The importance of the letter as a means for social, personal and intellectual expression for humanists has been highlighted in various studies. For those studies, its value resides in its effectiveness in responding more directly to the presence of a new pool of readers giving rise to a new cultural type, transforming it into the emblematic genre of the humanists. I am interested in considering the influence of epistolary models in the New World, because, as these models were transferred to a new context, they acquired new forms that responded to the needs of communication, representation, symbolization and, finally, a new rhetoric. For the purposes of this dissertation, I will depart from the conception of the letter in the New World as a “polysynthetic” genre; that is to say, inasmuch as I wish to respond to the plurality of communicative needs that arose from the new contexts that were unforeseen by the humanist rhetoric, I will consider the letters from the New World as emerging from and forming part of other genres: accounts, petitions, diaries, among others. The starting point for this dissertation is the thorough reading and analysis of eleven unpublished letters, all written by women, currently located at the Archivo General de Indias in Seville and sent from the Rio de la Plata during the XVI and XVII centuries. In my investigation, I intend to demonstrate how the authors used the writing of such documents as an empowering practice. Secondly, I will prove that these first epistles, written from America, do not necessarily belong to the ars epistolandi, but to the ars dictaminis. Furthermore, this change in disctinction requires a critical review of the current state of classical letters. Finally, I maintain that these letters provide a space for the emergence of the authors‟ identity. In other words, I understand and ground the conclusions of this work on the fact that space culturally shapes gender, but that gender acts in the production of such spaces as well. The participation of female authors by means of these letters merges them with that spatiality in a process both of production and reproduction, since, as a conscience building act, the “I” is turned into text in order to discuss on/about the space.

This interdisciplinary study analyzes the work of two contemporary writers in Peninsular Spanish literature, Agustín Fernández Mallo and Javier Moreno, using the the posthumanist stance that considers the epistemological and ontological continuum and inseparability of contemporary cultural practices. This thesis delves into the interrelationship of their respective work with three main aspects of the 21st century reality: the omnipresent world of images in our culture, the scientific paradigm and the use of new technologies. The study of their work has led me to propose the birth of a new literature that 1. articulates the “pictorial turn” by recognizing how the image, mostly digital, has become the protagonist of the new mode of communication; 2. implements the dialogue between the so called “two cultures” (humanities and sciences). In the sense, both our writers have a scientific background (Fernández Mallo is a physicist and Moreno a mathematician) and 3. shows the emergence of a net of global connections by establishing a dialogue with the world of Internet and new technologies. I ultimately propose that the work of Agustín Fernández Mallo and Javier Moreno is part of the Spanish speaking world literary response to the hypercomplexity and entanglement of the present Weltanshauung, one that shows traces of overcoming the paradigm of classical postmodernism by introducing the perspective of reenchantment throughout the above-mentioned vectors: the image, science and new technologies.

The intricate and complex writing style of Machado de Assis’ novel Dom Casmurro create a unique and powerfully engaging reader experience. While much has been discussed with regard to narratology and reader-response theory in Dom Casmurro, Machado’s writing recalls many principles found in the cross-disciplinary field of experience design. Through an analysis of the novel using flow and co-creation theories, we see that Machado designs an extraordinary reader experience through narrational scaffolding and co-creative invitations. These elements engage readers in challenging and immersive ways, ultimately encouraging readers to develop their reading capacity throughout their contact with the novel. In Dom Casmurro, Machado’s experiential writing enables readers to work together with the author to create two significant products: both the novel itself and—perhaps most important—the co-creative experience the novel facilitates.

In the aftermath of the bloody twenty-year internal conflict in Peru, the Truth and Reconciliation Commission (Comisión de la Verdad y Reconciliación, or CVR) documented the massive human rights violations by Sendero Luminoso and the Peruvian state. The CVR contextualized these abuses by producing a broad historical narrative which has fomented the creation of a new discourse in Peruvian cultural production. This thesis is concerned with how the CVR and the post-conflict search for reconciliation have influenced contemporary Peruvian literature. This paper will focus on the ‘Redención' trilogy by novelist Alonso Cueto. The three novels explore notions of forgiveness and reconciliation between perpetrators and victims of the conflict. Beginning with La hora azul (2005), the first chapter investigates the reliance on neoliberal reconciliation logic in the CVR (monetary reparations, etc.) as well as the gestures towards affective exchanges. It also explores the ways in which La hora azul stages these reliances within restitution discourse in Peru. In the second chapter, I examine La pasajera (2015) and further explore the ways in which reconciliation is tied to both affect and neoliberal logic. This leads to a discussion on how affect and the free-market work together, rather than as competing systems of exchange and how Cueto emphasizes the proximity of the victim and the perpetrator in the novel. Finally, I conclude by analyzing La viajera del viento (2016). This chapter continues to focus on the proximity of the victim and the perpetrator and how this ethically uncomfortable discourse may actually make way for new modes of forgiveness between victims and perpetrators.

