Transcription and Translation of the 1658 Jesuit Annual Letter, VietnamNathan Joseph RichardsonDepartment of Spanish and Portuguese, BYUMaster of ArtsThis project provides a translation and two transcriptions (semi-diplomatic and normalized) of the 1658 Jesuit Annua letter sent from the Tonkin kingdom (now Vietnam) to Jesuit authorities back in Portugal. Specifically, the letter, which is housed in the archives of the worldwide Society of Jesus in Rome (folder 89, Japonica Sinica series, fols 286-290v), reports the progress of the Jesuit mission in that kingdom. However, it also contains a fascinating account of contemporary political and other events there. The purpose of this project is to make this letter accessible to a variety of readers. The English translation makes the letter's contents available to an English readership interested in Portugal's expansion in Asia, especially the activities of Jesuit missionaries in Vietnam; the normalized transcription is aimed at those with similar interests who read Portuguese; and the semi-diplomatic transcription, together with a facsimile of the original manuscript, is intended for those who study the history of the Portuguese language and are particularly concerned with the edition of early modern texts.

Así surge el problema materia de la presente investigación, cuyo punto de vista básico es que, hay algunos puntos de contacto en la acción causada por el dictador en las dos novelas, pero también hay algunas diferencias, que dan a cada una de las novelas un carácter peculiar. El objeto de este estudio es hacer un análisis comparativo de ciertas consecuencias producidas por la acción del "señor Presidente," en las novela El señor Presidente, y de Antón Bocanegra, en la novela Muertes de perro. Para que los terminos de comparacion se coloquen en un plano factible y lógico, se partirá del punto de vista que las dos novelas tratan de un tema común, la dictadura, pero bajo estructuras, procedimientos, métodos, y recursos utilizados diferentes.

[pt] Este trabalho estuda o prefixo co(N)- na Língua Portuguesa, entendido como um prefixo único que se manifesta sob as formas com, con e co. Na presente pesquisa, tais formas são estudadas a partir das construções lexicais em que podem ser reconhecidas, o que permite vislumbrar a variação de significados do prefixo na língua portuguesa. Os dados primários da análise foram coletados no Dicionário Houaiss da Língua Portuguesa. Para realizar tal estudo, foi aplicado um conjunto de conceitos operacionais e de procedimentos analítico-descritivos apresentados na Gramática Cognitiva de Ronald Langacker. Assume-se, portanto, que a estrutura fonológica co(N) evoca uma dada estrutura semântica – que se configura como tal devido à aplicação de um conjunto de operações de perspectivização sob o substrato conceptual obtido a partir do contexto em que são usadas as construções lexicais com tal prefixo. Por sua vez, as operações de perspectivização possibilitaram notar não só que, em distintas construções lexicais, bem como nos distintos contextos em que elas são usadas, o referido prefixo assume valores semânticos convencionais distintos; como também que esses sentidos, embora distintos, encontram-se relacionados mutuamente. O reconhecimento dessa relação mútua decorre do estabelecimento de um desses significados como prototípico, ou primário, sendo os demais considerados como sentidos derivados, sobretudo pelo fenômeno de atenuação conceptual. Essa abordagem propiciou o delineamento de uma rede polissêmica entre os valores semânticos convencionais apresentados pelo prefixo co(N)-, em convergência com a abordagem teórica da Gramática Cognitiva, baseada no modelo de rede, em que os vários significados assumidos por uma determinada unidade simbólica formam uma teia de relações entre si. / [en] This work is concerned with the Portuguese prefix co(n)-, understood as a single prefix which, however, can occur in the different forms com, con and co . In the research, the forms studied were extracted from the lexical constructions where they can be recognized, which leads to a better vision of the range of meanings of the prefix in Portuguese. The primary data of the analysis were collected from the Dicionário Houaiss da Língua Portuguesa. In the investigation, we applied a set of operational concepts and analytical procedures of description from Langacker s Cognitive Grammar. It is assumed, therefore, that the phonological structure corresponding to co(N) evokes a given semantic structure arrived at by means of a set of construal operations under the conceptual substract presented by the context in which lexical constructions with the prefix were used. In turn, the construal makes clear that this prefix not only can have different conventional semantic values, in different lexical constructions as well as in different contexts of use, but also that the different senses are mutually related. The recognition of this mutual relationship is possible once we take one of these meanings as prototypical, or primary, from which other meanings derive, especially by conceptual attenuation factors. This approach allowed us to outline a semantic network that permeates conventional semantic values of the prefix, thus converging with GC s theoretical approach based on a network model, in the sense that the various meanings assumed by certain symbolic unity form a web of relationships among themselves.

