This study explores how romance opens the texts of two sixteenth-century authors. The first is the autobiography, Libro de la vida, of Spanish nun, mystic, and reformer, Santa Teresa de Jésus. Amidst the narrative of her life and her instructions on how to better live the mystical life, Teresa uses the mode of romance to construct herself and God in complicated and often conflicting roles: she the wandering (sinning) knight-errant who quests towards the ideal lady, Christ; she the walled garden into which her lover enters for fleeting moments of bliss; she the passive feminine recipient of God's forceful loves; she her own black knight, her own dark forest, through which she must fight to reach the throne of the Beloved. Reading Teresa in this light underscores the ways in which she deconstructs the sublimating, transcending, and bodiless love historically directed towards the God of the Western tradition to reveal a love fraught with mutability and painful separation. As God absents himself from her, mourning assails her and causes her to wish for death, the only bower that promises perfect proximity. In this conflicted realm of mortality in which she longs for death but must continue to live, Teresa moves past her desire into a space for faith. In the second text, Edmund Spenser's The Faerie Queene, Spenser uses the capaciousness of the romance genre to express his desires for certain political, economical, and spiritual ends by constructing the Faerie Queene as a representative of Elizabeth I who in turn represents the potential for the realization of these hoped for ideals. The study focuses on one particular interchange between the Faerie Queene and the culturally-loaded icon of Arthur, and how Spenser imbues this moment with ambiguity, both posturing Arthur as the Queene's lover and her progenitor. The magical space of romance thus allows Spenser to simultaneously criticize, encourage, and praise Elizabeth, despite the inevitability that she will disappoint him. Despite disappointment, Spenser continues to strive for the temporal perfection of England, which ultimately leads him to an unyielding hope for the perfection of the immutable kingdom of heaven.

No autorizada por la autora para ser publicada a texto completo en el repositorio institucional. / Magíster en artes con mención en teoría e historia del arte / La presente tesis trata sobre la problemática de la deslocalización de la violencia política presentes en la producción artístico-visual en dos de las artistas más influyentes en el devenir del arte político- crítico latinoamericano contemporáneo, la colombiana Doris Salcedo y la mexicana Teresa Margolles. Se trata de un análisis y diálogo entre sus obras trabajadas principalmente entre los años 2000 - 2012, las cuales tanto por su complejidad histórica como representacional desbordan los códigos heredados de la institución, logrando poner en cuestión lo que la realidad actual tiene de inédito, la cotidianeidad de la violencia, situación que surge precisamente como consecuencia de los fenómenos sociales y económicos de la mundialización y la globalización desarrollados e instalados a nivel internacional desde la segunda mitad del siglo XX hasta comienzos del siglo XXI los cuales denotan la inminente crisis de los Estados Nacionales Desde este contexto es que este análisis es abordado tanto desde el plano histórico cultural particular de Colombia y México como desde la proyección que como obras alcanzan estas en relación con el nuevo arte latinoamericano y su internacionalización , dentro de estos mismos puntos se buscará discutir y responder la forma en cómo el discurso artístico de corte político- crítico que ambas artistas exponen en sus obras transita y dialoga con y desde los nuevos espacios del arte, es decir, el espacio galerístico, museal y público en la escena internacional, propiciando con ello, cuestionar y expandir el problema de la violencia política local a nivel mundial, para el desarrollo de lo anterior se recurrirán a determinados conceptos filosóficos y sociológicos de Jacques Ranciére y de Roberto Esposito(autonomía del arte y arte político del primero) , (lo impolítico del segundo) como también antropológicos y sociológicos (violencia política, Julio Aróstegui narcoterrorismo entre otros) los cuales irán relacionados a la mirada de otros autores vinculados siempre desde la reflexión artística y social contemporánea.

