass participation, engaged over 40,000 talleristas in creating their own literature, with a smaller number involved in more specialised talleres literarios de vanguardia, including the one based within the Centro de Formación Literaria Onelio Jorge Cardoso, a national institution for young writers of narrative fiction. This thesis analyses this unique and under-researched cultural movement by placing it within its historical context and using the notion of Cuban cultural citizenship in order to assess its impact. It contends that the talleres literarios in Cuba, by acting as literary public spheres, have provided a broad range of people with the opportunity to gain and enact cultural citizenship, thus endowing the movement with a political and social significance which has largely been ignored by academic literature. The shared experience of the talleres literarios has formed Cuban cultural citizens who not only are invested in some of the core values of the revolutionary process, but who also have the tools and space with which to participate actively in the construction of meanings. In this way, Cuban cultural citizens formed within the talleres literarios benefit individually through gaining a sense of belonging to, and empowerment in, the literary world, whilst also contributing to the evolution of cubanía revolucionaria and the ongoing negotiation of revolutionary hegemony. The thesis follows the recent work on Cuban culture which rejects the liberal assumptions that the cultural and political spheres should not mix and that civil society and the state are two distinct and oppositional entities. Instead, it uses the conceptual framework of cultural citizenship, which is based on the theoretical premise that culture and politics are inseparable, in order to approach critically the talleres literarios as sites for cultural participation. It offers a detailed history of the movement, from its origins to the present day, as well as an evaluation of the shared experience of talleristas based on the voices of participants from different periods and levels of the movement. By focussing on an outcome of cultural democratisation, the thesis poses a challenge to conventional accounts of revolutionary cultural policy and literature. It argues that cultural policy should be viewed as a productive as well as regulatory force, because the talleres literarios have been instrumental in creating a broad and inclusive literary culture which emphasises dialogic communication and active, public participation. The cultural citizenship attainable in the talleres literarios has provided the initial phase in the literary education of many established writers, fostered personal relationships between them, and facilitated the circulation of diverse ideas. Finally, the notion of cultural citizenship also adds a further dimension to the already broad field of research on participation and political culture. This case study of the talleres literarios follows the approach to participation that views it not in terms of top-down control or achievement of consensus but as a process by which shared meanings are both reinforced and new ones created as society and state interact within institutional frameworks.

En el marco de los actuales debates sobre los cambios económicos, políticos y culturales producidos en España a raíz de la instauración democrática y la progresiva incorporación al proyecto de unificación de la Unión Europea, se ha ido poniendo de manifiesto la necesidad de indagar detalladarnente en los procesos de legitimación que conforman la construcción de identidades nacionales. En el caso de España uno de los principales focos de recientes estudios ha sido la discusión sobre las diferentes formas de continuidad y/o discontinuidad que se produjeron y/o se siguen produciendo en el paso de la dictadura a la democracia. Esta tesis se propone explorar esas continuidades y/o discontinuidades a través de su articulación en las variadas representaciones filmicas y literarias de la madre durante la democracia. La focalización en esta figura surge a raiz del repetido interés que hemos rastreado en los estudios de cine y de literatura de mujeres. Estos tienden a interpreter lo materna como personificación del pasado dictatorial, sin detenerse en las tensiones que pueden estar siendo articuladas por medio de esa figura ni en su relación con la construcción de nuevos discursos en democracia. Nuestro estudio ofrece, en primer lugar, una contextualización historico-psicoanalítica que sirva para enmarcar la discusion en relación al discurso franquista sobre la maternidad, a la importancia de la figura materna en la constitución de sujetos, conforme ha sido teorizada por el psicoanálisis, y a las imágenes de la maternidad proyectadas por la cultura occidental. Seguidamente, el aná1isis textual de las novelas y las peliculas elegidas está dividido en tres secciones, las cuales abordan, respectivamente: lo materna como amenaza, como marginal y como renovada heterodoxia. Consideramos que esas representaciones articulan las fricciones resultantes de: un intento de conjurar las conexiones entre el proyecto democrático y el régimen democrático, un oscurecimiento de las estrategias de exclusión y/o instrumentalización de diferencias de clase, región, etnia y género que operan en la legitimación de discursos democráticos, y una necesidad de entender y reinscribir el legado de la dictadura en formas no perpetuadoras de las narrativas hegemónicas.