Em meio às mudanças políticas e sociais no Brasil da segunda parte do século XX, Lygia Fagundes Telles começa a se destacar literariamente através de seus romances e coletâneas de contos com caráter intimista. Apesar de não se considerar naquela época uma escritora militante, ela era engajada socialmente e realizava sua crítica de maneira sutil utilizando-se de táticas literárias, como a presença do gênero fantástico. Ela escreve durante uma época de extrema censura e repressão, aonde o conservadorismo impera principalmente nos moldes familiares. A sociedade continha um modelo de como cada homem e mulher deveria agir para se encaixar e ser aceito. A fim de criticar o pensamento da sociedade retrógrada da qual ela fazia parte, Lygia escreve os contos fantásticos: “Venha ver o pôr do sol”, “A caçada”, e “As formigas”. Através de acontecimentos insólitos e aterrorizantes, os personagens enfrentam a realidade acerca de seu gênero e encontram as limitações impostas dos estereótipos mantidos pela sociedade conservadora. Nesses contos, Lygia encontra três possibilidades finais para quem pretende ir contra o tradicional: prisão pessoal, morte lenta ou fuga.

The story of "El Libertador", Simon Bolivar, greatest figure of South American history, may be pursued through seemingly endless sources of extant written material. The Bibliography of Simon Bolivar compiled by the library of the Pan-American Union is, in itself, an extensive volume; hundreds of his letters and documents have been preserved, and his biographers are numbered by scores. Throughout the nineteenth century he remained one of the most popularized of new world figures, and although he has lost considerable identity in the United States during the twentieth century, he continues to be written about. Man Of Glory by D. J. Clinton (Marrow Co., New York, 1939) is the most recent comprehensive biography. Yet, in so far as can be ascertained at this writing, the work herein contained is the first full length treatment in the dramatic form, in any language, of this amazing personality. Liberator of five countries, and father of the Pan-American idea, Bolivar's influence is an active tradition still shaping destiny for Latin America. With increasing contact between North and South America, and the popularlizing of the Pan-American program, Simon Bolivar will be revived in the interest of the people of the United States to the extent that he should be a "success" in a popular an art medium as the theatre, like Queen Victoria, Jaurez, Zola, Disraeli, Lincoln, Edison any many others who have won glory behind the foodlights as well as in the theatre of world events.

Varios críticos han notado la influencia de Gabriele D’Annunzio en la obra de Don Ramón del Valle-Inclán y uno, Julio Casares, ha señalado un episodio de clara imitación, pero, por lo que pudimos averiguar, no se ha hecho un estudio detenido puntualizando las muchas semejanzas específicas que existen entre los dos autores. En este trabajo se examinarán varios recursos estilísticos y temas que aparecen en algunas obras en prosa de la fase modernista de Valle-Inclán, relacionándolos con los que fueron empleados anteriormente por Gabriele D’Annunzio en sus obras en prosa. Esto pondrá en evidencia las semejanzas específicas que se hallan en los varios escritos, y comprobará que Valle-Inclán verdaderamente siguió las huellas dannunzianas. En este estudio se tomarán en cuenta únicamente los rasgos más significativos para mostrar puntos comunes entre los dos autores. Nos remitimos a los escritos de D’Annunzio solamente en lo que puede tener relación con los escritos de Valle-Inclán considerados aquí.

La situación que atravesaba Puerto Rico a finales del siglo XIX y principios del XX alteraba la rutina de los puertorriqueños. La isla pasó de ser colonia de España a ser territorio de los Estados Unidos. Entonces la identidad del puertorriqueño se convirtió en un proyecto nacional. Los cambios económicos surgidos bajo el gobierno estadounidense, dieron pie para que la mujer comenzara a reflexionar sobre su papel social y se organizaran. Se creó una división entre la mujer obrera quien se enfocaba en las luchas laborales y la burguesa quien aspiraba a tener un lugar de igualdad al lado del hombre basándose principalmente en su intelecto. En las luchas de la mujer burguesa se destacó una figura: Ana Roqué de Duprey. Roqué se destacaba principalmente por su desempeño como educadora. Incursionó en la política, la ciencia, la literatura y el feminismo. Luchó por el sufragio de la mujer y se esforzó por proveer para ésta una plataforma de entrenamiento, fuente de ingreso e intercambio de ideas y proyectos. Se le recuerda como la primera feminista de la isla y por haber conseguido el voto para la mujer. Este trabajo propone resumir el contexto histórico en el que se desenvolvía Ana Roqué, develar los recursos utilizados por la mujer burguesa para conquistar sus metas, descubrir el mensaje de emancipación femenina escondido en su literatura y abundar sobre el legado de Ana Roqué por medio de sus manuscritos y el análisis de su obra más conocida Luz y sombra (1903).

