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5 pp. / Recommendations for program planners, parents, teachers, school staff, and health professionals who are concerned about children and weight.

The Historia de la Nueva Mexico, by Gaspar Perez de Villagra, has been one of the less studied epic poems in Hispanic American literary criticism. The purpose of this study is to show the text's literary characteristics and justify its inclusion within the tradition of Ariosto's romanzi, which was earlier followed by La Araucana, paradigm of the epic discourse in Hispanic America. The analysis borrows from a structuralist-narratologic methodology developed in the works of Gerard Genette, Felix Martinez Bonatti, Cedomil Goic and Julia Kristeva. The study begins with the analysis of the different definitions of 'epic genre' from Aristotle and Horatio to the twentieth century and the theories of Genette about architextuality. Once establishing the definitions, the study proceeds to differentiate between the two generic variants: the romance and the epic. The purpose here is to show that the principles of textual disposition applied by epic authors of the sixteenth and seventeenth centuries in Hispanic America belong to the romance, and this gives the discourse a very distinct structural physiognomy. A comparative analysis of some of the best known epic poems in Hispanic America show their structural singularity, as well as their inclusion within Ariosto's tradition. The texts analyzed are: Arauco domado, Peregrino indiano, Puren indomito, Argentina y Conquista del Rio de la Plata, La Christiada, and Bernardo. In Chapter Four the study centers on the transtextual relationships established between La Araucana and Villagra's poem, which determine the individuality of the Historia de la Nueva Mexico and its inclusion within the Hispanic American literary canon. The poem's uniqueness is based on its peculiar narrative structure, the hypertextual relationship it maintains with the Ercillan paradigm, as well as the juxtaposition of codes that determine an intertextual space. This space is the aesthetic image of ideological tensions in the narrator's perspective. It is the tensions which place both the narrator and the text within the ideological and artistic parameters of the Baroque period.

This dissertation examines the way violence in Colombia, in its multiple forms and manifestations, has shaped the representations about eroticism in three contemporary novels: Héctor Abad Faciolince's Fragmentos de amor furtivo, Fernando Molano's Un beso de Dick and Albalucía Ángel's Misiá Señora. This project specially focuses on the different forms in which violence has become a factor in the way these works represent eroticism and its discourse. Drawing from the theoretical framework of authors such as Slavoj Žižek, Michel Foucault and Judith Butler, the dissertation proposes the existence of an erotic violent space in which three elements intertwine. The first element, evident in Faciolince's work, is the design of a new form of urban space based on the need to be protected in a dangerous city. This form of cartography restricts mobility for the city's inhabitants, opens up new spaces for segregation based on movement and access to space and restricts erotic manifestations to the boundaries of a ghetto-type city. The second element, from Molano's novel, deals with the establishment of gender roles based on homoerotic desire. The violence in this piece is connected to family and school institutions, and the way they determine the creation of public and hidden forms of identity. Finally, Angel's novel deals with the different ways in which the female body can be used as a symbolic battlefield where patriarchal and religious discourses try to impose limitations, promoting the establishment of alienated women.I propose that eroticism is the intimate space where social, discursive and ideological violence is executed, while simultaneously acts as the sphere of individual life where resistance can be enforced. In a country where so much attention is given to the overt, material consequences of violence, such as the number of deaths, massacres and kidnappings, it is easy to overlook the importance of how violence impacts identity and intimacy.

The present dissertation discusses primary dichotomies in discourses, cultural and economic practices which operate to entrench divisions and fetter notions of identity in two of Elena Poniatowska's (b. 1932) novels: La 'Flor de Lis' (1988) and Hasta no verte Jesús mío (1969). More specifically, this study has taken relevant concepts provided by Cultural Studies, such as power and hegemony, in order to bring forward questions of economic transnationalism and cultural practices in the main characters. Through the parameters of deconstruction and demythologization we interrogate how binary oppositions such us the paradigms of Modernity and Postmodernity converge in Poniatowska's works. We observe that notions of logocentrism are present in the friendship between two of the characters in La 'Flor de Lis': on one side, there is Magda the peripheral subject, whose orality permeates Mariana's lettered culture. Thus, we establish the connection between the city and Modernity, and at the same time, we emphasize how the Other's voice, under the paradigm of Modernity, is associated with barbarians, while under Postmodernity it acquires a space among hegemonic forces. In both novels we notice how, after the Revolution (1910), the Mexican state generates a modernizing project by fomenting the idea of a modern national subject; this is done in order to transcend social fragmentation. The process that Étienne Balibar denominates fictive ethnicity helps the State to create a national- popular representation based in the triad formed by a shared language, history and origins; however, the four characters in Poniatowska's novels do not comply with the State's efforts. Instead, they challenge those representations that ultimately expose the failure of the two main grand narratives: Modernity (the idea of progress and equality), and the Nation. In conclusion, we emphasize that the dialogue between the characters in Hasta no verte Jesús mío and La 'Flor de Lis' completes a circle in which Magda is the liberating trigger for Mariana's actions, as Jesusa is for Poniatowska. In particular, social differences between Mariana and Jesusa make possible a reading in which they not only establish a dialogue but also, through that dialogue, the reader may observe economic and social structures through two paradigms: Modernity and Postmodernity.

Esta tesis examina la acústica de secuencias vocálicas que ocurren entre dos palabras y experimentan contracción silábica en el español hablado en Tucson, Arizona. La tradición lingüística hispánica define este proceso con el término "sinalefa". Numerosas fuentes notan que la sinalefa hablada en el suroeste de los Estados Unidos tiene características diferentes de las documentadas para otros dialectos en España. Ocho mujeres tucsonenses realizaron una tarea de repetición del habla en que pronunciaron frases detres palabras en las cuales, en habla rápida, se espararía la aplicación de un proceso de sinalefa. El resultado del análisis de las grabaciones muestra una forma de habla que no ha sido descrita previamente en la cual aparece un proceso que llamamos "coarticulación asimilatoria progresiva".

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