This thesis surveyed a group of second generation Mexican-American Spanish-English bilingual speakers in the Coachella Valley, California to determine common motives for code-switching in speech. In previous studies, motives or triggers to code-switching have been identified and recorded in major urban cities such as Los Angeles and New York, and this thesis seeks to identify this phenomenon in the rural and agricultural cities of the Coachella Valley, with focus on Indio and Coachella, CA. Furthermore, another goal of this study was to analyze research on code-switching in a sample of older adults ages 45-75 as compared to much of the research that tends to focus on young adults or children. This study also took into consideration the code-switching patterns between males and females.This thesis analyzed 10 audio-recorded interviews of second generation Mexican-American Spanish-English bilingual speakers. The interviews were recorded in Indio, CA in 2015. The data collected were analyzed for naturally occurring code-switching pattern frequencies, code-switching differences found between genders, and code-switching differences found in age groupings.The results showed similar findings to those found in previous studies on code-switching patterns, the greater code-switching frequency in women, and the stronger disapproval of code-switching in adults.

Juan Rulfo and João Guimarães Rosa stand at a literary crossroads, the intersection where traditional regionalists and celebrated Boom-era novelists meet. Although Rulfo and Guimarães Rosa chose the Mexican Llano Grande and the Brazilian sertão of Minas Gerais as the settings of their most celebrated novels, they go far beyond the techniques of traditional regionalism by distancing themselves from their national literatures. They universalize their narratives by incorporating universal religious themes, including the symbol of the cross. The symbol of the cross/crossroad has been analyzed and alluded to in a handful of essays on Pedro Páramo and Grande sertão: Veredas but has never been applied comparatively or in depth, beyond a connection to Hermes, Greek god of the crossroads. Rulfo and Guimarães Rosa use the spatial organizing power of the cross-and by extension, the crossroad-to highlight the importance of racial and religious mixing to Mexican and Brazilian identity, determine narrative structure, and strengthen mythic, religious, and epic themes. The motif allows the reader to transcend (although not eradicate) a geographical conception of setting. Instead, the reader recognizes the construction of a mythic space that intertwines national history with primordial creation stories, modern heroes, and ancient religious symbols.

For adult learners of a second language, the similarities and differences in acoustic properties between their native language and the language they are learning can affect how they perceive the sounds of the new language. How learners perceive these acoustic properties will directly affect their ability to communicate. According to the Perceptual Assimilation Model (PAM) (Best 1995), learners will perceive the sounds of a language that is new to them based on how similar or different the sounds are from the learner’s native language. Between the English and Spanish language, there are some sounds that share acoustic properties and others that show contrast. Such is the case with the stop consonants /p/, /t/, /k/, /b/, /d/, and /g/. These consonants exist in both Spanish and English, and though they are similar, there are important differences in how they should be perceived and produced. Despite the differences, these sounds are likely to be confused by L2 learners due to similarity in acoustic cues. This study will use Best’s Perceptual Assimilation Model (PAM) as a framework. It will test the L2 perception of native English-speaking adults who are L2 learners of Spanish, have spent between 18 and 24 months speaking the target language as Latter-day Saint (LDS or Mormon) missionaries in the United States, and who are also currently university students enrolled in an upper-level Spanish course. It will focus on their perception of the acoustic cue of Voice Onset Time (VOT) of stop consonants.

This thesis examines a new reading of Cervantes’s immortal Don Quixote: reading the Quixote as eucharistic art. Just as the Catholic Eucharist, when consumed by the believer, is transubstantiated into the literal flesh and blood of Jesus Christ, so too is this proposed reading of the Quixote. Using Michel Foucault’s work in The Order of Things, the author employs Foucault’s statement—that Don Quixote is “the book in flesh and blood” (48)—to explore a eucharistic reading of the novel as the reader’s internalization of Don Quixote’s being. The end of the novel is read not as Don Quixote’s return to sanity, but rather a sacrifice of the self, sealing the text to his being. The “disciple reader” then, through eucharistic reading, metaphysically internalizes the text that is Don Quixote transubstantiated, acquiring his madness in the process: a new Don Quixote. The author lays out a theory for eucharistic reading, noting the Quixote’s singular place in world literature as a prime novel fit for this type of mystical reading. The thesis then examines and analyzes the theory and its effects on intratextual metafictional readers of the novel. As a kind of measuring tool, the author looks at painted representations of Don Quixote within the novel as eucharistic self-portraits of the metafictional disciple reader’s “quixotic” self. The thesis closes with a proposal for future studies regarding artistic representations outside of the text as products of eucharistic reading worthy and in need of future analysis.

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