Made available in DSpace on 2018-08-01T23:30:14Z (GMT). No. of bitstreams: 1 tese_10997_MONICA_CONTRERAS_DISERTACAO.pdf: 7122957 bytes, checksum: 41ace7668ab273d20c22b737a707af3d (MD5) Previous issue date: 2017-05-09 / Esta dissertação tem por objetivo trazer a tona uma reflexão sobre a produção artística contemporânea em três artistas latino-americanas, especificamente Janine Antoni (Bahamas, 1962- ), Teresa Margolles (México,1963- ) e Dóris Salcedo (Colômbia 1958- ), artistas que procuram uma exploração da noção de corporalidade por meio da análise de alguns processos esculturais-objetuais em produções artísticas que parecem trabalhar de maneira a repetir ou sugerir fatos, embora evitam a representação realista e que têm um interesse como obra de protesto. As três artistas utilizam a presença corporal em sua relação com o real apresentado. A repetição ou impressão é o que retorna, não é o fato original, mas sim, à sua sombra, sua memória. É no encontro com ela que se produz no sujeito um estranhamento, uma ansiedade e angústia traumática que parecem permitir sair do cotidiano e cogitar outras possibilidades de viver no mundo. Os resultados revelam as obras como testemunhas de processos vivenciais que permitem uma revisão de diferentes estados da poética corporal envolvida com a problemática de índole política. Palavras chave: Arte corpo, Janine Antoni, Teresa Margolles, Dóris Salcedo, memória, materialidade.

This study uses the pop music scene as a tool to analyse contemporary cultural history in Asia, with a focus on the cold-war and post-cold war period (1960s-1990s). The primary objective is to present how Pan-Chinese music shaped peoples’ collective memories in Asia and to investigate issues such as cultural history identification, cultural worship, colonisation, nostalgia, and how these influence each other. The secondary objective is to analyse which factors can influence peoples’ collective memories, since similar pop music and historical backgrounds in Asia can be located. A particular focus is Deng Lijun (also known as Teresa Teng) (1964-1995) who is considered the most influential popular singer able to transcend ideological barriers in Asia. Through in-depth interviews carried out in China, Taiwan, Hong Kong and Japan during 2010, audience perceptions focusing on Deng Lijun's personality, music and performances were recorded and analysed in order to create focal points regarding the collective memory of her work. The main interest of this thesis is not only her role as a singer, but also her ability to capture different cultural imaginations, to initiate processes of identification and to transcend different country’s frontiers (Taiwan, China, Hong Kong, South-East Asia and Japan), particularly since these countries champion different ideological perspectives. Her fame and commercial success had a huge cultural impact, and as a result she was the first cultural carrier to break the boundaries of the Cold-War era in Asia. Apart from examining the social, cultural and political factors that influence pop music, the industry behind it and shared audience memories, the focal point of the thesis is to draw attention to aspect of time by examining how the cold war in Asia reconstructed pop music’s cultural symbols and how these symbols were transformed through different ideological structures and facets. Using the information gathered from interviews and archives, this study explores the role of popular music in political struggles between warring ideologies and shows how those struggles both informed and were informed by the sentimental songs of a global popular music idol.

This work seeks to explore the possibilities of applying affect theory to practices of social justice, specifically, through the affect theories based on energetics described by Teresa Brennan. The first section gives an overview on Brennan’s main arguments and how I interpret her through a Spinozistic lens. This project then explores the positive and negative roles that happiness, anger, grief, and humor have had in various social movements and how they have often been mis- or underused in these moments. The final section offers Brennan’s theory of “Living Attention” as a means of understanding our own affects and the affects of others and how to use them effectively and healthily. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

Zugl.: Potsdam, Univ., Diss., 2008

Thesis (Ph. D.)--University of Chicago Divinity School, August 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--Florida State University, 2005. / Vita. Includes bibliographical references (p. 127-133)

Zugl.: Frankfurt (Main), Philos.-Theol. Hochsch. St. Georgen, Lizenzarbeit

Tesis para optar al grado de Magíster en Literatura mención Literatura Chilena e Hispanoamericana.