The tragedy, La casa de Bernarda Alba, by Federico Garcia Lorca is generally recognized as one of the finest poetic tragedies of the Twentieth Century, yet it has not drawn the critical attention afforded the plays of Lorca's contemporaries, such as 'Tennessee Williams, for example. Ironically, Williams' early plays evince a definite. Lorquian influence. Close attention has been paid to the poetic texture of.Williams plays, providing an important contribution to understanding the art of his poetic tragedy. The same has not been true of Lorca. This may he due partly to the fact that Lorca's ·tragedies have not played very well in the United States and partly due to political considerations in his native Spain. It is the purpose of this essay to make a detailed analysis of the poetic structure of La casa de Bernarda Alba to show Lorca's brilliant welding of the basic elements 10f' the drama into one underlying statement of theme, This will be accomplished through a close reading of the play as originally written in the Spanish language with especial attention paid to its setting, dominant image patterns, characters, and action. These, then, will be examined and elucidated in relationship to thematics, thus demonstrating Lorca's dramatic technique of fusing these fundamental parts through use of language and symbol into one unified whole.

Usando el Corpus de la Biblia Medieval como herramienta principal, el presente trabajo explora el desaparecido adverbio pronominal y (hy, hi, i) en castellano a través de la comparación de la traducción del adverbio locativo ibi del latín al castellano e italiano usando la Vulgata, la Biblia prealfonsí y la Biblia del Malermi. Los resultados muestran que el adverbio pronominal en castellano no es el predilecto de la traducción y sin embargo es amplia y libremente usado en el texto castellano sin necesidad de tener un equivalente adverbial en latín. Dicha discrepancia se puede explicar considerando la ley Tobler-Mussafia que no le permite al adverbio pronominal introducir oraciones independientes como clítico. Sin embargo, es su flexibilidad como clítico la que le permite ocupar cualquier posición en el sintagma verbal. Dicha característica no la refleja el equivalente en italiano ivi, el cual tiende a comportarse más como adverbio. En la comparación de los tres textos, es el castellano el más leal a la sintaxis del latín en el uso del adverbio con respecto a su posición con el verbo.

This thesis examines the difficulties that beginning and advanced American learners of Portuguese have correctly perceiving and producing the Portuguese mid-vowels {o} and {e}. The beginning learners were enrolled in their second semester of Portuguese and had rudimentary knowledge of Portuguese. The advanced learners had all lived in Brazil for nearly two years and were enrolled in a more advanced Portuguese course. To test for production, informants were asked to read a group of sentences that contained one hundred occurrences of the Portuguese mid-vowels. Each production occurrence was evaluated as being correct or incorrect by linguistically trained native Brazilians. To test for perception, informants were evaluated on their ability to distinguish between tokens (individual vowel sounds) spoken in context by native Brazilian speakers. These tokens used to test perception were recorded in a professional recording studio in Brazil. The study found that beginning and advanced learners had difficulty perceiving and correctly producing the Portuguese mid-vowels. In the perception study, beginners scored 70% on the {o} section and 68% on the {e} section, for a combined score of 69%. The advanced learners scored 78% on the {o} section and 78% on {e} section, for an average score of 78%. In the production study, the advanced learners scored an average of 42% on the open vowels and 84% on the closed vowels. The beginners scored 23% on the open vowels and 97% on the closed vowels. The most striking finding in the study was that advanced learners scored lower on the closed vowel production section than did the beginners. This was due to a hypercorrection phenomenon in the advanced learners. The advanced learners, once they learned that open vowels exist in Portuguese, seemed to produce them sporadically in their speech. They tended to open many vowels that should have been closed. Beginners, however, rarely used any open vowels in their speech. Beginners showed a strong correlation between perception and production capabilities. Advanced learners, however, did not demonstrate a strong perception-production correlation. The author of this thesis can be contacted at richard@medlar.com